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Click your heels together three times and join author Caren Marsh-Doll, Judy Garland's stand-in in The Wizard of Oz, as she dances through her rich Hollywood life. Caren, an original MGM doll, appeared on the silver screen, danced in Hollywood musicals, was a Western leading lady, acted on Broadway, and remains the darling of Oz fans around the world. She met gangster Bugsy Siegel, survived a near fatal plane crash, and learned about sex "near" a Hollywood casting couch. And she's still dancing... into the 2nd edition of her award-winning autobiography. Named Best Autobiography Classic Images, this expanded edition has More rare pictures, and extra material!
In 1929 and 1930, during the Hollywood studios' conversion to synchronized-sound film production, white-controlled trade magazines and African American newspapers celebrated a "vogue" for "Negro films." "Hollywood's African American Films" argues that the movie business turned to black musical performance to both resolve technological and aesthetic problems introduced by the medium of "talking pictures" and, at the same time, to appeal to the white "Broadway" audience that patronized their most lucrative first-run theaters. Capitalizing on highbrow associations with white "slumming" in African American cabarets and on the cultural linkage between popular black musical styles and "natural" acoustics, studios produced a series of African American-cast and white-cast films featuring African American sequences. Ryan Jay Friedman asserts that these transitional films reflect contradictions within prevailing racial ideologies--arising most clearly in the movies' treatment of African American characters' decisions to migrate. Regardless of how the films represent these choices, they all prompt elaborate visual and narrative structures of containment that tend to highlight rather than suppress historical tensions surrounding African American social mobility, Jim Crow codes, and white exploitation of black labor.
During the 1960s, many models, Playboy centerfolds, beauty queens, and Las Vegas showgirls went on to become "decorative actresses" appearing scantily clad on film and television. This well illustrated homage to 75 of these glamour girls reveals their unique stories through individual biographical profiles, photographs, lists of major credits and, frequently, in-depth personal interviews. Included are Carol Wayne, Edy Williams, Inga Neilsen, Thordis Brandt, Jo Collins, Phyllis Davis, Melodie Johnson, and many equally unforgettable faces of sixties Hollywood.
Working Girls investigates the thematic concerns of contemporary Hollywood cinema, and its ambivalent articulation of women as both active, and defined by sexual performance, asking whether new Hollywood cinema has responded to feminism and contemporary sexual identities. Whether analysing the rise of films centred around female friendships, or the entrance of pop stars such as Whitney Houston and Madonna into film, Working Girls is an authoritative investigation of the presence of women both as film makers and actors in contemporary mainstream cinema.
From "Over the Rainbow" to "Moon River" and from Al Jolson to Barbra Streisand, The Songs of Hollywood traces the fascinating history of song in film, both in musicals and in dramatic movies such as High Noon. Extremely well-illustrated with 200 film stills, this delightful book sheds much light on some of Hollywood's best known and loved repertoire, explaining how the film industry made certain songs memorable, and highlighting important moments of film history along the way. The book focuses on how the songs were presented in the movies, from early talkies where actors portrayed singers "performing" the songs, to the Golden Age in which characters burst into expressive, integral song--not as a "performance" but as a spontaneous outpouring of feeling. The book looks at song presentation in 1930s classics with Fred Astaire and Ginger Rogers and in 1940s gems with Judy Garland and Gene Kelly. The authors also look at the decline of the genre since 1960, when most original musicals were replaced by film versions of Broadway hits such as My Fair Lady.
Claire Trevor (1910-2000) is best remembered as the alluring blonde femme fatale in such iconic noir films as Murder, My Sweet (1944) and Raw Deal (1948). Yet she was a versatile performer who brought rare emotional depth to her art. She was effective in a range of diverse roles, from an outcast prostitute in John Ford's classic Stagecoach (1939) to the ambitious tennis mother in Hard, Fast and Beautiful (1951) to the embittered wife of a landowner in William Wellman's overlooked gem My Man and I (1952). Nominated for three Oscars, she deservedly won Best Supporting Actress for her portrayal of Gaye Dawn, a gangster's broken-down moll in Key Largo (1948). The author covers her life and career in detail, recognizing her as one of the finest actresses of her generation.
They're rich, powerful, and ambitious--and whatever the new generation of Hollywood wives want, they get. They will stop at nothing for their chance in the spotlight. There are no limits to their passions--or their excesses--and there are new rules to the power game. Megastar Lissa Roman is about to discover that the game itself can exact a deadly price.
Babe Walker, center of the universe, is a painstakingly manicured white girl with an expensive smoothie habit, a proclivity for Louboutins, a mysterious mother she's never met, and approximately 50 bajillion Twitter followers. But her "problems" have landed her in shopping rehab-that's what happens when you spend $246,893.50 in one afternoon at Barneys. Now she's decided to write her memoir, revealing the gut-wrenching hurdles she's had to overcome in order to be perfect in every way, every day. Hurdles such as: I hate my horse. Every job I've ever had is the worst job I've ever had. He's not a doctor, a lawyer, or a prince. I'll eat anything, as long as it's gluten-free, dairy-free, low-carb, low-fat, low-calorie, sugar-free, and organic. In an Adderall-induced flash of inspiration, Babe Walker has managed to create one of the most enjoyable, unforgettable memoirs in years.
With actress Pam Grier's breakthrough in Coffy and Foxy Brown, women entered action, science fiction, war, westerns and martial arts films--genres that had previously been considered the domain of male protagonists. This ground-breaking cinema, however, was--and still is--viewed with ambivalence. While women were cast in new and exciting roles, they did not always arrive with their femininity intact, often functioning both as a sexualized spectacle and as a new female hero rather than female character. This volume contains an in-depth critical analysis and study of the female hero in popular film from 1970 to 2006. It examines five female archetypes: the dominatrix, the Amazon, the daughter, the mother and the rape-avenger. The entrance of the female hero into films written by, produced by and made for men is viewed through the lens of feminism and post-feminism arguments. Analyzed works include films with actors Michelle Yeoh and Meiko Kaji, the Alien films, the Lara Croft franchise, Charlie's Angels, and television productions such as Xena: Warrior Princess and Alias.