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"American police departments have presided over the business of motion pictures since the end of the nineteenth century. Their influence is evident not only on the screen but also in the ways movies are made, promoted, and viewed in the United States. Screening the Police explores the history of film's entwinement with law enforcement, showing the role that state power has played in the creation and expansion of a popular medium. For the New Jersey State Police in the 1930s, film offered a method of visualizing criminality and of circulating urgent information about escaped convicts. For the New York Police Department, the medium was a means of making the agency world-famous as early as 1896. Beat cops became movie stars. Police chiefs made their own documentaries. And from Maine to California, state and local law enforcement agencies regularly fingerprinted filmgoers for decades, amassing enormous records as they infiltrated theatres both big and small. Understanding the scope of police power in the United States requires attention to an aspect of film history that has long been ignored. Screening the Police reveals the extent to which American cinema has overlapped with the politics and practices of law enforcement. Today, commercial filmmaking is heavily reliant on public policing-and vice versa. How such a working relationship was forged and sustained across the long twentieth century is the subject of this book"--
For fifty years, the newsreel was a fixture in American movie theaters. Released twice a week, less than ten minutes long, each had news footage that combined journalism with entertainment. With the advent of television news programs after World War II, newsreels began to be obsolete, but they remain the first instances of moving image photographic journalism and were for decades a unique source of information--and misinformation. This history details the full span of the American newsreel from 1911 to 1967, discussing the European forerunners, changes in the American version over time, and the ethical and unethical use of newsreels in present-day television documentaries. Photographs, bibliography and index.
This is the most definitive survey yet of Alice Faye's unique career in film, recording, broadcasting, and on stage. An annotated bibliography of book, magazine, and newspaper sources covers her life and career from 1933 through 1989. This volume also features a filmography, discography, detailed coverage of Faye's broadcasting and stage career, specialized appendixes, and a general index and song index. a superb work of reference. Classic Images This is the most definitive survey yet of Alice Faye's unique career in film, recording, broadcasting and on stage, a career that began in 1933 and which is still flourishing today as a spokesperson for the elderly on health issues. Even as a child, Alice Faye, born Alice Jean Leppert, was drawn to the stage. On Saturdays Alice and her mother would attend matinees at the Broadway theaters, where Alice would loiter by the stage door pretending she was leaving for her own engagement. Faye's first break came as a dancer for the Chester Hale troupe. Her dancing chores trained her well for when she auditioned successfully for impressario George White. Faye was cast in the eleventh edition of George White's Scandals, which opened on September 14, 1931. Faye was now making $60 a week, in a company that included such young luminaries as Ethel Merman and Ray Bolger. Faye was soon taken under the wing of Rudy Vallee, the renowned radio crooner and recording star of the day. She debuted on his radio program in December of 1932, and became a regular shortly thereafter. Her career in film musicals began a year later when she was signed to do a musical number on a restyled movie edition of George White's Scandals, at Fox Studios in Hollywood. In addition to individual chapters on each facet of her life, the book features an annotated bibliography of book, magazine, and newspaper sources. All undocumented quotes in the introductory biography are from first hand remarks of people contacted by the author. The filmography of feature films is arranged in chronological order, with five other Faye appearances in clips or film shorts listed separately. The discography chapter lists her recordings alphabetically and by category. This section also lists compact disc releases and miscellaneous compilations on tape. The broadcasting chapter covers appearances on radio and television in chronological order. The stage chapter also lists Faye's appearances in chronological order. The annotated bibliography is arranged in alphabetical order by author or by article title if no author is identified. Specialized appendixes and a general index and song index complete the volume. The song index lists songs exclusively featuring Faye (or in accompaniment with others) in her film, broadcasting and stage appearances. This book will be of interest to all Alice Faye fans and to anyone interested in the history of film musicals.
On the history of motion pictures
The first transnational history of cinema’s role in decolonization. Using popular cinema from the United States, Britain, and France, Empire Films and the Crisis of Colonialism, 1946–1959, examines postwar Western attitudes toward colonialism and race relations. Historians have written much about the high politics of decolonization but little about what ordinary citizens thought about losing their empires. Popular cinema provided the main source of images of the colonies, and, according to Jon Cowans in this far-reaching book, films depicting the excesses of empire helped Westerners come to terms with decolonization and even promoted the dismantling of colonialism around the globe. Examining more than one hundred British, French, and American films from the post–World War II era, Cowans concentrates on movies that depict interactions between white colonizers and nonwhite colonial subjects, including sexual and romantic relations. Although certain conservative films eagerly supported colonialism, Cowans argues that the more numerous “liberal colonialist” productions undermined support for key aspects of colonial rule, while a few more provocative films openly favored anticolonial movements and urged “internal decolonization” for people of color in Britain, France, and the United States. Combining new archival research on the films’ production with sharp analysis of their imagery and political messages, the book also assesses their reception through box-office figures and newspaper reviews. It examines both high-profile and lesser-known films on overseas colonialism, including The King and I, Bhowani Junction, and Island in the Sun, and tackles treatments of miscegenation and “internal colonialism” that appeared in Westerns and American films like Pinky and Giant. The first truly transnational history of cinema’s role in decolonization, this powerful book weaves a unified historical narrative out of the experiences of three colonial powers in diverse geographic settings.
At approximately seven o’clock in the evening on May 7, 1950, Gordon Malherbe Hillman filled an empty bottle with water, capped it, and walked into his mother’s room in the pair’s fifth-floor suite at Boston’s luxurious Copley Plaza Hotel. He then edged up behind the semi-invalid woman and bludgeoned her to death. Hotel staff had planned to evict the two the following day after several weeks of unpaid rent. Mounting debts had finally broken the fifty-year-old Hillman, a now-struggling author of mixed success, but it had not always been that way, as Thomas Aiello shows in his study of the life and work of this forgotten midcentury figure. As a youth, Hillman attended the prestigious Noble and Greenough School near Boston. Pursuing a career as a writer, he published several dozen pieces of short fiction and a critically acclaimed novel, Fortune’s Cup (1941). Hollywood studios purchased the rights to two of his stories and made them into films, The Great Man Votes (1939) and Here I Am a Stranger (1940). But Hillman remained, for the most part, a middling magazine writer like the majority of fiction authors working during the Depression. Although most did not resort to acts of manic violence, Hillman’s tenuous position in literary circles, along with his gradual descent into financial ruin, proved a far more common tale than the stories of literary success often pored over by critics and historians of this period. In The Trouble in Room 519: Money, Matricide, and Marginal Fiction in the Early Twentieth Century, Aiello weaves a compelling true crime narrative into his exploration of the economics of magazine fiction and the strains placed on authors by the publishing industry prior to World War II. Examining Hillman’s writing as exemplary of Depression-era popular fiction, Aiello includes eight stories written by Hillman and originally published in prominent midcentury American magazines, including Collier’s, Liberty, and McCall’s, to provide additional context and insight into this trying time and tragic life.
This provocative history of early cold war America recreates a time when World War III seemed imminent. Headlines were dominated by stories of Soviet slave laborers, brainwashed prisoners in Korea, and courageous escapees like Oksana Kasenkina who made a "leap for freedom" from the Soviet Consulate in New York. Full of fascinating and forgotten stories, Cold War Captives explores a central dimension of American culture and politics—the postwar preoccupation with captivity. "Menticide," the calculated destruction of individual autonomy, struck many Americans as a more immediate danger than nuclear annihilation. Drawing upon a rich array of declassified documents, movies, and reportage—from national security directives to films like The Manchurian Candidate—his book explores the ways in which east-west disputes over prisoners, repatriation, and defection shaped popular culture. Captivity became a way to understand everything from the anomie of suburban housewives to the "slave world" of drug addiction. Sixty years later, this era may seem distant. Yet, with interrogation techniques derived from America's communist enemies now being used in the "war on terror," the past remains powerfully present.
All histories of Hollywood are wrong. Why? Two words: Colonel Selig. This early pioneer laid the foundation for the movie industry that we know today. Active from 1896 to 1938, William N. Selig was responsible for an amazing series of firsts, including the first two-reel narrative film and the first two-hour narrative feature made in America; the first American movie serial with cliffhanger endings; the first westerns filmed in the West with real cowboys and Indians; the creation of the jungle-adventure genre; the first horror film in America; the first successful American newsreel (made in partnership with William Randolph Hearst); and the first permanent film studio in Los Angeles. Selig was also among the first to cultivate extensive international exhibition of American films, which created a worldwide audience and contributed to American domination of the medium. In this book, Andrew Erish delves into the virtually untouched Selig archive at the Academy of Motion Picture Arts and Sciences Library to tell the fascinating story of this unjustly forgotten film pioneer. He traces Selig’s career from his early work as a traveling magician in the Midwest, to his founding of the first movie studio in Los Angeles in 1909, to his landmark series of innovations that still influence the film industry. As Erish recounts the many accomplishments of the man who first recognized that Southern California is the perfect place for moviemaking, he convincingly demonstrates that while others have been credited with inventing Hollywood, Colonel Selig is actually the one who most deserves that honor.