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While the impact that legendary actors and actresses have had on the development of the Hollywood film industry is well known, few have recognised the power of movie fans on shaping the industry. This books redresses that balance, and is the first study of Hollywood's golden era to examine the period from the viewpoint of the fans. Using fan club journals, fan letters, studio production records, and other previously unpublished archival sources, Samantha Barbas reveals how the passion, enthusiasm, and ongoing activism of film fans in Hollywood's golden era transformed early cinema, the modern mass media and American popular culture.
In Film Crazy, McGilligan shares some of his fascinating interviews with screen luminaries from his salad days as a young journalist working the Hollywood beat. He rides the presidential campaign bus with Ronald Reagan, visits Alfred Hitchcock on the set of the Master of Suspense's last film, "Family Plot," meets George Stevens at the Brown Derby and conducts the last interview with the director of "Shane" and "Giant." Other interview subjects captured for posterity include rough-and-ready pioneer directors William Wellman and Raoul Walsh; likeable actor Joel McCrea; actress - and the only female director of her era - Ida Lupino; French legend Rene Clair; and lowly-contract-writer-turned-studio-mogul Dore Schary. Film Crazy is a must for film students, scholars and professionals.
Biographer Patrick McGilligan interviews legendary stars and directors of Hollywood's Golden Age in FILM CRAZY.Patrick McGilligan, the acclaimed biographer of George Cukor, Robert Altman, Jack Nicholson, Fritz Lang and Clint Eastwood, has interviewed many of Hollywood's biggest stars and most important directors.In FILM CRAZY, McGilligan shares some of his fascinating interviews with screen luminaries from his salad days as a young journalist working the Hollywood beat.He rides the presidential campaign bus with Ronald Reagan, visits Alfred Hitchcock on the set of the Master of Suspense's last film, "Family Plot," meets George Stevens at the Brown Derby and conducts the last interview with the director of "Shane" and "Giant." Other interview subjects captured for posterity include rough-and-ready pioneer directors William Wellman and Raoul Walsh; likeable actor Joel McCrea; actress - and the only female director of her era - Ida Lupino; French legend Rene Clair; and lowly-contract- writer-turned-studio-mogul Dore Schary.FILM CRAZY is a must for film students, scholars and professionals.
"...a classy movie-geek-must-have..." - Kevin Smith "This book is 176 pages of stunning, creative, witty, and sometimes just down-right funny art pieces." - We Are Movie Geeks "I personally recommend the hell out it, and I hope it does well -- because I'll get every single damn collection Gallery 1988 and Titan Books puts out." - Topless Robot "It’s just a damned gorgeous book filled with stunning, movie-related artwork." - Hollywood.com "Quite simply this book is a must have. If ever there was a book for movie inspired Art collectors then this is it." - Poster Shizzle "The artwork is beautiful, and anyone who loves film owes it to themselves to check it out." - Ain't It Cool "Crazy 4 Cult: Cult Movie Art is absolutely amazing and should be picked up by anyone and everyone who considers themselves a moving pictures enthusiast." - Posterocalypse "A book that belongs on every movie geek's coffee table." - Movies.com "There’s nothing like Crazy 4 Cult and this book shows you why." - Very Aware "Love Movies? Love Cult Art? Then 'Crazy 4 Cult' Is the Book for You." - Moviefone "THIS BOOK ROCKS!" - Cool and Collected -- The annual Crazy 4 Cult art show in LA has quickly become a phenomenon, with thousands of visitors, a million hits on its website on opening day, and high profile buyers including Kevin Smith and Edgar Wright. Why? Because the cream of the pop culture-influenced art scene - including Shepard Fairey, creator of the Obama 'Hope' poster - come together to celebrate cult movies with art that is surprising, beautiful and very, very cool. This lavishly produced book presents the best of the first 4 years of the show, with art inspired by such movies as The Big Lebowski, Edward Scissorhands, Blade Runner, Donnie Darko, A Clockwork Orange, Pulp Fiction and many more.
GUN CRAZY: THE ORIGIN OF AMERICAN OUTLAW CINEMA examines the history of the extraordinary 1950 film, from its genesis as a Saturday Evening Post short story through its tumultuous production history to its eventual enshrinement as one of the most influential cult films of all time.
"Portions of this book originally appeared in issues of Leonard Maltin's movie crazy"--T.p. verso.
If you love movies then you are sure to appreciate the thought, ingenuity and downright creativity that some film makers have shown when it comes to naming their work. A witty pun, clever play on words, blood curdling situation or terrifyingly scary creature in the title can help to draw you in and build your anticipation prior to viewing. In this book we have selected over 400 of the wackiest, strangest and funniest movie titles that we have come across. Titles such as Microwave Massacre, Attack of the 50 Foot Cheerleader, Redneck Zombies and Santa Claus Conquers the Martians. Amazingly they are all real films. Crazy Title, Crazy Movie provides an indispensable compendium that is sure to entertain and amuse any film buff prone to the curious compulsion of watching the best and worst that cinema has to offer. Spanning decades and genres the book selects a range of titles so bizarre that you wonder how some of them ever got made.
Alvin Theatre, Alvin Theatre Corp., owners, Alex. A. Aarons and Vinton Freedley, lessees. Alex. A. Aarons and Vinton Freedley present "Girl Crazy," the new musical comedy, book by Guy Bolton and John McGowan, music by George Gershwin, lyrics by Ira Gershwin, staged by Alexander Leftwich, dances and ensembles by George Hale, costumes by Kiviette, settings by Donald Oenslager. "Red" Nichols and his orchestra, Roger Edens at the piano. Orchestra under the direction of Earl Busby.
The best series since The Hunger Games just got better: Escape is just the beginning in this dystopian story of two fearless sisters who must defeat a powerful regime -- or risk becoming what they despise. Twin sisters Becca and Cassie barely got out of the Crazy House alive. Now they're trained, skilled fighters who fear nothing -- not even the all-powerful United regime. Together, the sisters hold the key to defeating the despotic government and freeing the people of the former United States. But to win this war, will the girls have to become the very thing they hate? In this gripping sequel to James Patterson's New York Times bestselling YA blockbuster Crazy House, the world is about to get even crazier.
Explosive! Amazing! Terrifying! You won’t believe your eyes! Such movie taglines were common in the 1950s, as Hollywood churned out a variety of low-budget pictures that were sold on the basis of their sensational content and topicality. While a few of these movies have since become canonized by film fans and critics, a number of the era’s biggest fads have now faded into obscurity. The Cool and the Crazy examines seven of these film cycles, including short-lived trends like boxing movies, war pictures, and social problem films detailing the sordid and violent life of teenagers, as well as uniquely 1950s takes on established genres like the gangster picture. Peter Stanfield reveals how Hollywood sought to capitalize upon current events, moral panics, and popular fads, making movies that were “ripped from the headlines” on everything from the Korean War to rock and roll. As he offers careful readings of several key films, he also considers the broader historical and commercial contexts in which these films were produced, marketed, and exhibited. In the process, Stanfield uncovers surprising synergies between Hollywood and other arenas of popular culture, like the ways that the fashion trend for blue jeans influenced the 1950s Western. Delivering sharp critical insights in jazzy, accessible prose, The Cool and the Crazy offers an appreciation of cinema as a “pop” medium, unabashedly derivative, faddish, and ephemeral. By studying these long-burst bubbles of 1950s “pop,” Stanfield reveals something new about what films do and the pleasures they provide.