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The headline of the Variety extra on October 27, 1926, proclaimed "Vitaphone1 Thrills L.A.!" Vitaphone, a subsidiary of Warner Bros. formed in association with Western Electric, was one of the major producers of talkies, even though its sound-on-disc technology barely lasted four years. The Vitaphone features and shorts that have survived intact, or that have been so carefully restored, preserve much of the show business history that might otherwise have been lost with the industry's fast-paced advances in movie making. This book is a catalogue of Vitaphone features and shorts. The first section lists the features and shorts by release number. The New York productions (1926-1940) are listed first, followed by the West Coast productions (1927-1970). For shorts, the following particulars, if known and if applicable, are given: title, alternate title(s), instrumental and vocal selections performed on screen, composer(s) and performers of instrumental and vocal selections, release date and synopsis of the film, names of major cast members and directors, set information if two or fewer sets were used, and the amount paid to early performers. For features, entries list release dates, genre, and major cast members. The section on performers includes only those who appeared in shorts, listing dates and places of birth when known.
More than any other studio, Warner Bros. used edgy, stylistic, and brutally honest films to construct a view of America that was different from the usual buoyant Hollywood fare. The studio took seriously Harry Warner’s mandate that their films had a duty to educate and demonstrate key values of free speech, religious tolerance, and freedom of the press. This attitude was most aptly demonstrated in films produced by the studio between 1927 and 1941—a period that saw not only the arrival of sound in film but also the Great Depression, the rise of crime, and increased concern about fascism in the lead-up to World War II. In From the Headlines to Hollywood: The Birth and Boom of Warner Bros.,Chris Yogerstexplores how “the only studio with any guts” established the groundwork and perfected formulas for social romance dramas, along with gangster, war, espionage, and adventure films. In this book, the author discusses such films as ThePublic Enemy, Little Caesar, G-Men, The Life of Emile Zola, Angels with Dirty Faces,and Confessions of a Nazi Spy, illustrating the ways in which their plots truly were “ripped from the headlines.” While much of what has been written about Warner Bros. has focused on the plots of popular films or broad overviews of the studio’s output, this volume sets these in the larger context of the period, an era in which lighthearted fare competed with gritty realism. From the Headlines to Hollywood will appeal to readers with interests in film history, social history, politics, and entertainment.
He Was Some Kind of a Man: Masculinities in the B Western explores the construction and representation of masculinity in low-budget western movies made from the 1930s to the early 1950s. These films contained some of the mid-twentieth-century’s most familiar names, especially for youngsters: cowboys such as Roy Rogers, Hopalong Cassidy, and Red Ryder. The first serious study of a body of films that was central to the youth of two generations, He Was Some Kind of a Man combines the author’s childhood fascination with this genre with an interdisciplinary scholarly exploration of the films influence on modern views of masculinity. McGillis argues that the masculinity offered by these films is less one-dimensional than it is plural, perhaps contrary to expectations. Their deeply conservative values are edged with transgressive desire, and they construct a male figure who does not fit into binary categories, such as insider/outsider or masculine/feminine. Particularly relevant is the author’s discussion of George W. Bush as a cowboy and how his aspirations to cowboy ideals continue to shape American policy. This engagingly written book will appeal to the general reader interested in film, westerns, and contemporary culture as well as to scholars in film studies, gender studies, children’s literature, and auto/biography.
A round-up of favorite westerns from "Aces and Eights" to "River of No Return," from "Colorado Sundown" to "Under California Stars," from "Big Calibre" to "The Yodellin' Kid from Pine Ridge." Featured stars include Gene Autry, Roy Rogers, Bill Boyd, Charles Starrett, Buck Jones, Hoot Gibson, Bob Steele, Rex Bell, Tex Ritter, Ken Maynard, Tim McCoy, Jack Perrin, Johnny Mack Brown, Robert Mitchum, Randolph Scott.
"The entire field of film historians awaits the AFI volumes with eagerness."--Eileen Bowser, Museum of Modern Art Film Department Comments on previous volumes: "The source of last resort for finding socially valuable . . . films that received such scant attention that they seem 'lost' until discovered in the AFI Catalog."--Thomas Cripps "Endlessly absorbing as an excursion into cultural history and national memory."--Arthur Schlesinger, Jr.
Almost two decades after his death, John Wayne is still America’s favorite movie star. More than an actor, Wayne is a cultural icon whose stature seems to grow with the passage of time. In this illuminating biography, Ronald L. Davis focuses on Wayne’s human side, portraying a complex personality defined by frailty and insecurity as well as by courage and strength. Davis traces Wayne’s story from its beginnings in Winterset, Iowa, to his death in 1979. This is not a story of instant fame: only after a decade in budget westerns did Wayne receive serious consideration, for his performance in John Ford’s 1939 film Stagecoach. From that point on, his skills and popularity grew as he appeared in such classics as Fort Apache, Red River, She Wore a Yellow Ribbon, The Quiet Man, The Searches, The Man who Shot Liberty Valance, and True Grit. A man’s ideal more than a woman’s, Wayne earned his popularity without becoming either a great actor or a sex symbol. In all his films, whatever the character, John Wayne portrayed John Wayne, a persona he created for himself: the tough, gritty loner whose mission was to uphold the frontier’s--and the nation’s--traditional values. To depict the different facets of Wayne’s life and career, Davis draws on a range of primary and secondary sources, most notably exclusive interviews with the people who knew Wayne well, including the actor’s costar Maureen O’Hara and his widow, Pilar Wayne. The result is a well-balanced, highly engaging portrait of a man whose private identity was eventually overshadowed by his screen persona--until he came to represent America itself.
In Search of Western Movie Sites is a compilation of 64 articles written for the bi-monthly newsletter Western Clippings by Carlo Gaberscek and Kenny Stier. They are profoundly convinced of the fundamental importance of landscapes and natural exteriors in westerns. These articles are listed regionally, starting with the Southwestern states (Arizona, New Mexico, Colorado, Utah, and Nevada), progressing to California, the Northwest, Midwest, and Southern states, followed by Canada, and finishing with Mexico. They focus on the making of both A and B-westerns in a single state or a specific area of a state, and contain selected filmographies and detailed information on the locations. They envision a vast atlas of western cinema, a map of both real and imagined places constructed by Hollywood. This book, which includes over 200 stills and photos taken on location, is a guide to thousands of western film locations.
This beautifully written book is a definitive record of the players and productions of a film company that specialized in chapter plays and "B" movies and that became highly influential in winning an ever-widening public for the kind of films it innovated such as the musical Western. Cinema history at its best--written with careful attention to detail, and based on thorough research and exhaustive personal interviews--The Vanishing Legion offers critical treatment of every serial and feature produced by Mascot during its nine years of operation. Tom Mix, Gene Autry, John Wayne, Rin-Tin-Tin and other Western heroes ride and bark again through the pages of this fascinating book. Appendices list cast and technical credits (plus chapter titles) for all Mascot serials and features. Comprehensive index. Several dozen seldom- or never-seen ads and stills are reproduced.
First came video and more recently high definition home entertainment, through to the internet with its streaming videos and not strictly legal peer-to-peer capabilities. With so many sources available, today’s fan of horror and exploitation movies isn’t necessarily educated on paths well-trodden — Universal classics, 1950s monster movies, Hammer — as once they were. They may not even be born and bred on DAWN OF THE DEAD. In fact, anyone with a bit of technical savvy (quickly becoming second nature for the born-clicking generation) may be viewing MYSTICS IN BALI and S.S. EXPERIMENT CAMP long before ever hearing of Bela Lugosi or watching a movie directed by Dario Argento. In this world, H.G. Lewis, so-called “godfather of gore,” carries the same stripes as Alfred Hitchcock, “master of suspense.” SPINEGRINDER is one man’s ambitious, exhaustive and utterly obsessive attempt to make sense of over a century of exploitation and cult cinema, of a sort that most critics won’t care to write about. One opinion; 8,000 reviews (or thereabouts.