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Traces types of screen love from unselfish sacrifice to sexual obsession, providing photographs and commentary on Hollywood's most romantic screen couples
To what extent are our most romantic moments determined by the portrayal of love in film and on TV? Is a walk on a moonlit beach a moment of perfect romance or simply a simulation of the familiar ideal seen again and again on billboards and movie screens? In her unique study of American love in the twentieth century, Eva Illouz unravels the mass of images that define our ideas of love and romance, revealing that the experience of "true" love is deeply embedded in the experience of consumer capitalism. Illouz studies how individual conceptions of love overlap with the world of clichés and images she calls the "Romantic Utopia." This utopia lives in the collective imagination of the nation and is built on images that unite amorous and economic activities in the rituals of dating, lovemaking, and marriage. Since the early 1900s, advertisers have tied the purchase of beauty products, sports cars, diet drinks, and snack foods to success in love and happiness. Illouz reveals that, ultimately, every cliché of romance—from an intimate dinner to a dozen red roses—is constructed by advertising and media images that preach a democratic ethos of consumption: material goods and happiness are available to all. Engaging and witty, Illouz's study begins with readings of ads, songs, films, and other public representations of romance and concludes with individual interviews in order to analyze the ways in which mass messages are internalized. Combining extensive historical research, interviews, and postmodern social theory, Illouz brings an impressive scholarship to her fascinating portrait of love in America.
Film and television adaptations of classic literature have held a longstanding appeal for audiences, an appeal that this book sets out to examine. With a particular focus on Wuthering Heights , the book examines adaptations made from the 1930s to the twenty-first century, providing an understanding of how they help shape our cultural landscape.
Throughout the history of the movies, certain couples have captured our imagination. "Lovers" is a rare and vibrant celebration of the actors and actresses who have personified and glorified our romantic fantasies over the last 6 decades: Garbo and Gilbert, Gable and Harlow, Crawford and Gable, Astaire and Rogers, Loy and Powell, MacDonald and Eddy, Flynn and De Havilland, Garland and Rooney, Garson and Pidgeon, Bogart and Bacall, Leigh and Olivier, Taylor and Burton, Newman and Woodward, Hepburn and Tracy, Allen and Keaton, and Allen and Farrow. Includes 232 extraordinary movie stills; some never before seen in print, all lavishly reproduced in B & W duotone.
Barbara Stanwyck thrilled millions in scene after scene, picture after picture, over a six-decade career that took her from an impoverished childhood in the streets of Brooklyn to the pinnacle of Golden Age Hollywood. At one tough and vulnerable, straight-talking but emotionally elusive, she electrified every production in which she appeared, from Hollywood B-Flicks to such classics as Stella Dallas, Double Indemnity, and televisions The Thorn Birds. She was an early role model for women dissatisfied with the standard Hollywood heroine, and a tantalizing challenge to men who wanted more. Her honesty and authenticity resonate even more powerfully todaybut her complete story has never been told.
The profusion of research on film history means that there are now few Hollywood filmmakers in the category of Neglected Master; John M Stahl (1886–1950) has been stuck in it for far too long. His strong association with melodrama and the womans film is a key to this neglect; those mainstays of popular cinema are no longer the object of critical scorn or indifference, but Stahl has until now hardly benefited from this welcome change in attitude. His remarkable silent melodramas were either lost, or buried in archives, while his major sound films such as Imitation of Life and Magnificent Obsession, equally successful in their time, have been overshadowed by the glamour of the 1950s remakes by Douglas Sirk. Sirk is a far from neglected figure; Stahls much longer Hollywood career deserves attention and celebration in its own right, as this book definitively shows. Drawing on a wide range of film and document archives, scholars from three continents come together to cover Stahls work, as director and also producer, from its beginnings during World War I to his death, as a still active filmmaker, in 1950. Between them they make a strong case for Stahl as an important figure in cinema history, and as author of many films that still have the power to move their audiences.