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"Once a guarded cinematic secret, this definitive history reveals for the first time the art and craft of Hollywood's hand painted-backdrops, and pays homage to the scenic artists who brought them to the big screen." -- Slipcase.
The definitive behind-the-scenes history of one of Hollywood’s most closely guarded cinematic secrets finally revealed—painted backdrops and the scenic artists who brought them to the big screen. In almost every feature film of Hollywood’s golden age, from The Wizard of Oz to North by Northwest to Cleopatra to The Sound of Music, painted backings have convinced moviegoers that what they are seeing—whether the fantastic roads of Oz, the presidents of Mount Rushmore, or ancient Egyptian kingdoms—is absolutely real. These backings are at once intended to transport the audience and yet remain unseen for what they really are. The Art of the Hollywood Backdrop reveals the hidden world and creators of these masterpieces, long-guarded as a special effects secret by the major studios such as MGM, Warner Brothers, Universal, Columbia, 20th Century Fox, and Paramount. Despite the continued use of hand-painted backings in today’s films, including the big-budget Interstellar and Lemony Snicket’s A Series of Unfortunate Events among many others, digital technology is beginning to supplant the art form. In an effort to preserve the irreplaceable knowledge of scenic masters, Karen Maness and Richard Isackes, in collaboration with the Art Directors Guild, have compiled a definitive history of the craft, complete with interviews of the surviving artists. This is a rich undiscovered history—a history replete with competing art departments, dynastic scenic families, and origins stretching back to the films of Méliès, Edison, Sennett, Chaplin, and Fairbanks.
American historians such as Frederick Jackson Turner have argued that the West has been the region that most clearly defines American democracy and the national ethos. Throughout the twentieth century, the "frontier thesis" influenced film and television producers who used the West as a backdrop for an array of dramatic explorations of America's history and the evolution of its culture and values. The common themes found in Westerns distinguish the genre as a quintessentially American form of dramatic art. In Hollywood's West, Peter C. Rollins, John E. O'Connor, and the nation's leading film scholars analyze popular conceptions of the frontier as a fundamental element of American history and culture. This volume examines classic Western films and programs that span nearly a century, from Cimarron (1931) to Turner Network Television's recent made-for-TV movies. Many of the films discussed here are considered among the greatest cinematic landmarks of all time. The essays highlight the ways in which Westerns have both shaped and reflected the dominant social and political concerns of their respective eras. While Cimarron challenged audiences with an innovative, complex narrative, other Westerns of the early sound era such as The Great Meadow (1931) frequently presented nostalgic visions of a simpler frontier era as a temporary diversion from the hardships of the Great Depression. Westerns of the 1950s reveal the profound uncertainty cast by the cold war, whereas later Westerns display heightened violence and cynicism, products of a society marred by wars, assassinations, riots, and political scandals. The volume concludes with a comprehensive filmography and an informative bibliography of scholarly writings on the Western genre. This collection will prove useful to film scholars, historians, and both devoted and casual fans of the Western genre. Hollywood's West makes a significant contribution to the understanding of both the historic American frontier and its innumerable popular representations.
MGM Style is an overview of the career and achievements of Hollywood’s most famous art director. Cedric Gibbons was the supervisor in charge of the art department at Metro-Goldwyn-Mayer film studios from its inception in 1924 until Gibbons chose to retire in 1956. Lavishly illustrated with over 175 pristine duotone photographs, the vast majority of which have never before been published, this is the first volume to trace Gibbons’ trendsetting career. At its height in the late 1930s and early 1940s, Gibbons was regularly acknowledged by his peers as having shaped the craft of art direction in American film; his work was recognized as representing the finest in motion picture sets and settings. Gibbons and his associates constructed the villages, towns, streets, squares and edifices that later appeared in hundreds of films, and whose mixed architecture stood in for army camps and the wild west, Dutch New York and Dickensian London, ancient China and modern Japan. Inspired by the work of Le Corbusier and the Bauhaus masters, as well as the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris and Frank Lloyd Wright’s experiments with open planning, Gibbons championed the notion that movie decor should move beyond the commercial framework of the popular cinema
The untold tale of bit players, doubles, Central Casting, and extras in American film
Blaise Cendrars, one of twentieth-century France's most gifted men of letters, came to Hollywood in 1936 for the newspaper Paris-Soir. Already a well-known poet, Cendrars was a celebrity journalist whose perceptive dispatches from the American dream factory captivated millions. These articles were later published as Hollywood: Mecca of the Movies, which has since appeared in many languages. Remarkably, this is its first translation into English. Hollywood in 1936 was crowded with stars, moguls, directors, scouts, and script girls. Though no stranger to filmmaking (he had worked with director Abel Gance), Cendrars was spurned by the industry greats with whom he sought to hobnob. His response was to invent a wildly funny Hollywood of his own, embellishing his adventures and mixing them with black humor, star anecdotes, and wry social commentary. Part diary, part tall tale, this book records Cendrars's experiences on Hollywood's streets and at its studios and hottest clubs. His impressions of the town's drifters, star-crazed sailors, and undiscovered talent are recounted in a personal, conversational style that anticipates the "new journalism" of writers such as Tom Wolfe. Perfectly complemented by his friend Jean Guérin's witty drawings, and following the tradition of European travel writing, Cendrars's "little book about Hollywood" offers an astute, entertaining look at 1930s America as reflected in its unique movie mecca.
National Bestseller "A landmark and long-overdue cultural history." —Vogue The stylish, wild story of the marriage of Dennis Hopper and Brooke Hayward—a tale of love, art, Hollywood, and heartbreak “Those years in the sixties when I was married to Dennis were the most wonderful and awful of my life.” —Brooke Hayward Los Angeles in the 1960s: riots in Watts and on the Sunset Strip, wild weekends in Malibu, late nights at The Daisy discotheque, openings at the Ferus Gallery, and the convergence of pop art, rock and roll, and the New Hollywood. At the center of it all, one inspired, improbable, and highly combustible couple—Dennis Hopper and Brooke Hayward—lived out the emblematic love story of ’60s L.A. The home these two glamorous young actors created for themselves and their family at 1712 North Crescent Heights Boulevard in the Hollywood Hills became the era’s unofficial living room, a kaleidoscopic realm—“furnished like an amusement park,” Andy Warhol said—that made an impact on anyone who ever stepped into it. Hopper and Hayward, vanguard collectors of contemporary art, packed the place with pop masterpieces by the likes of Roy Lichtenstein, Ed Ruscha, and Warhol, and welcomed a who’s who of visitors, from Jane Fonda to Jasper Johns, Joan Didion to Tina Turner, Hells Angels to Black Panthers. In this house, everything that defined the 1960s went down: the fun, the decadence, the radical politics, and, ultimately, the danger and instability that Hopper explored in the project that made his career, became the cinematic symbol of the period, and blew their union apart—Easy Rider. Everybody Thought We Were Crazy is at once a fascinating account of the Hopper and Hayward union and a deeply researched, panoramic cultural history. It’s the intimate saga of one couple whose own rise and fall—from youthful creative flowering to disorder and chaos—mirrors the very shape of the decade.
A frightening new plague. A medical mystery. A pioneering immunologist. In A Plague on All Our Houses, Dr. Bruce J. Hillman dissects the war of egos, money, academic power, and Hollywood clout that advanced AIDS research even as it compromised the career of the scientist who discovered the disease. At the beginning of the worldwide epidemic soon to be known as AIDS, Dr. Michael Gottlieb was a young immunologist new to the faculty of UCLA Medical Center. In 1981 he was brought in to consult on a battery of unusual cases: four formerly healthy gay men presenting with persistent fever, weight loss, and highly unusual infections. Other physicians around the country had noted similar clusters of symptoms, but it was Gottlieb who first realized that these patients had a new and deadly disease. He also identified the defect in their immune system that allowed the disease to flourish. He published his findings in a now-iconic lead article in the New England Journal of Medicine - an impressive achievement for such a young scientist - and quickly became the focal point of a whirlwind of panic, envy, desperation, and distrust that played out against a glittering Hollywood backdrop. Courted by the media, the gay community, and the entertainment industry, Gottlieb emerged as the medical face of the terrifying new epidemic when he became personal physician to Rock Hudson, the first celebrity AIDS patient. With Elizabeth Taylor he cofounded the charitable foundation amfAR, which advanced public awareness of AIDS and raised vast sums for research, even as it struggled against political resistance that began with the Reagan administration and trickled down through sedimentary layers of bureaucracy. Far from supporting him, the UCLA medical establishment reacted with dismay to Gottlieb's early work on AIDS, believing it would tarnish the reputation of the Medical Center. Denied promotion and tenure in 1987, Gottlieb left UCLA for private practice just as the National Institutes of Health awarded the institution a $10 million grant for work he had pioneered there. In the thirty-five years since the discovery of AIDS, research, prevention, and clinical care have advanced to the point that the disease is no longer the death sentence it once was. Gottlieb's seminal article is now regarded by the New England Journal of Medicine as one of the most significant publications of its two-hundred-year history. A Plague on All Our Houses offers a ringside seat to one of the most important medical discoveries and controversies of our time.
Art & Soul is a large-format glossy coffee-table book, featuring intimate portraits of celebrities from the entertainment industry including TV, music, film and stage. The stunning images, shot by Pulitzer prize-winning photographer Brian Smith, are accompanied by personal testimonials from each artist expressing the importance of the arts in our culture and the positive impact it has on our lives. The notes - in each artist's own handwriting - range from whimsical to weighty, but all offer insight into the individual's background and how their lives were shaped by art. The book also contains a foreword by a celebrated public figure involved in this cause. Celebrities photographed for the book include such luminaries as: Adrien Brody, Zooey Deschanel, Adrian Grenier, Anne Hathaway, Samuel L. Jackson, Joe Mantegna, Amanda Peet, John Turturro, Kerry Washington and many more. The book is created in partnership with the Creative Coalition, the premier public advocacy charity, founded by prominent figures in the entertainment industry. It is an important part of a campaign to focus national attention on the need to ensure that arts in America thrive and flourish. A terrific gift, Art & Soul also helps to support the arts, inspiring future generations of creative artists and improving our lives.
From 1802, when the young artist William Edward West began painting portraits on a downriver trip to New Orleans, to 1918, when John Alberts, the last of Frank Duveneck's students, worked in Louisville, a wide variety of portrait artists were active in Kentucky and the Ohio River Valley. Lessons in Likeness: Portrait Painters in Kentucky and the Ohio River Valley, 1802–1920 charts the course of those artists as they painted the mighty and the lowly, statesmen and business magnates as well as country folk living far from urban centers. Paintings by each artist are illustrated, when possible, from The Filson Historical Society collection of some 400 portraits representing one of the most extensive holdings available for study in the region. This volume begins with a cultural chronology—a backdrop of critical events that shaped the taste and times of both artist and sitter. The chronology is followed by brief biographies of the artists, both legends and recent discoveries, illustrated by their work. Matthew Harris Jouett, who studied with Gilbert Stuart, William Edward West, who painted Lord Byron, and Frank Duveneck are well-known; far less so are James T. Poindexter, who painted charming children's portraits in western Kentucky, Reason Croft, a recently discovered itinerant in the Louisville area, and Oliver Frazer, the last resident portrait artist in Lexington during the romantic era. Pennington's study offers a captivating history of portraiture not only as a cherished possession but also representing a period of cultural and artistic transitions in the history of the Ohio River Valley region.