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Boorstin believes that every movie is really three movies running at once: the voyeuristic movie (the emotional thrills the film elicits). Here he examines these elements using his own experiences as well as the experiences of legend ary filmmakers to demonstrate how the moviemaking process works. 100 black-an d-white illustrations.
The Cherokee actor, veteran of more than two hundred films, recounts his movie career and his work on behalf of the American Indian.
"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.
Thomas Edison invented his motion picture system in New Jersey in the 1890s, and within a few years most American filmmakers could be found within a mile or two of the Hudson River. They planted themselves here because they needed the artistic and entrepreneurial energy that D. W. Griffith realized New York had in abundance. But as the going rate for land and labor skyrocketed and their business grew more industrialized, most of them moved out. The way most historians explain it, the role of New York in the development of American film ends here. In Hollywood on the Hudson, Richard Koszarski rewrites an important part of the history of American cinema. During the 1920s and 1930s, film industry executives had centralized the mass production of feature pictures in a series of gigantic film factories scattered across Southern California, while maintaining New York as the economic and administrative center. But as Koszarski reveals, many writers, producers, and directors also continued to work here, especially if their independent vision was too big for the Hollywood production line. East Coast filmmakers-Oscar Micheaux, Rudolph Valentino, Ben Hecht, Charles MacArthur, Paul Robeson, Gloria Swanson, Max Fleischer, and others-quietly created a studio system without back-lots, long-term contracts or seasonal production slates. They substituted "newsreel photography" for Hollywood glamour, targeted niche audiences instead of middle-American families, ignored accepted dramatic conventions, and pushed the boundaries of motion picture censorship. Rebellious and unconventional, they saw the New York studios as laboratories, not factories-and used them to pioneer the development of new technologies (from talkies to television), new genres, new talent, and ultimately, an entirely new vision of commercial cinema.
Draws on the author's experiences as an "ambush interview" radio host to confront inconsistencies in the liberal views of leading Hollywood celebrities who support President Obama, from Michael Moore to Angelina Jolie.
When it comes to Hollywood, Christians too quickly wash their hands of popular culture and leave this immensely influential media to unbelievers. In truth, the industry is listening. There is a church in Hollywood, but too often their work is unrecognized. Behind the Screen offers a glimpse of Hollywood insiders who, through their jobs on movie sets, behind TV shows, and in radio broadcasts, work together to give glory to God. With contributions from the writers and producers of such productions as Joan of Arcadia, Mission Impossible, Batman Forever, That '70s Show, and others, believers everywhere are encouraged to join with the church in Hollywood and do their part in closing the gap between Christianity and culture.
MAKING MOVIES WORK is a fascinating and accessible guide for both filmmakers and serious film fans. It is about how filmmakers think about film. "Through thoughtful examination of the filmmaker's art, Jon Boorstin enhances our sense of enjoyment and appreciation of the results.--Robert Redford.
The legendary Hollywood Hills are home to wealth, fame, and power -- passing through the neighborhood, it's hard not to get a little greedy. LAPD veteran "Hollywood Nate" Weiss could take or leave the opulence, but he wouldn't say no to onscreen fame. He may get his shot when he catches the appreciative eye of B-list director Rudy Ressler, and his troublemaking fiancée, Leona Brueger, the older-but-still-foxy widow of a processed-meat tycoon. Nate tries to elude her crafty seductions, but consents to keep an eye on their estate in the Hollywood Hills while they're away. Also minding the mansion is Raleigh Dibble, a hapless ex-con trying to put the past behind him. Raleigh is all too happy to be set up for the job -- as butler-cum-watchdog -- by Nigel Wickland, Leona's impeccably dressed art dealer. What Raleigh doesn't realize is that under the natty clothes and posh accent, Nigel has a nefarious plan: two paintings hanging on the mansion's walls will guarantee them more money than they've ever seen. Everyone's dreams are just within reach -- the only problem is, this is Hollywood. A circle of teenage burglars that the media has dubbed The Bling Ring has taken to pillaging the homes of Hollywood celebutants like Paris Hilton and Lindsay Lohan, and when a pair of drug-addled young copycats stumbles upon Nigel's heist, that's just the beginning of the disaster to come. Soon Hollywood Nate, surfer cops Flotsam and Jetsam, and the rest of the team at Hollywood Station have a deadly situation on their hands. Hollywood Hills is a raucous and dangerous roller coaster ride that showcases Joseph Wambaugh in vintage form.