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The American family has long been at the centre of the typical Hollywood narrative. But the depiction of the nuclear family within contemporary mainstream US cinema has not yet been closely studied. Home Movies addresses this oversight by assessing recent cinematic representations of the family in terms of cultural politics and representations of gender, sexuality, race and class. Focusing on a diverse range of popular films - from 'Meet the Parents' to 'The Incredibles' - Claire Jenkins analyses the father-daughter relationship within sequels and series; Meryl Streep's embodiment of the mother; the superhero family and extraordinary manifestations of the ordinary family; disaster films which depict the president as father; 'mom-coms' and Hollywood's representations of the non-traditional family. She combines film studies, gender studies and family history to demonstrate the complexities of Hollywood's family values.
The Hollywood family film is one of the most popular, commercially-successful and culturally significant forms of mass entertainment. This book is the first in-depth history of the Hollywood family film, tracing its development from its beginnings in the 1930s to its global box-office dominance today. Noel Brown shows how, far from being an innocuous amusement for children, the family film has always been intended for audiences of all ages and backgrounds. He tells the story of how Hollywood's ongoing preoccupation with breaking down the barriers that divide audiences has resulted in some of the most successful and enduring films in the history of popular cinema. Drawing on multiple sources and with close analysis of a broad range of films, from such classics as Little Women, Meet me in St Louis, King Kong and Mary Poppins to such modern family blockbusters as Star Wars, Indiana Jones and Toy Story, this timely book underlines the immense cultural and commercial importance of this neglected genre.
This book maps father failure and redemption through three decades of Hollywood family films, revealing how libertarian notions that align agency with autonomy lead to new conflicts for the contemporary father. The films find resolution to these conflicts through a re-gendering of parenting as relationship. In their creation of a ‘pure’ fatherhood that is valorised as authentic for its lack of parental responsibilities, the films serve to challenge the perception that fathering enacted outside the nuclear family structure is fragile. McNulty Norton finds in the films a new essentialism that secures the pure relationship to the biological father, reinforcing his position in the face of changing family forms.
With the huge global success of Hollywood 'family film' franchises, such as Harry Potter, it is unsurprising that there have been many attempts to emulate this success. In recent years, there has been an explosion in international production of films for both adults and children - resulting in an erosion of the dominance of The Disney Company and the other major Hollywood Studios in family film production. Family Films in Global Cinema is the first serious examination of films for child and family audiences in a global context. Whereas most previous studies of children's films and family films have concerned themselves with Disney, this book encompasses both live-action and animated films from the Hollywood, British, Australian, East German, Russian, Indian, Japanese and Brazilian cinemas. As well as examining international family films previously ignored by scholars, the collection also presents a fresh perspective on familiar movies such as The Railway Children, The Nightmare Before Christmas, Babe, and the Harry Potter series. --Provided by publisher.
Quentin Tarantino’s long-awaited first work of fiction—at once hilarious, delicious and brutal—is the always surprising, sometimes shocking, novelization of his Academy Award winning film. RICK DALTON—Once he had his own TV series, but now Rick’s a washed-up villain-of-the week drowning his sorrows in whiskey sours. Will a phone call from Rome save his fate or seal it? CLIFF BOOTH—Rick’s stunt double, and the most infamous man on any movie set because he’s the only one there who might have got away with murder. . . . SHARON TATE—She left Texas to chase a movie-star dream, and found it. Sharon’s salad days are now spent on Cielo Drive, high in the Hollywood Hills. CHARLES MANSON—The ex-con’s got a bunch of zonked-out hippies thinking he’s their spiritual leader, but he’d trade it all to be a rock ‘n’ roll star.
"Just when I think no more books can be written about early Hollywood and its beginning from a personal and intimate perspective, along comes Hollywood Royalty: a Family in Films. The author has taken personal letters written from the hand of a true Hollywood pioneer to his son and woven them into an illuminating view inside one of early Hollywood's most influential families. A rare and unique perspective of a man who shaped the film industry. Intimate details about the Lasky family; Lasky's complex relationship with his wife; with Adolph Zukor, Samuel Goldwyn, Cecil B. DeMille; behind-the-scenes negotiations and development of some of Hollywood's finest classics; and perhaps most interesting, fatherly advice Lasky gives his son about life in general and his son's career in films. The beauty of the book is Silver-Lasky's use of personal letters between Jesse Sr. and Jesse Jr. and her own personal recollections and anecdotes provided her by husband Jesse Jr. Of wide appeal to fans of classic cinema. Beginnings of Hollywood and the film industry, silent films, transition to sound films, day-to-day development of a film (from adaptation to premier)." Kevin Brownlow Film historian/preservationist
The American family has long been at the centre of the typical Hollywood narrative. But the depiction of the nuclear family within contemporary mainstream US cinema has not yet been closely studied. 'Home Movies' addresses this oversight by assessing recent cinematic representations of the family in terms of cultural politics and representations of gender, sexuality, race and class.
INSTANT NEW YORK TIMES BESTSELLER “This extraordinary book is not only a chronicle of Ron’s and Clint’s early careers and their wild adventures, but also a primer on so many topics—how an actor prepares, how to survive as a kid working in Hollywood, and how to be the best parents in the world! The Boys will surprise every reader with its humanity.” — Tom Hanks "I have read dozens of Hollywood memoirs. But The Boys stands alone. A delightful, warm and fascinating story of a good life in show business.” — Malcolm Gladwell Happy Days, The Andy Griffith Show, Gentle Ben—these shows captivated millions of TV viewers in the ’60s and ’70s. Join award-winning filmmaker Ron Howard and audience-favorite actor Clint Howard as they frankly and fondly share their unusual family story of navigating and surviving life as sibling child actors. “What was it like to grow up on TV?” Ron Howard has been asked this question throughout his adult life. in The Boys, he and his younger brother, Clint, examine their childhoods in detail for the first time. For Ron, playing Opie on The Andy Griffith Show and Richie Cunningham on Happy Days offered fame, joy, and opportunity—but also invited stress and bullying. For Clint, a fast start on such programs as Gentle Ben and Star Trek petered out in adolescence, with some tough consequences and lessons. With the perspective of time and success—Ron as a filmmaker, producer, and Hollywood A-lister, Clint as a busy character actor—the Howard brothers delve deep into an upbringing that seemed normal to them yet was anything but. Their Midwestern parents, Rance and Jean, moved to California to pursue their own showbiz dreams. But it was their young sons who found steady employment as actors. Rance put aside his ego and ambition to become Ron and Clint’s teacher, sage, and moral compass. Jean became their loving protector—sometimes over-protector—from the snares and traps of Hollywood. By turns confessional, nostalgic, heartwarming, and harrowing, THE BOYS is a dual narrative that lifts the lid on the Howard brothers’ closely held lives. It’s the journey of a tight four-person family unit that held fast in an unforgiving business and of two brothers who survived “child-actor syndrome” to become fulfilled adults.
Twenty-First-Century Hollywood looks into the contexts of studio film production in the new century in order to understand what shapes the style and content of present-day cinema. In an era dominated in box-office terms by the franchise and the family film, this book combines close textual readings and industrial analysis, illustrating why these kinds of movies are favored in the contemporary climate by producers and audiences alike. Neil Archer critically explores the narrative and aesthetic strategies at work in Hollywood’s most high-profile films, from Harry Potter, to Marvel’s Cinematic Universe, to The Lego Movie. Along the way, the book answers some often unexpected questions: Why is Hollywood nervous about flying saucers? Why might the cinematic auteur be Hollywood’s savior? And why are the most grown-up movies those made for children? As this study shows, like the films themselves, the answers to these questions are often complex and surprising.
The Negro Motorist Green Book was a groundbreaking guide that provided African American travelers with crucial information on safe places to stay, eat, and visit during the era of segregation in the United States. This essential resource, originally published from 1936 to 1966, offered a lifeline to black motorists navigating a deeply divided nation, helping them avoid the dangers and indignities of racism on the road. More than just a travel guide, The Negro Motorist Green Book stands as a powerful symbol of resilience and resistance in the face of oppression, offering a poignant glimpse into the challenges and triumphs of the African American experience in the 20th century.