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Drawing on previously untapped archival materials including letters, interviews, and more, Bernard F. Dick traces the history of Columbia Pictures, from its beginnings as the CBC Film Sales Company, through the regimes of Harry Cohn and his successors, and ending with a vivid portrait of today's corporate Hollywood. The book offers unique perspectives on the careers of Rita Hayworth and Judy Holliday, a discussion of Columbia's unique brands of screwball comedy and film noir, and analyses of such classics as The Awful Truth, Born Yesterday, and From Here to Eternity. Following the author's highly readable studio chronicle are fourteen original essays by leading film scholars that follow Columbia's emergence from Poverty Row status to world class, and the stars, films, genres, writers, producers, and directors responsible for its transformation. A new essay on Quentin Tarantino's Once Upon a Time...in Hollywood rounds out the collection and brings this seminal studio history into the 21st century. Amply illustrated with film stills and photos of stars and studio heads, Columbia Pictures is the first book to integrate history with criticism of a single studio, and is ideal for film lovers and scholars alike.
Iconic graphic designer and Academy Award–winning filmmaker Saul Bass (1920–1996) defined an innovative era in cinema. His title sequences for films such as Otto Preminger's The Man with the Golden Arm (1955) and Anatomy of a Murder (1959), Alfred Hitchcock's Vertigo (1958) and North by Northwest (1959), and Billy Wilder's The Seven Year Itch (1955) introduced the idea that opening credits could tell a story, setting the mood for the movie to follow. Bass's stylistic influence can be seen in popular Hollywood franchises from the Pink Panther to James Bond, as well as in more contemporary works such as Steven Spielberg's Catch Me If You Can (2002) and television's Mad Men. The first book to examine the life and work of this fascinating figure, Saul Bass: Anatomy of Film Design explores the designer's revolutionary career and his lasting impact on the entertainment and advertising industries. Jan-Christopher Horak traces Bass from his humble beginnings as a self-taught artist to his professional peak, when auteur directors like Stanley Kubrick, Robert Aldrich, and Martin Scorsese sought him as a collaborator. He also discusses how Bass incorporated aesthetic concepts borrowed from modern art in his work, presenting them in a new way that made them easily recognizable to the public. This long-overdue book sheds light on the creative process of the undisputed master of film title design—a man whose multidimensional talents and unique ability to blend high art and commercial imperatives profoundly influenced generations of filmmakers, designers, and advertisers.
On May 8, 1959, the evening news shocked Los Angeles residents, who saw LA County sheriffs carrying a Mexican American woman from her home in Chavez Ravine not far from downtown. Immediately afterward, the house was bulldozed to the ground. This violent act was the last step in the forced eviction of 3,500 families from the unique hilltop barrio that in 1962 became the home of the Los Angeles Dodgers. John H. M. Laslett offers a new interpretation of the Chavez Ravine tragedy, paying special attention to the early history of the barrio, the reform of Los Angeles's destructive urban renewal policies, and the influence of the evictions on the collective memory of the Mexican American community. In addition to examining the political decisions made by power brokers at city hall, Shameful Victory argues that the tragedy exerted a much greater influence on the history of the Los Angeles civil rights movement than has hitherto been appreciated. The author also sheds fresh light on how the community grew, on the experience of individual home owners who were evicted from the barrio, and on the influence that the event had on the development of recent Chicano/a popular music, drama, and literature.
The very strange but nevertheless true story of the dark underbelly of a 1960s hippie utopia. Laurel Canyon in the 1960s and early 1970s was a magical place where a dizzying array of musical artists congregated to create much of the music that provided the soundtrack to those turbulent times. Members of bands like the Byrds, the Doors, Buffalo Springfield, the Monkees, the Beach Boys, the Turtles, the Eagles, the Flying Burrito Brothers, Frank Zappa and the Mothers of Invention, Steppenwolf, CSN, Three Dog Night and Love, along with such singer/songwriters as Joni Mitchell, Judy Collins, James Taylor and Carole King, lived together and jammed together in the bucolic community nestled in the Hollywood Hills. But there was a dark side to that scene as well. Many didn’t make it out alive, and many of those deaths remain shrouded in mystery to this day. Far more integrated into the scene than most would like to admit was a guy by the name of Charles Manson, along with his murderous entourage. Also floating about the periphery were various political operatives, up-and-coming politicians and intelligence personnel – the same sort of people who gave birth to many of the rock stars populating the canyon. And all the canyon’s colorful characters – rock stars, hippies, murderers and politicos – happily coexisted alongside a covert military installation.
The millenium-inspired fascination with 20th-century studies cannot be fully satisfied without a comprehensive and scholarly look at popular culture. With its emphasis on ideas, people, events and products that symbolize America, the St. James Encyclopedia of Popular Culture is a cross-curriculum resource that will find use among a wide variety of users. Major topics include: television, movies, theater, art, books, magazines, radio, music, sports, fashion, health, politics, trends, community life and advertising.
This book revisits the debate over the new international division of labour (NIDL) that dominated discussions in international political economy and development studies until the early 1990s. It submits that a revised NIDL thesis can shed light on the specificities of capitalist development in various parts of the world today. Taken together, the contributions amount to a novel value-theoretical approach to understanding the NIDL. This rests upon the distinction between the global economic content that determines the constitution and dynamics of the NIDL and the evolving national political forms that mediate its development. More specifically, the authors argue that uneven development is an expression of the underlying essential unity of the production of relative surplus-value on a world scale. They substantiate and illustrate this argument through several international case studies, including Argentina, Brazil, Ecuador, Ireland, South Korea, Spain and Venezuela.
Abstract: This is the final report of the White House Conference for a Drug Free America presented to the President of the United States and members of the 100th Congress. The primary aim of this conference was to gather integrated view points from American citizens on how to solve illegal drug problems in the country. The opinions of the following among others were sought: law enforcement, health care and research professionals; corporate and labor leaders; parents; and educators. The report examines the scope of the drug problem, the evolvement of the situation, and offers some solutions. Emphasis is placed on prevention recommendations. Resources on drug issues, recommended reading, and audiovisual materials are included.
"Italian cinema is regarded as one of the great pillars of world cinema. Films like Ladri di biciclette (1948), La dolce vita (1960), and Nuovo cinema Paradiso (1988) attracted unprecedented international acclaim and a reputation, which only continue to grow. Italian cinema has produced such acting legends as Sophia Loren and Roberto Benigni, as well as world-renowned filmmakers like Federico Fellini, Sergio Leone, Mario Bava, Dario Argento, and Lina Wertmuller, the first woman to ever be nominated for the Best Director award." "The Historical Dictionary of Italian Cinema provides a better understanding of the role Italian cinema has played in film history through a chronology, an introductory essay, a bibliography, appendixes, black--white photos, and hundreds of cross-referenced dictionary entries on actors, actresses, movies, producers, organizations, awards, film credits, and terminology."--BOOK JACKET.