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With Amusement for All contextualizes what Americans have done for fun since 1830, showing the reciprocal nature of the relationships among social, political, economic, and cultural forces and the ways in which the entertainment world has reflected, changed, or reinforced the values of American society.
This on-the-ground labor history focuses on the bitterly contested labor conflict in the early 1990s at the A. E. Staley corn processing plant in Decatur, Illinois, where workers waged one of the most hard-fought struggles in recent labor history. Originally family-owned, A. E. Staley was bought out by the multinational conglomerate Tate & Lyle, which immediately launched a full-scale assault on its union workforce. Allied Industrial Workers Local 837 responded by educating and mobilizing its members, organizing strong support from the religious and black communities, building a national and international solidarity movement, and engaging in nonviolent civil disobedience at the plant gates. Drawing on seventy-five interviews, videotapes of every union meeting, and their own active involvement organizing with the Staley workers, Steven K. Ashby and C. J. Hawking bring the workers' voices to the fore and reveal their innovative tactics, such as work-to-rule and solidarity committees, that inform and strengthen today's labor movement.
Sherman was founded in 1846, but because of a lack of wood and water, the town moved east to its present location in 1848. The county seat of Grayson County, Sherman was named for Gen. Sidney Sherman, a hero of the Texas Revolution. From the beginning, Sherman was known as an educational center and was nicknamed "The Athens of Texas." The home of Kidd-Key Conservatory of Music, Mary Nash College, North Texas Male and Female Academy, Carr-Burdette College, and today the prestigious Austin College, Sherman has long been an educational mecca. Sherman was incorporated in 1858, the same year the Butterfield-Overland Stage arrived. The stage line was the first mail route west of the Mississippi and covered a distance of 2,795 miles from St. Louis to San Francisco. As Sherman progressed, industry became a mainstay of the community, which continues to thrive today through companies such as Texas Instruments, GlobiTech, Sunny Delight, Progress Rail, Tyson Foods, Fisher Controls, Kaiser Aluminum, and CertainTeed Corporation.
The story of the director behind Harold and Maude, Being There, and other quirky classics: “A superb biography of this troubled, talented man.” —Tucson Citizen Hal Ashby set the standard for subsequent independent filmmakers by crafting unique, thoughtful, and challenging films that continue to influence new generations of directors. Initially finding success as an editor, Ashby won an Academy Award for editing 1967’s In the Heat of the Night, and translated his skills into a career as one of the quintessential directors of 1970s. Perhaps best remembered for the enduring cult classic Harold and Maude, Ashby quickly became known for melding quirky comedy and intense drama with performances from A-list actors such as Jack Nicholson in The Last Detail, Warren Beatty and Goldie Hawn in Shampoo, Jon Voight and Jane Fonda in Coming Home, and Peter Sellers and Shirley MacLaine in Being There. But Ashby’s personal life was difficult. After enduring his parents’ divorce, his father’s suicide, and his own failed marriage all before the age of nineteen, he became notorious for his drug abuse, which contributed to the decline of his career near the end of his life. Ashby always operated outside Hollywood’s conventions, and though his output was tragically limited, the quality of his films continues to inspire modern directors as varied and talented as Judd Apatow and Wes Anderson, both of whom acknowledge Ashby as a primary influence. In Being Hal Ashby: Life of a Hollywood Rebel, the first full-length biography of the maverick filmmaker, Nick Dawson masterfully tells the turbulent story of Ashby’s life and career.
A graphically illustrated history of America through its major speeches, laws, proclamations, court decisions, and essays introduces, through the narrative character of "Uncle Sam," each document's origins, creation, and impact.
Analyzes the films and filmmaking career of director Hal Ashby, placing his work in the cultural context of filmmaking in the 1970s. Hal Ashby directed eleven feature films over the course of his career and was an important figure in the Hollywood Renaissance of the late 1960s and 1970s. Though he was a member of the same generation of filmmakers as Martin Scorsese, Francis Ford Coppola, and Robert Altman, Ashby has received comparatively little critical or scholarly validation for his work. Author Christopher Beach argues that despite his lower profile, Ashby was an exceptionally versatile and unusually creative director. Beach focuses primarily on Ashby's first seven films—The Landlord, Harold and Maude, The Last Detail, Shampoo, Bound for Glory, Coming Home, and Being There—to analyze Ashby's contributions to filmmaking culture in the 1970s. The first two chapters of this volume provide an overview of Ashby's filmmaking career, as Beach makes the case for Ashby's status as an auteur and provides a biographical survey of Ashby's most productive and successful decade, the 1970s. In the following chapters, Beach analyzes groups of films to uncover important thematic concerns in Ashby's work, including the treatment of a young male protagonist in The Landlord and Harold and Maude, the representation of the U.S. military in The Last Detail and Coming Home, and the role of television and mass media in Shampoo and Being There. Beach also examines the crucial role of the musical score in Ashby's films, as well as the rapid decline of the director's career after Being There. The Films of Hal Ashby is based on Beach's extensive use of unpublished archival materials, as well as a number of interviews with actors, directors, producers, cinematographers, and others involved in the making of Ashby's films. This volume will interest film and television scholars, as well as readers interested in filmmakers of the 1970s.
"Having entered the service of Virginia on the 19th day of April, 1861, as captain of a company of cavalry, Ashby rose by rapid promotion to the rank of brigadier-general, being in command of all the cavalry in the Army of the Valley at the time of his death, June 6, 1862. In less than fourteen months he had reached a post of distinction that has given him a noteworthy place in the history of his state and established his fame as one of the heroic characters of his time."--Preface.