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The brightest stars of the 1950s live on in this wonderful, black-and-white gallery of publicity shots. Includes 114 major stars: Marlon Brando, James Dean, Clark Gable, Marilyn Monroe, Kirk Douglas, and dozens more.
One hundred six famous actresses and actors are portrayed in full-page pictures by twenty-four leading Hollywood photographers
Looks at the scandals, morals and sleaze of 1950's Hollywood.
This volume offers an in-depth analysis of around 50 shots, enabling the readers to create classic Hollywood-style portraits of their own.
200 striking photographs, in-depth commentaries, plot synposes, contemporary reviews, and more — about 50 British classics from yesterday and today. Preface. Text. Alphabetical list of films. Bibliography.
145 photos capture the stars from 1926 to 1949 -- Clark Gable, Jean Harlow, Humphrey Bogart, Lauren Bacall, Hedy Lamarr, Marlene Dietrich, Robert Montgomery, Marlon Brando, Veronica Lake -- 94 stars in all.
In the last 50 years, the social importance of stars has steadily grown, to the point that stars have now become key role models who strongly influence people’s behaviours. This book considers the connections between the three main media (cinema, television and the web) and each of the three phases into which the history of stardom can be divided. The first phase can largely be credited with the creation and codification of contemporary stardom, while the second is linked to the spread of television, which weakened the Hollywood stardom model and gradually transformed the figure of the star, making it more intimate and familiar. In the last of these phases, we have many ‘outsiders’ (personalities from a variety of professional domains and experiences) who are able to achieve considerable social visibility thanks to their skilful use of the web.
A classic look at Hollywood and the American film industry by The New Yorker's Lillian Ross, and named one of the "Top 100 Works of U.S. Journalism of the Twentieth Century." Lillian Ross worked at The New Yorker for more than half a century, and might be described not only as an outstanding practitioner of modern long-form journalism but also as one of its inventors. Picture, originally published in 1952, is her most celebrated piece of reportage, a closely observed and completely absorbing story of how studio politics and misguided commercialism turn a promising movie into an all-around disaster. The charismatic and hard-bitten director and actor John Huston is at the center of the book, determined to make Stephen Crane’s The Red Badge of Courage—one of the great and defining works of American literature, the first modern war novel, a book whose vivid imagistic style invites the description of cinematic—into a movie that is worthy of it. At first all goes well, as Huston shoots and puts together a two-hour film that is, he feels, the best he’s ever made. Then the studio bosses step in and the audience previews begin, conferences are held, and the movie is taken out of Huston’s hands, cut down by a third, and finally released—with results that please no one and certainly not the public: It was an expensive flop. In Picture, which Charlie Chaplin aptly described as “brilliant and sagacious,” Ross is a gadfly on the wall taking note of the operations of a system designed to crank out mediocrity.
Shows nearly two hundred directors, from D.W. Griffith to Alfred Hitchcock and Steven Spielberg, at work making movies
In 1916, an eminent psychologist recorded his impressions of the fledgling film industry. His penetrating and prescient observations foretold the most modern developments of the cinematic art, and his classic survey, The Film: A Psychological Study, remains a text of enduring relevance to movie historians as well as students of film and psychology. Ranging from considerations of the viewer's perception of on-screen depth and motion to examinations of the cinema's distinguishing and unique characteristics as an art form, this study arrives at strikingly modern conclusions about movies and their psychological values.