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The untold tale of bit players, doubles, Central Casting, and extras in American film
A Note on the Captions Preface Introduction 1: Naughty Orators: Negation of Voices in Gaslight 2: Psychoanalysis and Cinema: Moments of Letter from an Unknown Woman3: Ugly Duckling, Funny Butterfly: Bette Davis and Now, Voyager 4: Postscript: To Whom It May Concern 5: Stella's Taste: Reading Stella Dallas Notes Bibliography Filmography Index Copyright © Libri GmbH. All rights reserved.
“Brackett’s diaries read like a funnier, better-paced version of Barton Fink.” —Newsweek Screenwriter Charles Brackett is best remembered as the writing partner of director Billy Wilder, who once referred to the pair as “the happiest couple in Hollywood,” collaborating on such classics as The Lost Weekend and Sunset Boulevard. He was also a perceptive chronicler of the entertainment industry, and in this annotated collection of writings from dozens of Brackett’s unpublished diaries, film historian Anthony Slide clarifies Brackett's critical contribution to Wilder’s films and enriches our knowledge of Wilder’s achievements in writing, direction, and style. Brackett’s diaries re-create the initial meetings of the talent responsible for Ninotchka, Hold Back the Dawn, Ball of Fire, The Major and the Minor, Five Graves to Cairo, The Lost Weekend, and Sunset Boulevard, recounting the breakthroughs and the breakdowns that ultimately forced these collaborators to part ways. In addition to a portrait of Wilder, this is rare view of a producer who was a president of the Academy of Motion Picture Arts and Sciences and the Screen Writers Guild, a New Yorker drama critic, and a member of the Algonquin Round Table. With insight into the dealings of Paramount, Universal, MGM, and RKO, and legendary figures such as Alfred Lunt, Lynn Fontanne, Edna Ferber, and Dorothy Parker, this book reveals the political and creative intrigue at the heart of Hollywood’s most significant films. “A fascinating look at Hollywood in its classic period, and a unique and indispensable must-have for any movie buff.” —Chicago Tribune “This feels as close as we can get to being in the presence of Wilder’s genius, and he emerges as the cruelest as well as the wittiest of men.” —The Guardian “Not only rare insight into their often-stormy partnership but also an insider’s view of Hollywood during that era.” —Los Angeles Times “Very entertaining.” —Library Journal
Genre – or 'type' – is a core concept in both film production and the history of film. Genres play a key role in how moviegoers perceive and rate films, and is likely to determine a film's production values and costs. Written in a clear, engaging, jargon-free style, this volume offers a cutting-edge theoretical overview of the topic of genre as practiced in British, American and French film criticism. Organized by a series of simple but fundamental questions, the book uses numerous examples from classic Hollywood cinema (the western, drama, musical comedy, and film noir) as well as some more contemporary examples from European or Asian cinema that are so often neglected by other studies in the field. How do we characterize genre and what are its various functions? In what ways does genre give a film its identity? How do genres emerge? What is the cultural significance of genre and how does it circulate within and across national boundaries? Informative and user-friendly, Moine’s book is accessible to general readers and adapts easily to a wide range of teaching approaches.
Of Latitudes Unknown is a multi-faceted study of James Baldwin's radical imagination. It is a selective and thoughtful survey that re-investigates the grounds of Baldwin studies and provides new critical approaches, subjects, and orientations for Baldwin criticism. This volume joins recent critical collections in “un-fragmenting” Baldwin and establishing further conjunctions in his work: the essay and the novel; the polemical and the aesthetic; his use of and participation in visual forms; and his American as well as international identities. But it goes beyond other recent studies by focusing on new entities of Baldwin's radical imagination: his English and French language selves; his late encounters with Africa; his appearances on French television and interviews with French journalists; and his unrecognized literary journalism. Of Latitudes Unknown also addresses Baldwin's relations with the Arab world, his anticipation of contemporary film and media studies, and his paradoxical public intellectualism. As it reassesses Baldwin's contributions to and influences on world literary history, Of Latitudes Unknown equally explores why the critical appreciation of Baldwin's writing continues to flourish, and why it remains a vast territory whose parts lie open to much deeper exploration and elaboration.
National Jewish Book Award Finalist The little-known story of screenwriter Salka Viertel, whose salons in 1930s and 40s Hollywood created a refuge for a multitude of famous figures who had escaped the horrors of World War ll. Hollywood was created by its “others”; that is, by women, Jews, and immigrants. Salka Viertel was all three and so much more. She was the screenwriter for five of Greta Garbo's movies and also her most intimate friend. At one point during the Irving Thalberg years, Viertel was the highest-paid writer on the MGM lot. Meanwhile, at her house in Santa Monica she opened her door on Sunday afternoons to scores of European émigrés who had fled from Hitler—such as Thomas Mann, Bertolt Brecht, and Arnold Schoenberg—along with every kind of Hollywood star, from Charlie Chaplin to Shelley Winters. In Viertel's living room (the only one in town with comfortable armchairs, said one Hollywood insider), countless cinematic, theatrical, and musical partnerships were born. Viertel combined a modern-before-her-time sensibility with the Old-World advantages of a classical European education and fluency in eight languages. She combined great worldliness with great warmth. She was a true bohemian with a complicated erotic life, and at the same time a universal mother figure. A vital presence in the golden age of Hollywood, Salka Viertel is long overdue for her own moment in the spotlight.
Walter Brennan (1894-1974) was one of the greatest character actors in Hollywood history. He won three Academy Awards and became a national icon starring as Grandpa in The Real McCoys. He appeared in over two hundred motion pictures and became the subject of a Norman Rockwell painting, which celebrated the actor's unique role as the voice of the American Western. His life journey from Swampscott, Massachusetts, to Hollywood, to a twelve thousand-acre cattle ranch in Joseph, Oregon, is one of the great American stories. In the first biography of this epic figure, Carl Rollyson reveals Brennan's consummate mastery of virtually every kind of role while playing against and often stealing scenes from such stars as Gary Cooper, Humphrey Bogart, and John Wayne. Rollyson fully explores Brennan's work with Hollywood's greatest directors, such as Howard Hawks, John Ford, and Fritz Lang. As a father and grandfather, Brennan instilled generations of his family with an outlook on the American Dream that remains a sustaining feature of their lives today. His conservative politics, which grew out of his New England upbringing and his devout Catholicism, receive meticulous attention and a balanced assessment in A Real American Character. Written with the full cooperation of the Brennan family and drawing on material in archives from every region of the United States, this new biography presents an artist and family man who lived and breathed an American idealism that made him the Real McCoy.
The man who created the boldest hard boiled fiction, Dashiell Hammett, wrote The Thin Man in 1933 and launched the fun-loving, booze-swilling, mystery-solving couple Nick and Nora Charles into American culture. MGM sold millions of movie tickets by casting William Powell and Myrna Loy as this classiest of romantic couples. Over 14 years and six films, these stars navigated grave periods of history: the Great Depression, World War II, and the Cold War. The novel and films live on as gems of a unique gritty sophistication. This complete history of The Thin Man series covers the brightest stars, tastiest scandals, headlines and conflicts behind these classic films. With a cast of hundreds, we see Hammett, his lover Lillian Hellman, and their friend Dorothy Parker fight alcoholism, sexual convention and Senator Joe McCarthy in culture wars of eerie contemporaneity.
Film has shaped modern society in part by changing its cultures of memory. Film, Music, Memory reveals that this change has rested in no small measure on the mnemonic powers of music. As films were consumed by growing American and European audiences, their soundtracks became an integral part of individual and collective memory. Berthold Hoeckner analyzes three critical processes through which music influenced this new culture of memory: storage, retrieval, and affect. Films store memory through an archive of cinematic scores. In turn, a few bars from a soundtrack instantly recall the image that accompanied them, and along with it, the affective experience of the movie. Hoeckner examines films that reflect directly on memory, whether by featuring an amnesic character, a traumatic event, or a surge of nostalgia. As the history of cinema unfolded, movies even began to recall their own history through quotations, remakes, and stories about how cinema contributed to the soundtrack of people’s lives. Ultimately, Film, Music, Memory demonstrates that music has transformed not only what we remember about the cinematic experience, but also how we relate to memory itself.
Sleuthing duo Lillian Frost and Edith Head investigate a behind-the-scenes scandal in this delightful Golden Age of Hollywood mystery. 1939, Los Angeles. Lillian Frost is shocked when her friend, glamorous costume designer Edith Head, hands her the script to a new film that's about to start shooting. Streetlight Story is based on a true crime: the California Republic bank robbery of 1936. Lillian's beau, LAPD detective Gene Morrow, was one of the officers on the case; his partner, Teddy, was tragically shot dead. It seems the scriptwriter has put Gene at the centre of a scandal, twisting fact with fiction - or has he? With Gene reluctant to talk about the case, the movie quickly becoming the hottest ticket in town, a suspicious death on the Paramount studio lot and the police reopening the investigation into Teddy's death, Lillian is determined to find answers. Can Lillian and Edith uncover the truth of what happened that fateful day and clear Gene's name?