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In this reference work 222 musicals developed specifically for television are fully detailed, including musical episodes from nonmusical shows, animated specials that appealed to adults as well as children, and operas and related works commissioned for the small screen. Each entry provides air date, network, running time, cast and credits, and a listing of all the songs. A plot synopsis follows, focusing on the show itself and the story from which it was adapted; information on award nominations and awards won, recordings, videos and published music is then provided. Contemporary reviews of the show complete the entry.
This collection of essays and reviews represents the most significant and comprehensive writing on Shakespeare's A Comedy of Errors. Miola's edited work also features a comprehensive critical history, coupled with a full bibliography and photographs of major productions of the play from around the world. In the collection, there are five previously unpublished essays. The topics covered in these new essays are women in the play, the play's debt to contemporary theater, its critical and performance histories in Germany and Japan, the metrical variety of the play, and the distinctly modern perspective on the play as containing dark and disturbing elements. To compliment these new essays, the collection features significant scholarship and commentary on The Comedy of Errors that is published in obscure and difficulty accessible journals, newspapers, and other sources. This collection brings together these essays for the first time.
Achievement engenders pride, and the most significant accomplishments involving people, places, and events in black history are gathered in Black Firsts: 4,000 Ground-Breaking and Pioneering Events.
Considers the ephemeral nature of the cinematic experience as we now apprehend it, and examines the ways in which technological advances in film and moving image production have changed this experience over the course of the last thirty-odd years.
This dictionary is an aid to anyone involved in seeking to finance a feature film project, especially independents. It covers terms used in film production and distribution, marketing, accounting, insurance, securities, corporate structures and general financial arenas. All of the principal forms of feature film finance are covered, including studio/distributors, production companies, lending institutions, co-financing, pre-sales, grants, foreign and passive investor financing involving the sale of a security.
Alfred Hitchcock made many great films, but he also made many that critics and audiences largely dismissed. These least celebrated films, despite their admitted flaws and relative obscurity, offer much to reward the open-minded viewer. This critical study examines and reappraises fifteen such films generally overlooked by scholars and Hitchcock aficionados: Juno and the Paycock, The Skin Game, Waltzes from Vienna, Jamaica Inn, The Paradine Case, Under Capricorn, I Confess, Torn Curtain, Number Seventeen, Rich and Strange, Secret Agent, Mr. and Mrs. Smith, Stage Fright, The Wrong Man, and Topaz. Each film is discussed and analyzed in detail, revealing the master's touch in many previously unheralded ways. Brief assessments of the films from popular review compendia introduce each one, and excerpted highlights of numerous works of scholarship are liberally sprinkled throughout the text. In addition, wonderful rare still photographs from each film are included. Readers will come away with a richer sense of the director's talents in these films, adding to their appreciation of his work in unexpected ways.
It's pretty broadly recognized that Hollywood movies contain patterns of bias, but it's not just people of color or women who are hurt by this. Many groups within America's multicultural society have complained over the years about negative and stereotypical portrayals of their own group members in motion pictures produced or released through the Hollywood-based studios. Yet, as an expert on the U.S. film industry points out, such complaints have had little impact on consistent patterns of bias in movies. This book takes a broader look at the nature of negative and stereotypical movie portrayals and tracks patterns of such one-sided depictions over a longer period time. As a result, the patterns of bias — and the source the problem — become more clear. The problem appears be that most of the people who have green-light authority in the U.S. film industry — for either the production and/or distribution of a motion picture — share a common ethnic/religious/cultural background. Thus, the stories of their cohort and those of all other ethnic, religious and/or cultural groups (whose members seldom achieve positions of power Hollywood) are being filtered through the cultural sensibilities of a single group. John Cones suggests that the solution could lie in increasing diversity at the highest levels in the U.S. film industry. This work grew out of the observed frustration of film industry critics who have pointed out examples of bias and stereotyping in specific movies over the years only to be rebuffed by the simplistic studio arguments that such films reflect the real world and that moviegoers vote with their pocket books. It can be shown that there is a consistent pattern to the choices Hollywood studio executives make with respect to the movies produced and released and the specific content of those movies, and it becomes obvious that Hollywood is selectively portraying reality. Movie goers only have limited options among all of the possibilities that could be portrayed on the silver screen. This book differs from other studies touching on bias in motion pictures. Most such books focus on the treatment of a single ethnic, religious, cultural, racial or other readily identifiable interest group, but this study attempts to provide an overview and to identify patterns over time. When the patterns of bias in motion picture content are sufficiently demonstrated and documented, it becomes easier to identify the source of the bias and to explain why such bias exists.
An A to Z guide to film comedies. Illus.
Hollywood movies are famous for promoting negative stereotypes of all kinds, especially against minorities, women, Southerners, and Christians. To what extent are biographical films selected for production according to certain biases, conscious or unconscious, among the Hollywood elite? An expert on the U.S. film industry gives readers brief synopses of Hollywood biopics produced and/ or released from 1912 through 1994. This survey provides the basis for discussion and analysis. Tracking these one-sided depictions over a longer period of time, the patterns of bias - and the source of the problem - become more clear. The problem appears to be that most of the people who have green-light authority in the U.S. film industry - for either the production and/or distribution of a motion picture - share a common ethnic/religious/cultural background. Thus, the stories of their own cohort and those of all other ethnic, religious and/or cultural groups (whose members seldom achieve positions of power in Hollywood) are being filtered through the cultural sensibilities of a single group. John Cones suggests that the solution could lie in increasing diversity at the highest levels in the U.S. film industry.