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This work is a compilation of interviews with 19 film actors, directors, and producers who were all part of the studio system that made Hollywood such a powerful and illustrious city in the era of the 1950s. Each of the celebrities interviewed for this work have made lasting contributions to the film industry, and some of them continue to do so. Pat Boone, Jeff Corey, Kathryn Grayson, Beverly Garland, Samuel Goldwyn, Jr., Jane Greer, Stanley Kramer, Janet Leigh, Joan Leslie, Sheree North, Janis Paige, Luise Rainer, Paula Raymond, John Saxon, Vincent Sherman, Robert Wise, Jane Withers, Jane Wyatt and Fred Zinnemann speak candidly about their work and experiences in Hollywood and share many of their memories. Each interview is followed by a complete filmography for each film that the actor, director, or producer was a part of, giving such information as the U.S. distributor, year of release, director, producer, screenwriter, editor, composer, running time, and cast for each film.
I thought I saved you, but maybe you saved me, too. At their Ojibway community, Billy Redsky, a drug-dealing punk, and René Oshawee, the chief’s haughty son, must walk the “red road” to finally confront their biggest fears: conquering the self-imposed obstacles in their path, if they are to have what they long for above anything else—to finally be together. Bundle Contains: Two Princes Book 1 Toy Soldiers Book 2
The epic biography Starring Red Wing! brings the exciting career, dedicated activism, and noteworthy legacy of Ho-Chunk actress Lilian Margaret St. Cyr vividly to life. Known to film audiences as "Princess Red Wing," St. Cyr emerged as the most popular Native American actress in the pre-Hollywood and early studio-system era in the United States. Today St. Cyr is known for her portrayal of Naturich in Cecile B. DeMille's The Squaw Man (1914); although DeMille claimed to have "discovered the little Indian girl," the viewing public had already long adored her as a petite, daredevil Indian heroine. She befriended and worked with icons such as Mary Pickford, Jewell Carmen, Tom Mix, Max Sennett, and William Selig. Born on the Winnebago Reservation in 1884 and orphaned in 1888, she spent ten years in Indian boarding schools before graduating from the Carlisle Indian Industrial School in 1902. She married James Young Johnson, and in 1907 the couple reinvented themselves as the stage personas "Princess Red Wing" and "Young Deer," performing in Wild West shows around New York and beginning their film careers. As their popularity grew, St. Cyr and Johnson decamped from the East Coast and helped establish the second motion picture company in Southern California, where Red Wing became a Native American leading lady in westerns until her career waned in 1917. After returning to the reservation to work as a housekeeper, she took her show on a two-year tour to educate the public about Native culture and lived out her life in New York, performing, educating, and crafting regalia. Starring Red Wing! is a sweeping narrative of St. Cyr's evolution as America's first Native American film star, from her childhood and performance career to her days as a respected elder of the multi-tribal New York City Indian Community.
During the summer of 1944, after two-and-a-half years of war, American citizens on the home front were still caught up in a surge of patriotic fervor, making any sacrifice necessary to help the soldiers, sailors, marines and airmen that were engaged in combat. These people were the generation that endured the Great Depression only to be plunged into World War II. We meet four boys who are too young to be in uniform and want to do something to help the war effort. The focus is also on a young man who goes off to war and the girl he leaves behind who worries that he will perish in combat or will be maimed or crippled or will return a different man from the one she loved when he went off to war. We begin to understand what it was like to experience rationing, wartime anxieties, and the optimism and spirit of shared purpose that were central to life on America's home front during the first half of the 1940s. We meet the people who were young back then and learn that they, too, along with the fighting men, helped to save the world for democracy.
The concept of North American borderlands in the cultural imagination fluctuated greatly during the Progressive Era as it was affected by similarly changing concepts of identity and geopolitical issues influenced by the Mexican Revolution and the First World War. Such shifts became especially evident in films set along the Mexican and Canadian borders as filmmakers explored how these changes simultaneously represented and influenced views of society at large. Borderland Films examines the intersection of North American borderlands and culture as portrayed through early twentieth-century cinema. Drawing on hundreds of films, Dominique Brégent-Heald investigates the significance of national borders; the ever-changing concepts of race, gender, and enforced boundaries; the racialized ideas of criminality that painted the borderlands as unsafe and in need of control; and the wars that showed how international conflict significantly influenced the United States’ relations with its immediate neighbors. Borderland Films provides a fresh perspective on American cinematic, cultural, and political history and on how cinema contributed to the establishment of societal narratives in the early twentieth century.
When We Were Young is an intense, and often humorous fictional narrative following the life of Jonah, a young man from a small town in Virginia, who experiences his first taste of freedom in the real world. Told in a first-person narrative, the reader is allowed access to all of Jonah's thoughts and feelings. The work begins with Jonah in high school, shortly after the Columbine massacre. Because of the way he looks-shaved head, nontraditional-type clothing-Jonah is worried about being labeled as a troublemaker and being suspended from school. After the massacre, Jonah somehow feels more comfortable because, in this tense environment, everyone is suddenly being listened to, even those who look or act differently. Although the book opens when the main character is in his last year of high school, he is just beginning to "find" himself. Similar to Kerouac's On The Road, the reader follows the character through high school graduation, a trip to New York City, the summer between high school and college, and into the first semester of college and beyond. Jonah, and the reader as well, experience love and loss, long drunken nights, success and failure. When Jonah's friends move on-to college, marriage, kids, etc.-the reader wonders if Jonah ever will. When We Were Youngeffectively captures the emotions of a character who feels stifled by his surroundings in a small, conservative, southern town. When We Were Young takes the reader on a journey unique to Jonah, but a rite experienced by all generations. Jason Jepson was born in Charleston, West Virginia, in 1980. He moved to Roanoke Virginia, where he spent most of his growing-up years in a "Leave it to Beaver" home-two parents and one annoying but loyal older brother. After high school, Jepson attended college before joining the United States Army. He was trained at Fort Knox as a cavalry scout-19 Delta. He received an honorable discharge from the military in 2004. Jepson has always enjoyed writing and has kept a journal going since the seventh grade. These journals have been the inspiration for much of his writing. Jepson also enjoys writing poetry and short stories. A couple of his poems have been published in literary magazines. His poem entitled "Nephew" was written about his nephew, Reid. Jepson currently lives in Richmond Virginia with his cat, Malcolm Cat, named after Malcolm X. Most of the events in When We Were Youngare fictionalized experiences from the author's life.
The legendary filmmaker D. W. Griffith directed nearly 200 films during 1908 and 1909, his first years with the Biograph Company. While those one-reel films are a testament to Griffith's inspired genius as a director, they also reflect a fundamental shift in film style from "cheap amusements" to movie storytelling complete with characters and narrative impetus. In this comprehensive historical investigation, drawing on films preserved by the Library of Congress and the Museum of Modern Art, Tom Gunning reveals that the remarkable cinematic changes between 1900 and 1915 were a response to the radical reorganization within the film industry and the evolving role of film in American society. The Motion Picture Patents Company, the newly formed Film Trust, had major economic aspirations. The newly emerging industry's quest for a middle-class audience triggered Griffith's early experiments in film editing and imagery. His unique solutions permanently shaped American narrative film.
In this deeply researched and vividly written volume, Melvyn Stokes illuminates the origins, production, reception and continuing history of this ground-breaking, aesthetically brilliant, and yet highly controversial movie. By going back to the original archives, particularly the NAACP and D. W. Griffith Papers, Stokes explodes many of the myths surrounding The Birth of a Nation (1915). Yet the story that remains is fascinating: the longest American film of its time, Griffith's film incorporated many new features, including the first full musical score compiled for an American film. It was distributed and advertised by pioneering methods that would quickly become standard. Through the high prices charged for admission and the fact that it was shown, at first, only in "live" theaters with orchestral accompaniment, Birth played a major role in reconfiguring the American movie audience by attracting more middle-class patrons. But if the film was a milestone in the history of cinema, it was also undeniably racist. Stokes shows that the darker side of this classic movie has its origins in the racist ideas of Thomas Dixon, Jr. and Griffith's own Kentuckian background and earlier film career. The book reveals how, as the years went by, the campaign against the film became increasingly successful. In the 1920s, for example, the NAACP exploited the fact that the new Ku Klux Klan, which used Griffith's film as a recruiting and retention tool, was not just anti-black, but also anti-Catholic and anti-Jewish, as a way to mobilize new allies in opposition to the film. This crisply written book sheds light on both the film's racism and the aesthetic brilliance of Griffith's filmmaking. It is a must-read for anyone interested in the cinema.
A comprehensive biography of film's first star traces her rise to fame with the growth of the medium, her influence as a partner in United Artists, her relationship with Douglas Fairbanks, and her struggles later in life. UP.