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Writing For Hire

Author: Catherine L. Fisk
Publisher: Harvard University Press
ISBN: 0674973208
Size: 76.88 MB
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Professional writers may earn a tidy living for their work, but they seldom own their writing. Catherine Fisk traces the history of labor relations that defined authorship in film, TV, and advertising in the mid-twentieth century, showing why strikingly different norms of attribution emerged in these overlapping industries.

City Of Dreams

Author: Bernard F. Dick
Publisher: University Press of Kentucky
ISBN: 9780813170046
Size: 75.16 MB
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Thus the age of corporate Hollywood arrived at Universal Pictures earlier than at other studios. The Universal-International merger in 1946, Decca's stock takeover in the early 1950s, and MCA's buyout in 1962 all presaged today's Hollywood, where the art of the deal often eclipses the art of making movies. So what makes Universal unique? The studio as "city," the fascination with backlot tours, today's theme park slogan, "Ride the Movies," all emphasize Universal's strong sense of place. Stars and executives have come and gone, shaping and reshaping the studio's image, but through it all Universal's revolving globe logo has remained on movie screens around the world. And, unlike several other studios of Hollywood's golden age, Universal still makes movies today.

The Merchant Prince Of Poverty Row

Author: Bernard F. Dick
Publisher: University Press of Kentucky
ISBN: 0813147530
Size: 76.63 MB
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Ben Hecht called him "White Fang," and director Charles Vidor took him to court for verbal abuse. The image of Harry Cohn as vulgarian is such a part of Hollywood lore that it is hard to believe there were other Harry Cohns: the only studio president who was also head of production; the ex-song plugger who scrutinized scripts and grilled writers at story conferences; a man who could look at actresses as either "broads" or goddesses. Drawing on personal interviews as well as previously unstudied source material (conference notes, memos, and especially the teletypes between Harry and his brother Jack), Bernard Dick offers a radically different portrait of the man who ran Columbia Pictures -- and who "had to be boss" -- from 1932 to 1958.

The Case Of Rose Bird

Author: Kathleen A. Cairns
Publisher: U of Nebraska Press
ISBN: 0803295421
Size: 30.93 MB
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"This biography of Rose Elizabeth Bird is an overdue look at California's first female supreme court chief justice, against the backdrop of California's political and cultural climate in the 1970s and 1980s"--

Engulfed

Author: Bernard F. Dick
Publisher: University Press of Kentucky
ISBN: 0813159288
Size: 36.67 MB
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From Double Indemnity to The Godfather, the stories behind some of the greatest films ever made pale beside the story of the studio that made them. In the golden age of Hollywood, Paramount was one of the Big Five studios. Gulf + Western's 1966 takeover of the studio signaled the end of one era and heralded the arrival of a new way of doing business in Hollywood. Bernard Dick reconstructs the battle that culminated in the reduction of the studio to a mere corporate commodity. He then traces Paramount's devolution from free-standing studio to subsidiary -- first of Gulf + Western, then Paramount Communications, and currently Viacom-CBS. Dick portrays the new Paramount as a paradigm of today's Hollywood, where the only real art is the art of the deal. Former merchandising executives find themselves in charge of production, on the assumption that anyone who can sell a movie can make one. CEOs exit in disgrace from one studio only to emerge in triumph at another. Corporate raiders vie for power and control through the buying and selling of film libraries, studio property, television stations, book publishers, and more. The history of Paramount is filled with larger-than-life people, including Billy Wilder, Adolph Zukor, Sumner Redstone, Sherry Lansing, Barry Diller, Michael Eisner, Jeffrey Katzenberg, and more.

Columbia Pictures

Author: Bernard F. Dick
Publisher: University Press of Kentucky
ISBN: 0813149614
Size: 27.99 MB
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The recent $3.4 billion purchase of Columbia Pictures by Sony Corporation focused attention on a studio that had survived one of Hollywood's worst scandals under David Begelman, as well as ownership by Coca-Cola and David Puttnam's misguided attempt to bring back the studio's glory days. Columbia Pictures traces Columbia's history from its beginnings as the CBC Film Sales Company (nicknamed "Corned Beef and Cabbage") through the regimes of Harry Cohn and his successors, and concludes with a vivid portrait of today's corporate Hollywood, with its investment bankers, entertainment lawyers, agents, and financiers. Bernard F. Dick's highly readable studio chronicle is followed by thirteen original essays by leading film scholars, writing about the stars, films, genres, writers, producers, and directors responsible for Columbia's emergence from Poverty Row status to world class. This is the first attempt to integrate film history with film criticism of a single studio. Both the historical introduction and the essays draw on previously untapped archival material -- budgets that kept Columbia in the black during the 1930s and 1940s, letters that reveal the rapport between Depression audiences and director Frank Capra, and an interview with Oscar-winning screenwriter Daniel Taradash. The book also offers new perspectives on the careers of Rita Hayworth and Judy Holliday, a discussion of Columbia's unique brands of screwball comedy and film noir, and analyses of such classics as The Awful Truth, Born Yesterday, From Here to Eternity, On the Waterfront, Anatomy of a Murder, Easy Rider, Taxi Driver, The Big Chill, Lawrence of Arabia, and The Last Emperor. Amply illustrated with film stills and photos of stars and studio heads, Columbia Pictures includes a brief chronology and a complete 1920-1991 filmography. Designed for both the film lover and the film scholar, the book is ideal for film history courses.

Samuel Fuller

Author: Gerald Peary
Publisher: Univ. Press of Mississippi
ISBN: 1617033073
Size: 13.87 MB
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In the early twentieth century, the art world was captivated by the imaginative, totally original paintings of Henri Rousseau, who, seemingly without formal art training, produced works that astonished not only the public but great artists such as Pablo Picasso. Samuel Fuller (1912–1997) is known as the “Rousseau of the cinema,” a mostly “B” genre Hollywood moviemaker deeply admired by “A” filmmakers as diverse as Jim Jarmusch, Martin Scorsese, Francois Truffaut, Jean-Luc Godard, and John Cassavetes, all of them dazzled by Fuller’s wildly idiosyncratic primitivist style. A high-school dropout who became a New York City tabloid crime reporter in his teens, Fuller went to Hollywood and made movies post–World War II that were totally in line with his exploitative newspaper work: bold, blunt, pulpy, excitable. The images were as shocking, impolite, and in-your-face as a Weegee photograph of a gangster bleeding on a sidewalk. Fuller, who made twenty-three features between 1949 and 1989, is the very definition of a “cult” director, appreciated by those with a certain bent of subterranean taste, a penchant for what critic Manny Farber famously labeled as “termite art.” Here are some of the crazy, lurid, comic-book titles of his movies: Shock Corridor, The Naked Kiss, Verboten!, Pickup on South Street. Fuller isn’t for everybody. His fans have to appreciate low-budget genre films, including westerns and war movies, and make room for some hard-knuckle, ugly bursts of violence. They also have to make allowance for lots of broad, crass acting, and scripts (all Fuller-written) that can be stiff, sometimes campy, often laboriously didactic. Fuller is for those who love cinema—images that jump, shout, dance. As he put it in his famous cigar-chomping cameo, acting in Jean-Luc Godard’s Pierrot le fou (1965): “Film is like a battleground . . . love, hate, violence, death. In a single word: emotion.” After directing, Sam Fuller’s greatest skill was conversation. He could talk, talk, talk, from his amazing experiences fighting in World War II to the time his brother-in-law dated Marilyn Monroe, and vivid stories about his moviemaking. Samuel Fuller: Interviews, edited by Gerald Peary, is not only informative about the filmmaker’s career but sheer fun, following the wild, totally uninhibited stream of Fuller’s chatter. He was an incredible storyteller, and, no matter the interview, he had stories galore for all sorts of readers, not just academics and film historians.

Unequal

Author: Sandra F. Sperino
Publisher: Oxford University Press
ISBN: 0190278382
Size: 24.67 MB
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It is no secret that since the 1980s, American workers have lost power vis-a-vis employers. Along with the well-chronicled steep decline in private sector unionization, American workers alleging employment discrimination have fared increasingly poorly in the courts. In recent years, judges have dismissed scores of cases in which workers presented evidence that supervisors referred to them using racial or gender slurs. In one federal district court, judges dismissed more than 80 percent of the race discrimination cases filed over a year. And when juries return verdicts in favor of employees, judges often second guess those verdicts, finding ways to nullify the jury's verdict and rule in favor of the employer. Most Americans assume that that an employee alleging workplace discrimination faces the same legal system as other litigants. After all, we do not usually think that legal rules vary depending upon the type of claim brought. As the employment law scholars Sandra A. Sperino and Suja A. Thomas show in Unequal, though, our assumptions are wrong. Over the course of the last half century, employment discrimination claims have come to operate in a fundamentally different legal system than other claims. It is in many respects a parallel universe, one in which the legal system systematically favors employers over employees. A host of procedural, evidentiary, and substantive mechanisms serve as barriers for employees, making it extremely difficult for them to access the courts. Moreover, these mechanisms make it fairly easy for judges to dismiss a case prior to trial. Americans are unaware of how the system operates partly because they think that race and gender discrimination are in the process of fading away. But such discrimination remains fairly common in the workplace, and workers now have little recourse to fight it legally. By tracing the modern history of employment discrimination, Sperino and Thomas provide an authoritative account of how our legal system evolved into an institution that is inherently biased against workers making rights claims.

Rent

Author: Jonathan Larson
Publisher: Hal Leonard Corporation
ISBN: 9781557837370
Size: 11.14 MB
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(Applause Libretto Library). Finally, an authorized libretto to this modern day classic! Rent won the 1996 Pulitzer Prize for Drama, as well as four Tony Awards, including Best Musical, Best Book, and Best Score for Jonathan Larson. The story of Mark, Roger, Maureen, Tom Collins, Angel, Mimi, JoAnne, and their friends on the Lower East Side of New York City will live on, along with the affirmation that there is "no day but today." Includes 16 color photographs of productions of Rent from around the world, plus an introduction ("Rent Is Real") by Victoria Leacock Hoffman.