Conlon photographed baseball's golden age from 1904-1942, creating some of the most memorable images of the sport ever published. Now available in paperback, this book presents 205 dazzling images of baseball's first superstars and memorable moments.
tars that appeared exclusively in trade magazines to promote the great films of the '30s, '40s, and '50s. The Lost Artwork of Hollywood is a sumptuous package: the color, the quality of the printing all give immense eye appeal to this first-time look at some of the art that made the movies glamorous. 100 full-color illustrations.
Are bodies sexy? How? In what sorts of ways? Sexy Bodies investigates the production of sexual bodies and sexual practices, of sexualities which are dyke, bi, transracial, and even hetero. It celebrates lesbian and queer sexualities but also explores what runs underneath and within all sexualities, discovering what is fundamentally weird and strange about all bodies, all carnalities. Looking at a pleasurable variety of cultural forms and texts, the contributors consider the particular charms of girls and horses, from National Velvet to Marnie; discuss figures of the lesbian body from vampires to tribades to tomboys; uncover 'virtual' lesbians in the fiction of Jeanette Winterson; track desire in the music of legendary Blues singers; and investigate the ever-scrutinised and celebrated body of Elizabeth Taylor. The collection includes two important pieces of fiction by Mary Fallon and Nicole Brossard. Sexy Bodies makes new connections between and amongst bodies, cruising the borders of the obscene, the pleasurable, the desirable and the hitherto unspoken rethinking sexuality anew as deeply and strangely sexy.
“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chronicler of the entertainment industry, and in this annotated collection of writings from dozens of Brackett’s unpublished diaries, film historian Anthony Slide clarifies Brackett's critical contribution to Wilder’s films and enriches our knowledge of Wilder’s achievements in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
"This book investigates the various ways that ancient Greek and Roman authors envisioned the end of the world and the role they gave to global catastrophes, both past and future, in shaping human history"--
Joshua Noble focuses on the rapid appearance and disappearance in Acts 2 and 4 of the motif that early believers hold all their property in common, and argues that these descriptions function as allusions to the Golden Age myth. Noble suggests Luke's claims that the believers “had all things in common” and that “no one claimed private ownership of any possessions”-a motif that does not appear in any biblical source- rather calls to mind Greek and Roman traditions that the earliest humans lived in utopian conditions, when “no one ... possessed any private property, but all things were common.” By analyzing sources from Greek, Latin, Jewish, and Christian traditions, and reading Acts 2:42-47 and 4:32-35 as Golden Age allusions, Noble illustrates how Luke's use of the motif of common property is significant for understanding his attitude toward the Roman Empire. Noble suggests that Luke's appeal to this myth accomplishes two things: it characterizes the coming of the Spirit as marking the beginning of a new age, the start of a “universal restoration” that will find its completion at the Second Coming of Christ; and it creates a contrast between Christ, who has actually brought about this restoration, and the emperors of Rome, who were serially credited with inaugurating a new Golden Age.
In film, pirates are romanticized as swashbuckling outlaws who defy authority, pursue danger, and cruise the world's oceans in search of wealth and adventure. They are celebrated in books, comics and rock 'n' roll lyrics. Their ruffled shirts and tricorne hats inspire fashion designers; their cruel exploits are immortalized in art. But pirates through time have not been lovable, witty tricksters, they were often societal outcasts and pioneers who helped forge political and social revolt.