Lupita Tovar is Hollywood royalty, a woman of beauty and charm, wit and intelligence, warmth and enthusiasm. In Lupita Tovar "The Sweetheart of Mexico" , author Pancho Kohner shares the fascinating accounts of her life, deftly capturing his mother's voice and personality. Reading her memoir is like having a chat with Lupita, a natural storyteller, in her living room. She is the eternal enchantress.
Lupita Tovar is Hollywood royalty, a woman of beauty and charm, wit and intelligence, warmth and enthusiasm. In Lupita Tovar "The Sweetheart of Mexico" , author Pancho Kohner shares the fascinating accounts of her life, deftly capturing his mother's voice and personality. Reading her memoir is like having a chat with Lupita, a natural storyteller, in her living room. She is the eternal enchantress.
Lupita Tovar is Hollywood royalty, a woman of beauty and charm, wit and intelligence, warmth and enthusiasm. In Lupita Tovar "The Sweetheart of Mexico" , author Pancho Kohner shares the fascinating accounts of her life, deftly capturing his mother's voice and personality. Reading her memoir is like having a chat with Lupita, a natural storyteller, in her living room. She is the eternal enchantress.
In the 1920s, Los Angeles enjoyed a buoyant homegrown Spanish-language culture comprised of local and itinerant stock companies that produced zarzuelas, stage plays, and variety acts. After the introduction of sound films, Spanish-language cinema thrived in the city's downtown theatres, screening throughout the 1930s, 1940s, and 1950s in venues such as the Teatro Eléctrico, the California, the Roosevelt, the Mason, the Azteca, the Million Dollar, and the Mayan Theater, among others. With the emergence and growth of Mexican and Argentine sound cinema in the early to mid-1930s, downtown Los Angeles quickly became the undisputed capital of Latin American cinema culture in the United States. Meanwhile, the advent of talkies resulted in the Hollywood studios hiring local and international talent from Latin America and Spain for the production of films in Spanish. Parallel with these productions, a series of Spanish-language films were financed by independent producers. As a result, Los Angeles can be viewed as the most important hub in the United States for the production, distribution, and exhibition of films made in Spanish for Latin American audiences. In April 2017, the International Federation of Film Archives organized a symposium, "Hollywood Goes Latin: Spanish-Language Cinema in Los Angeles," which brought together scholars and film archivists from all of Latin America, Spain, and the United States to discuss the many issues surrounding the creation of Hollywood's "Cine Hispano." The papers presented in this two-day symposium are collected and revised here. This is a joint publication of FIAF and UCLA Film & Television Archive.
Marion Shilling began her career as a silent film ingenue for MGM and went on to play heroines in Westerns of the 1930s. Stage actress Esther Muir made the transition from Broadway to Hollywood just as talkies became popular. Hugh Allan was a leading man in the last years of the silents only to leave the film business in 1930 because of the uncertainty surrounding his transition to sound films and his disgust with studio politics. These three performers and thirteen others (Barbara Barondess, Thomas Beck, Mary Brian, Pauline Curley, Billie Dove, Edith Fellows, Rose Hobart, William Janney, Marcia Mae Jones, Barbara Kent, Anita Page, Lupita Tovar, and Barbara Weeks) reminisce here about Hollywood and the movie business as it made the transition.
Österreichische Einwanderung in die USA Die vorliegende Publikation beleuchtet das Thema der Migration von Österreichern in die USA genauer, das bis heute ein immer noch sehr unerforschtes Gebiet ist. Seit kurzer Zeit erlebt die Forschung allerdings einen neuen Aufschwung, es herrscht großes Interesse vor allem in der Biografieforschung. Die vorliegenden Beiträge basieren auf einer Tagung, die im Juni 2015 in Wien zum gleichnamigen Thema stattgefunden hat. Es handelt sich hauptsächlich um Fallstudien über emigrierte Österreicher, die ihre Heimat aus wirtschaftlichen, politischen oder karrieretechnischen Gründen verlassen haben. Alle mussten sich mit einer schwierigen Einwanderungspolitik der USA auseinandersetzen, trotzdem ist den meisten von ihnen eine erfolgreiche Integration in die amerikanische Gesellschaft gelungen. ************************************************************************************** The essays in this book argue that the United States served as a great attraction for economic betterment to Austrian migrants before and World War I; yet a third of these migrants actually remigrated. Remigration was less likely after World War I as the economic situation deteriorated in Europe and the political situation landscape became desperate for Jews and the opponents of the Hitler regime. Most of the Austrians migrating to the U.S. in the World War II era stayed. For the roughly 30,000 Jews who had been brutally kicked out of their homes after the "Anschluss" and managed to snag immigration papers to the U.S., returning to desperately poor and still anti-Semitic Austria was not an option. These case studies show that integrating and assimilating into the American mainstream often was a difficult process that might take two generations. Many of the intellectuals and academics never fully felt at home in the U.S. as they viewed American culture shallow and American values too materialistic.
While Universal's Dracula and Frankenstein (both 1931) have received the most coverage of any of the studio's genre releases, it is the lesser known films that have long fascinated fans and historians alike. Starting with The Last Warning, a 1929 movie released as both a silent and a talkie, Universal provided a decade of films that entertained audiences and sometimes frustrated critics. Each of Universal's horror, science fiction and "twisted mystery" films receives an in-depth essay for each film. The focus is first on the background to the making of the movie and its place in the Universal catalog. A detailed plot synopsis with critical commentary follows. Filmographic data for the film conclude the entry. Universal's The Shadow short film series is covered in an appendix. Many rare illustrations and movie posters are also included.
Mexican cinema has largely been overlooked by international film scholars because of a lack of English-language information and the fact that Spanish-language information was difficult to find and often out of date. This comprehensive filmography helps fill the need. Arranged by year of release and then by title, the filmography contains entries that include basic information (film and translated title, production company, genre, director, cast), a plot summary, and additional information about the film. Inclusion criteria: a film must be a Mexican production or co-production, feature length (one hour or more, silent films excepted), fictional (documentaries and compilation films are not included unless the topic relates to Mexican cinema; some docudramas and films with recreated or staged scenes are included), and theatrically released or intended for theatrical release.
