IT'S ONLY A MOVIE is as close to an autobiography by Alfred Hitchcock that you could ever have. Drawn from years of interviews with her subject, his friends and the actors who worked with him on such classics as THE BIRDS, PSYCHO and REAR VIEW WINDOW, Charlotte Chandler has created a rich, complex, affectionate and honest picture of the man and his milieu. This is Hitchcock in his own voice and through the eyes of those who knew him better than anyone could.
Best known for his television series "Perry Mason" and "Ironside," Burr had a career spanning over fifty years. His life is meticulously documented here, including movie roles in such Hollywood productions as Rear Window and Key to the City, and other work in television. Also discussed are his family, Fiji Island home, work in Canadian films, and trips to Korea and Vietnam to entertain American troops. The appendices include a complete episode guide to the "Perry Mason" series.
Silent Lives contains 100 biographical sketches of the great--and near great--of the silent film era. Each vividly written profile is illustrated by exquisite photographs, many of which have not been seen in decades. Kevin Brownlow (who provides the foreword) says: "If you ever wondered who created the movies, this fascinating book will provide the answer." "A truly delightful, interesting and informative volume - with a nice (and very mixed) choice of subjects." - Anthony Slide(G. M. Anderson, Roscoe Arbuckle, Theda Bara, Lionel Barrymore, Ethel Barrymore, John Barrymore, Richard Barthelmess, Beverly Bayne, Billy Bevan, G.W. Bitzer, Clara Bow, Betty Bronson, Louise Brooks, Tod Browning, Clyde Bruckman, John Bunny, Francis X. Bushman, Eric Campbell, Lon Chaney, Sydney Chaplin, Charlie Chaplin, Charley Chase, Andy Clyde, Chester Conklin, Jackie Coogan, Joan Crawford, Donald Crisp, Karl Dane, Marion Davies, Cecil B. DeMille, Carol Dempster, Marie Dressler, Thomas Edison, Douglas Fairbanks, Geraldine Farrar, Felix the Cat, W.C. Fields, Greta Garbo, John Gilbert, Dorothy Gish, Lillian Gish, D.W. Griffith, William Haines, Neil Hamilton, Oliver Hardy, William S. Hart, Jean Hersholt, Alfred Hitchcock, Harry Houdini, Thomas Ince, Al Jolson, Buster Keaton, Harry Langdon, Stan Laurel, Florence Lawrence, Paul Leni, Harold Lloyd, Babe London, Del Lord, Marion Mack, Mary MacLaren, Georges Méliès, Model T Ford, Antonio Moreno, F.W. Murnau, Fred Niblo, Mabel Normand, Ramon Novarro, Willis O'Brien, Our Gang, Olga Petrova, Mary Pickford, Edwin S. Porter, Edna Purviance, Jobyna Ralston, Wallace Reid, Rin-Tin-Tin, Hal Roach, Will Rogers, Malcolm St. Clair, Larry Semon, Mack Sennett, Norma Shearer, Ford Sterling, Erich von Stroheim, Gloria Swanson, Norma Talmadge, Constance Talmadge, Natalie Talmadge, Wm. Desmond Taylor, Irving Thalberg, Ben Turpin, Rudolph Valentino, King Vidor, H. M. Walker, Henry B. Walthall, Lois Weber, Billy West, Pearl White, Adolph Zukor, silent movies dvd, silent movies blu ray, hollywood romance, hollywood Babylon, hollywood scandals, hollywood stories, hollywood hearts, hollywood wives, hollywood biographies, hollywood hearts series, hollywood sinners, hollywood heat, hollywood and mine, hollywood at war, hollywood actor romance, Hollywood autobiographies, hollywood actors, movies for kindle fire, movies for kindle fire download, movies for kindle for free, movies to download, movies for kindle fire hd, movies on demand, movies free, movies and tv, movies and videos, movies and tv shows for kindle fire, movies amazon prime, movies based on books, movies books, movies dvd, movies download, movies epic, movies for ipad, movies for kindle fire hdx, movies on amazon prime, movies on ipad, movies online, movies on prime, movies on amazon, movies on line, movies streaming, movies to download, movies to download on kindle fire)
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.
Don Siegel was one of Hollywood's most controversial directors. Invasion of the Body Snatchers is one of the very few acknowledged science-fiction classics, and Magnum Force - with its catch-phrase 'Make my day' - has become part of our modern consciousness. Siegel's five-film collaboration with Clint Eastwood created a body of films that are as distinctive as they are different, and enriched the reputation of both of them. This autobiography has all the fun and energy one would expect from Don Siegel. From his first days as an assistant editor in the Warner Brothers cutting rooms, Siegel charts his rich and varied career. This is a wonderful book of reminiscences, told in a lively and vivid style, whose cast of characters includes John Wayne, Lee Marvin, Steve McQueen, Bogart and Bacall, studio head Jack Warner and other luminaries of the golden age of the Hollywood studios (including a fading film star called Ronald Reagan, whose last film, The Killers, was directed by Siegel). At the centre of the book is Siegel's relationship with Clint Eastwood, whose directing career was encouraged by Siegel, and who supplies an amusing and appreciative foreword to the book.
The Negro Motorist Green Book was a groundbreaking guide that provided African American travelers with crucial information on safe places to stay, eat, and visit during the era of segregation in the United States. This essential resource, originally published from 1936 to 1966, offered a lifeline to black motorists navigating a deeply divided nation, helping them avoid the dangers and indignities of racism on the road. More than just a travel guide, The Negro Motorist Green Book stands as a powerful symbol of resilience and resistance in the face of oppression, offering a poignant glimpse into the challenges and triumphs of the African American experience in the 20th century.
This is the first full-length biography of the visionary Hollywood filmmaker Tim Burton, director of Batman, Batman Returns, Beetlejuice, Edward Scissorhands, Peewee's Big Adventure, Tim Burton's The Nightmare before Christmas, Ed Wood, Mars Attacks!, and Sleepy Hollow. More than an examination of his body of work, this book takes an in-depth look at Tim Burton's personal life, which until now the reclusive director has managed to keep under wraps. Author Ken Hanke examines the frail, wild-haired fellow whose unique, introverted feature films are passionately admired by many and dismissed by others. How does he command the respect of so many big names in a creative industry not much known for good judgment? How has he managed to carve out an impossibly personal and quirky body of work within the confines of the most mainstream venues of establishment Hollywood? You'll learn about: * Tim Burton's unhappy childhood; to this day he has no relationship with his family * the real reason why Tim Burton left Disney after Ed Wood * his collaborations with talent such as Johnny Depp, Winona Ryder, Vincent Price (his idol), and Danny Elfman * the autobiographical elements in Edward Scissorhands * Tim Burton's often disastrous involvement with other people's projects * the ramifications of excessive power-- the Batman Returns debacle * the collapse of the Superman Reborn project
Authorised and fully illustrated insight into the life and career of the award-winning director, from his childhood film projects up to King Kong, together with Jackson's revealing personal account of his six-year quest to film The Lord of the Rings.
The biographical film or biopic is a staple of film production in all major film industries and yet, within film studies, its generic, aesthetic, and cultural significance has remained underexplored. The Biopic in Contemporary Film Culture fills this gap, conceptualizing the biopic with a particular eye toward the "life" of the genre internationally. New theoretical approaches combine with specially commissioned chapters on contemporary biographical film production in India, Italy, South Korea, France, Russia, Great Britain, and the US, in order to present a selective but well-rounded portrait of the biopic’s place in film culture. From Marie Antoinette to The Social Network, the pieces in this volume critically examine the place of the biopic within ongoing debates about how cinema can and should represent history and "real lives." Contributors discuss the biopic’s grounding in the conventions of the historical film, and explore the genre’s defining traits as well as its potential for innovation. The Biopic in Contemporary Film Culture expands the critical boundaries of this evolving, versatile genre.
The biopic presents a profound paradox—its own conventions and historical stages of development, disintegration, investigation, parody, and revival have not gained respect in the world of film studies. That is, until now. Whose Lives Are They Anyway? boldly proves a critical point: The biopic is a genuine, dynamic genre and an important one—it narrates, exhibits, and celebrates a subject's life and demonstrates, investigates, or questions his or her importance in the world; it illuminates the finer points of a personality; and, ultimately, it provides a medium for both artist and spectator to discover what it would be like to be that person, or a certain type of person. Through detailed analyses and critiques of nearly twenty biopics, Dennis Bingham explores what is at their core—the urge to dramatize real life and find a version of the truth within it. The genre's charge, which dates back to the salad days of the Hollywood studio era, is to introduce the biographical subject into the pantheon of cultural mythology and, above all, to show that he or she belongs there. It means to discover what we learn about our culture from the heroes who rise and the leaders who emerge from cinematic representations. Bingham also zooms in on distinctions between cinematic portrayals of men and women. Films about men have evolved from celebratory warts-and-all to investigatory to postmodern and parodic. At the same time, women in biopics have been burdened by myths of suffering, victimization, and failure from which they are only now being liberated. To explore the evolution and lifecycle changes of the biopic and develop an appreciation for subgenres contained within it, there is no better source than Whose Lives Are They Anyway?
