The anthology of the 379th Bombardment Group (H) is a comprehensive collection of 800 pages of words, numbers and historic photographs that provide significance to the Best Bomb Group"" in The Mighty Eighth Air Force.""
The unique art that graced military aircraft in World War II and the Korean War. Applied by amateurs or professional artists like Vargas, the art typically featured alluring women whose charms belied the deadly cargo the crew hoped to deliver to its targets. Hundreds of examples are shown in a combination of archival photos from the wars and current photos of artwork in museum collections.
Although Joe Klein's Woody Guthrie and Ed Cray's Ramblin' Man capture Woody Guthrie's freewheeling personality and his empathy for the poor and downtrodden, Kaufman is the first to portray in detail Guthrie's commitment to political radicalism, especially communism. Drawing on previously unseen letters, song lyrics, essays, and interviews with family and friends, Kaufman traces Guthrie's involvement in the workers' movement and his development of protest songs. He portrays Guthrie as a committed and flawed human immersed in political complexity and harrowing personal struggle. Since most of the stories in Kaufman's appreciative portrait will be familiar to readers interested in Guthrie, it is best for those who know little about the singer to read first his autobiography, Bound for Glory, or as a next read after American Radical.
This bibliography lists published and printed unit histories for the United States Air Force and Its Antecedents, including Air Divisions, Wings, Groups, Squadrons, Aviation Engineers, and the Women's Army Corps.
The most up-to-date study of the Hollywood romantic comedy film, from the development of sound to the twenty-first century, this book examines the history and conventions of the genre and surveys the controversies arising from the critical responses to these films. Provides a detailed interpretation of important romantic comedy films from as early as 1932 to movies made in the twenty-first century Presents a full analysis of the range of romantic comedy conventions, including dramatic conflicts, characters, plots, settings, and the function of humor Develops a survey of romantic comedy movies and builds a canon of key films from Hollywood's classical era right up to the present day Chapters work as discrete studies as well as within the larger context of the book
In this, Volume I of The Golden Lane Trilogy, we begin the career of Clive Colin O'Reith, International Oil man. He is haunted by a dream that recurs. This is the dream: In the night, O'Reith dreamed again that Holly No.1 burned out of control. The billowing flames, roiling and angry, drove the doomed derrick man ever higher into the skeletal structure of the steel derrick. Like a man mesmerized, rigid and unable to move, he watched the frantic silhouette stiffen and quiver. For a moment the smoking man flailed helplessly in the incandescent air. Then he pitched forward like an awkward diver, cart wheeling into first one, then another, of the glowing gifts. Finally he plummeted, head first, into the inferno.
A couple of generations ago, the movie industry ran on gut instinct--film schools, audience research departments and seminars on screenwriting were not yet de rigueur. Today the standard is the analytical approach, intended to demystify filmmaking and guarantee success (or at least minimize failure). The trouble with this method is that nobody knows how to do it--they just think they do--and films are made based on models of predictability rather than the merits of the script. This insider's look at the craft and business of screenwriting explodes some of the popular myths, demonstrating how little relevance the rules have to actual filmmaking. With long experience in film and television, the author provides insightful how-not-to analyses, with commentary by such veterans as Josh Sapan (CEO of AMC Networks), bestselling author Adriana Trigiani and Oscar-nominated screenwriter Nicholas Pileggi (Goodfellas).
Since the birth of cinema, film has been lauded as a visual rather than a verbal medium; this sentiment was epitomized by John Ford's assertion in 1964 that, "When a motion picture is at its best, it is long on action and short on dialogue." Little serious work has been done on the subject of film dialogue, yet what characters say and how they say it has been crucial to our experience and understanding of every film since the coming of sound. Through informative discussions of dozens of classic and contemporary films—from Bringing Up Baby to Terms of Endearment, from Stagecoach to Reservoir Dogs--this lively book provides the first full-length study of the use of dialogue in American film. Sarah Kozloff shows why dialogue has been neglected in the analysis of narrative film and uncovers the essential contributions dialogue makes to a film's development and impact. She uses narrative theory and drama theory to analyze the functions that dialogue typically serves in a film. The second part of the book is a comprehensive discussion of the role and nature of dialogue in four film genres: westerns, screwball comedies, gangster films, and melodramas. Focusing on topics such as class and ethnic dialects, censorship, and the effect of dramatic irony, Kozloff provides an illuminating new perspective on film genres.