When Richard M. Hollingshead Jr. first projected a movie onto a white bedsheet stretched between two trees at his home in Camden, New Jersey, in 1933, little did he know that he was on the verge of creating an entirely new entertainment industry. With America just beginning its romance with the automobile, it's no surprise that the general public found this new form of moviegoing irresistible. Fun and affordable, the drive-in quickly gained popularity among families with young children. And, of course, the local drive-in was a favorite weekend hangout for teenagers: a place where they could go just to meet friends or take a sweetheart for a romantic evening of movies under the stars. Although drive-ins are no longer as popular as they once were, in many communities a devoted following still seeks out the open-air theaters at twilight.
Cinema Under the Stars"" is a reminder of those wonderful times, as well as a recounting of the history of the drive-in experience. Here is the story, and here are the memories: B movies, concession stands loaded with goodies, screen towers, ticket booths, scratchy speakers, speaker poles, and intermission. It is all here - a nostalgic look at one of America's all-time favorite pastimes.""
Thanks to a variety of factors--among them a culture uniquely rich in the visual arts, an artisanal pride in fine printing, and an innate predisposition toward the grand and passionate--Italy produced perhaps the finest film posters in the world for much of the 20th century. Though the distinctive tradition of Italian film posters is well known to European collectors and cinephiles--and the work of poster artists such as Anselmo Ballester, Alfredo Capitani, and Luigi Martinati is displayed in museums and commands high prices at auctions--this national genre remains largely unknown to the American public. Italian Film Posters is the first collection of these inventive, colorful, and highly evocative images to be published in English. The book offers an overview of the Italian tradition, beginning with the Art Nouveau-influenced designs of the silent era, moving into the stunning lithographs of the 30s and 40s, and concluding with the gloriously idiosyncratic creations made possible by offset printing in the 50s and 60s. Blending wildly different influences--from the luminous realism of the Renaissance to the furious distortions of the Expressionists--these fascinating works are products both of a global popular culture and intensely personal visions.
One of the most talked-about books in years, A Nation of Victims established Charles Sykes as a persuasive, witty, and controversial commentator on American life and society. The plaint of the victim-- It's not my fault-- has become the loudest and most influential voice in America, an instrument of personal and lasting political change.
* Fired for consistently showing up late for work, a former school district employee sues, claiming he is a victim of "chronic lateness syndrome."
* Videotaped puffing on a pipe filled with crack cocaine, Washington, D.C., Mayor Marion Barry claims he is a victim of racism.
* In 1960, fewer than 100,000 lawsuits were filed in federal courts; in 1990, more than 250,000 were filed.
In this incisive, pugnacious, frequently hilarious book, Charles Sykes examines the erosion of our society and offers hope in the prospect of a culture of renewed character.
Eloquently written and meticulously researched, Scripture on the Silver Screen offers all students of Scripture--whether in an academic classroom or at home--an inviting new way to further their biblical literacy. It questions the Hollywoood Hermeneutic that too often views the Bible as prop, but also recognizes the contributions of movies that successfully integrate the Bible as a plot-making device. Each chapter begins with a discussion on the focal Bible passage, placing it in its literary and historical context, followed by a summary of the film and its main themes.
Andrew Sarris has long been one of America's most celebrated writers on film, author of the seminal work The American Cinema, and for decades a highly regarded critic, first for The Village Voice and more recently for The New York Observer. Now comes Sarris's definitive statement on film, in a masterwork that has taken 25 years to complete.
Here is a sweeping--and highly personal--history of American film, from the birth of the talkies (beginning with The Jazz Singer and Al Jolson's memorable line "You ain't heard nothin' yet") to the decline of the studio system. By far the largest section of the book celebrates the work of the great American film directors, with giants such as John Ford, Alfred Hitchcock, Charlie Chaplin, Orson Welles, and Howard Hawks examined film by film. Sarris also offers glowing portraits of major stars, from Garbo and Bogart to Ingrid Bergman, Margaret Sullavan, Spencer Tracy, Katharine Hepburn, Clark Gable, and Carole Lombard. There is a tour of the studios--Metro, Paramount, RKO, Warner Brothers, 20th Century Fox, Universal--revealing how each left its own particular stamp on film. And in perhaps the most interesting and original section, we are treated to an informative look at film genres--the musical, the screwball comedy, the horror picture, the gangster film, and the western.
A lifetime of watching and thinking about cinema has gone into this book. It is the history that film buffs have been waiting for.
Patricia Bosworth is an acclaimed biographer whose classic work on the life of Montgomery Clift was praised by Newsweek as the best film star biography in years. Her firsthand knowledge of the entertainment industry infuses her writing with an intimacy and vividness The Washington Post Book World calls extraordinary. In Marlon Brando, she evokes the magnetic sexuality, passion, and vulnerability of the icon -- and the man. Following its subject from the moody Oklahoma teenager to the Method-trained star to the eccentric recluse of his later years, Marlon Brando offers a penetrating look at the actor's evolving persona: the volcanic Stanley Kowalski in A Streetcar Named Desire, the sensitive rebel in The Wild Ones, the iconic Don Corleone in The Godfather. Bosworth probes Brando's alcoholic parents' influence on his acting, his decades of psycho-analysis, and his tumultuous personal relationships. Here, from rebellious unknown to reluctant idol to falling star, is the complex charismatic genius who changed the face of acting.
"The Studs Terkel Interviews: Film and Theater" collects the Pulitzer Prize-winning oral historian's remarkable conversations with some of the greatest luminaries of film and theater. Originally published under the title "The Spectator," this "knowledgeable and perceptive" ("Library Journal") look at show business presents the actors directors, playwrights, dancers, lyricists, and others who created the dramatic works of the twentieth century.
Among the many highlights in these pages, Buster Keaton explains the wonders of unscripted silent comedy, Federico Fellini reflects on honesty in art, Carol Channing reveals that she is far more serious than she lets on, and Marlon Brando turns the tables and wants to interview Terkel. We learn about crucial artistic decisions in the lives of Arthur Miller, Tennessee Williams, and Edward Albee and hear from a range of film directors, from Vittorio De Sica and King Vidor to Satyajit Ray. We even get to witness Terkel playing straight man to a wildly inventive Zero Mostel. Because Terkel knows his subjects' work intimately, he asks precisely the right questions to elicit the most revealing responses. As the "New York Times Book Review " noted, "Terkel's knowledge and force of personality make him fully a player alongside his famous guests."