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.
Hailed as the definitive work upon its original publication in 1975 and now extensively revised and updated by the author, this vastly absorbing and richly illustrated book examines film as an art form, technological innovation, big business, and shaper of American values.
Ever since Edison's peep shows first captivated urban audiences, film has had a revolutionary impact on American society, transforming culture from the bottom up, radically revising attitudes toward pleasure and sexuality, and at the same time, cementing the myth of the American dream. No book has measured film's impact more clearly or comprehensively than Movie-Made America.
This vastly readable and richly illustrated volume examines film as art form, technological innovation, big business, and cultural bellwether. It takes in stars from Douglas Fairbanks to Sly Stallone; auteurs from D. W. Griffith to Martin Scorsese and Spike Lee; and genres from the screwball comedy of the 1930s to the "hard body" movies of the 1980s to the independents films of the 1990s.
Combining panoramic sweep with detailed commentaries on hundreds of individual films, Movie-Made America is a must for any motion picture enthusiast.
A journey back in time to the movie theatres of the past and the days when those theatres were as exotic and exciting as the movies on screen. John Margolies has been documenting theatres and drive-ins aross America. Emily Gwathmey's introduction traces the evolution of the movie theatre.
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.
The story of one of the most popular and beloved movies of all time Celebrating its 65th birthday this year, The Wizard of Oz has been seen by more than one billion people worldwide since its 1939 premiere. Why does Oz endure? This lavishly illustrated book reveals all as it explores the making of the movie at the height of Hollywood's Golden Age. Details of Oz's costumes, make-up, and special effects are revealed, accompanied by rare stills, Technicolor test frames, over 300 colour and b and w illustrations (many published for the first time) and much, much more.
"There is no book about Hollywood as riveting as this documentary." - Allan Carr, Vanity Fair There is no question that the 1954 version of A STAR IS BORN holds a special place in the pantheon of classic movies. It was director George Cukor's first foray into musicals, his first color film, and it was, without a doubt, Judy Garland's greatest screen performance.With incredible detail and color, Ronald Haver gives us the fascinating story of the making, marketing and restoration of this groundbreaking classic. Here is how producer Sid Luft orchestrated the deal for his wife, how Cukor was selected to direct, how James Mason was cast to co-star and how Moss Hart's script was developed. Here are the myriad techincal problems, the clashes of personalities and the shocking emotional ups and downs of the film's star. Here, finally, is the author's own mission to restore the film to its original length and glory in the 1980s.
"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."
The art director, responsible for helping to create the look of a film, is the subject of this book. It surveys the careers of the greatest Hollywood art directors from the silent era to the present, examining their work in detail and analyzing their contribution to films.