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The first issue of Hollywood Quarterly, in October 1945, marked the appearance of the most significant, successful, and regularly published journal of its kind in the United States. For its entire life, the Quarterly held to the leftist utopianism of its founders, several of whom would later be blacklisted. The journal attracted a collection of writers unmatched in North American film studies for the heterogeneity of their intellectual and practical concerns: from film, radio, and television industry workers to academics; from Sam Goldwyn, Edith Head, and Chuck Jones to Theodor Adorno and Siegfried Kracauer. For this volume, Eric Smoodin and Ann Martin have selected essays that reflect the astonishing eclecticism of the journal, with sections on animation, the avant-garde, and documentary to go along with a representative sampling of articles about feature-length narrative films. They have also included articles on radio and television, reflecting the contents of just about every issue of the journal and exemplifying the extraordinary moment in film and media studies that Hollywood Quarterly captured and helped to create. In 1951, Hollywood Quarterly was renamed the Quarterly of Film, Radio, and Television, and in 1958 it was replaced by Film Quarterly, which is still published by the University of California Press. During those first twelve years, the Quarterly maintained an intelligent, sophisticated, and critical interest in all the major entertainment media, not just film, and in issue after issue insisted on the importance of both aesthetic and sociological methodologies for studying popular culture, and on the political significance of the mass media.
Motion pictures --- Cinéma --- History --- Social aspects --- Histoire --- Aspect social --- Culture in motion pictures. --- History. --- 20th century. --- academics. --- anthology. --- avant garde film. --- discussion books. --- documentary. --- entertainment. --- essay collection. --- film culture. --- film historians. --- film journalism. --- film scholars. --- film students. --- film studies. --- historical. --- hollywood. --- intellectual perspective. --- journal archives. --- leftist utopianism. --- mass media. --- media studies. --- narrative films. --- nonfiction. --- pop culture. --- postwar america. --- retrospective. --- sociological. --- textbooks. --- united states.
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"PARIS IN THE DARK traces the history of film and film-going in Paris, from the advent of sound cinema, through the Nazi occupation, and finally to postwar reconstruction. Drawing from a wide range of archives, Eric Smoodin reconstructs a cinematic geography of Paris. Focusing on details of the exhibition and screening of films in the neighborhoods and districts of Paris, Smoodin explores how meaning not only is expressed through film, but also is shaped by the particularities of where, when, and how people engage with film, and how spectators understand their own relationships to film. By paying attention to the material and cultural systems that shape the reception of film on the local level-film journalism, distribution systems, movie theaters - Smoodin revises and expands our understanding of what it means to talk about a national cinema, and about French cinema in particular. The book's chapters take us on a tour of Parisian film from the 1930s to the 1950s. The first chapter focuses on films screened in Parisian cinemas from 1931 to 1933; Smoodin analyzes listings in the film tabloid Pour Vous for evidence of a changing film culture, marked by the transition to sound and the development of a transnational, transcultural cinematic economy. In subsequent chapters Smoodin covers topics ranging from the ciné-clubs of Paris as sites of particular cinematic subcultures (1930-1944), to the impact of sound technology on the emerging stardom of Maurice Chevalier and Marlene Dietrich (1929-1935), to outbreaks of politically motivated violence at the cinema (1930-1944). Focusing more closely on the events of World War II, Smoodin examines how cinema became a form of cultural occupation under the Vichy régime (1939-1944). A final chapter looks at postwar cinema and film-going as an expression and celebration of liberation (1944-1949), while the conclusion considers French government studies of the habits of the national film-going public (1948-1954) in order to reflect on the state of Parisian film culture in more recent decades (1980-2016). PARIS IN THE DARK will interest scholars working in film studies, French culture and history, and cultural studies"--
Motion pictures --- Motion picture theaters --- National characteristics in motion pictures. --- History. --- Culture in motion pictures. --- Paris (France) --- Cinemas --- Movie theaters --- Moving-picture theaters --- Theaters, Motion picture --- Theaters --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- cinematic geography --- audience --- film journalism --- film distribution --- exhibition --- World War II --- movie stars
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Hollywood celebrities feared her. William Randolph Hearst adored her. Between 1915 and 1960, Louella Parsons was America's premier movie gossip columnist and in her heyday commanded a following of more than forty million readers. This first full-length biography of Parsons tells the story of her reign over Hollywood during the studio era, her lifelong alliance with her employer, William Randolph Hearst, and her complex and turbulent relationships with such noted stars, directors, and studio executives as Orson Welles, Joan Crawford, Louis B. Mayer, Ronald Reagan, and Frank Sinatra-as well as her rival columnists Hedda Hopper and Walter Winchell. Loved by fans for her "just folks," small-town image, Parsons became notorious within the film industry for her involvement in the suppression of the 1941 film Citizen Kane and her use of blackmail in the service of Hearst's political and personal agendas. As she traces Parsons's life and career, Samantha Barbas situates Parsons's experiences in the broader trajectory of Hollywood history, charting the rise of the star system and the complex interactions of publicity, journalism, and movie-making. Engagingly written and thoroughly researched, The First Lady of Hollywood is both an engrossing chronicle of one of the most powerful women in American journalism and film and a penetrating analysis of celebrity culture and Hollywood power politics.
Gossip columnists --- Journalists --- Parsons, Louella O. --- american journalism. --- american movie columnist. --- american screenwriter. --- blackmail. --- celebrity culture. --- citizen kane. --- film industry. --- film journalism. --- frank sinatra. --- hedda hopper. --- hollywood history. --- hollywood power politics. --- hollywood. --- joan crawford. --- louella parsons. --- louella rose oettinger. --- louis b mayer. --- marion davies. --- movie gossip columnist. --- orson welles. --- queen of hollywood gossip. --- ronald reagan. --- studio era. --- the first lady of hollywood. --- walter winchell. --- william randolph hearst.
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"Stories that Bind: Political Economy and Culture in New India examines the assertion of authoritarian nationalism and neoliberalism; both backed by the authority of the state and argues that contemporary India should be understood as the intersection of the two. More importantly, the book reveals, through its focus on India and its complex media landscape that this intersection has a narrative form, which author, Madhavi Murty labels spectacular realism. The book shows that the intersection of neoliberalism with authoritarian nationalism is strengthened by the circulation of stories about "emergence," "renewal," "development," and "mobility" of the nation and its people. It studies stories told through film, journalism, and popular non-fiction along with the stories narrated by political and corporate leaders to argue that Hindu nationalism and neoliberalism are conjoined in popular culture and that consent for this political economic project is crucially won in the domain of popular culture. Moving between mediascapes to create an archive of popular culture, Murty advances our understanding of political economy through material that is often seen as inconsequential, namely the popular cultural story. These stories stoke our desires (e.g. for wealth), scaffold our instincts (e.g. for a strong leadership) and shape our values"--
Hindutva --- Neoliberalism --- Popular culture --- Mass media --- Political aspects --- India --- Economic conditions --- Politics and government --- Political Economy, Culture, New India, authoritarian nationalism, neoliberalism, contemporary India, media, spectacular realism, emergence, renewal, development, mobility, film, journalism, popular non-fiction, political leaders, corporate leaders, Hindu nationalism, popular culture, mediascapes, Caste, Religion, Poverty, entrepreneurship, Entrepreneur, identity politics, new times, love, Narendra, Modi, prime minister Modi, Gujarat, Bharatiya Janata Party, National Democratic Alliance, Hinduism, Indian. --- Hindutva. --- Neoliberalism. --- Sociology. --- Political aspects.
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