Book Description
Ideal for Introduction to American Cinema courses, American Film History courses, and Introductory Film Appreciation courses focused on American Film, this text offers a cultural examination of the American movie-making industry, with particular attention paid to the economic and aesthetic institution of Hollywood.
Customer Reviews:
Excellent as a Historical Text Book.......2007-03-24
So, I expected this book to be a bit more fun. Unfortunately, the fun element is missing. However, in fairness, the book serves as a thorough textbook for the history of American Cinema and its techniques and various genres. I did enjoy reading about the early studio system and the vast amount of control this oligopoly held. There were some very good critiques and studies of specific films, and a bit about specific actors and actresses. Even a bit about directors. Though packed with information, the book just lacks an entertainment value that it could and should have pulled off based on the subject matter.
The different genres studied include:
Westerns
War Movies
Silent Films
Film Noire
Screwball Comedies
As well as an overall dissertation on Classical Hollywood Style and its various techniques.
Not very good..........2005-03-05
I got this book for a class on the history of cinema. Unfortunately, as the title implies, it only deals with American Cinema. If this is a book for school, check out the class to see if foreign films and film history will be discussed. This book is, again, as the title implies--one-sided. Most of the movies it discusses, gives away crucial plot-points and endings. Some movies that I've been dying to see were ruined in just one or two sentences. This book is also very puffed-up and biased (I don't know any other way of explaining it). Many times throughout the book, Belton seems like James Lipton of "Inside the Actor's Studio", and goes on and on about the greatness of Hollywood, actors, director's, and films with nothing negative to say. It's not at all critical of anything and the author frequently inserts his own interpretation of films into the general text, which I found a little pompous. The book does offer up some interesting facts about the early history and the birth of cinema, but there's something about the way this book was written that makes it hard to stay interested. I think the chapters about film genres exaggerate the importance of some of them, and neglects other genres completely, ie. Horror, Thriller, Mystery, Sci-fi, Animation, Epics, etc. Again, question the instructor and/or look at the class syllabus before siging up if this is the only book for this class. I don't believe this is a comprehensive and unbiased view of cinema and it's history.
A very useful beginners guide to American film........2003-01-08
Years ago I took an intro-level film class at a community college. This was the text for the class. It was accompanied (at least in my class) by a PBS video series that combined film clips with interviews and historical information. Going into the class I had little more than a passing interest in film and film history. But after taking that class, my passion for film has grown exponentially with each year. But back to the book, I really liked this book and highlighted my way from the front cover to the back cover. There are of course limitations to this book. Firstly, it deals only with American films. Secondly, this book barely breaks the 300-page mark - hardly a comprehensive volume. You aren't going to get any information on John Cassavetes here or anything. Now if you have a chance to use this book in conjunction with the PBS films, I think you'll do much better (in fact I think the vids even give a nod to Cassavetes), but even then please note that this material is for an INTRO-level film class, and won't be much good for someone who already knows a fair amount about American film. But with that in mind, the book still has a lot to offer someone looking to introduce themselves to film history.
The first third of the book starts with the birth of film, moves quickly on to the Hollywood studio system, and walks us through the basics of film style (camerawork, lighting, editing, etc.). The second third covers the basics of film genre; there is a chapter about film noir, one on comedies, one on war films, and one on westerns. This second section was particularly useful to me. I could read each chapter, jot down a list of promising titles, hit my local video store, and I was good to go. The third section covers American film after World War II. In this section things seem a little compressed. 110 pages for 50 years of film? A lot is lost on the cutting room floor. But there's lots to dig into all the same. There's a chapter on Hollywood during the McCarthy years (yikes!), one on film's evolution during the emergence of television, a chapter on 1960s counterculture films, one on the film school directors of the 1970s and 1980s, and finally a pretty weak chapter on film in the 1990s. Oh yeah, and at the end of the book there's a handy glossary (in case you're ever stuck on what point-of-view editing is) and a pretty thorough index.
Again, not a book for someone who already has a good feel for film history. But definitely a great resource for someone new to film studies, or for someone who has trouble finding a movie at Blockbuster on Fridays. It did a great job getting me excited about movies, and I imagine its done the same for others.... A good companion to this text (or possibly an all-out replacement of it) is Scorsese's VHS/DVD, "A Personal Journey With Martin Scorsese Through American Movies."
Movie spoiler.......2002-10-08
This would be a great book to read if you have no intention of watching the films discussed within, or if you've already seen them. On quite a few films, it tells the whole plot, in detail, from opening to end credits.
I also don't like the prose of the author, as he excessively uses sentences "in quotations". The writing structure is very formulaic and boring. The "5 paragraph essay" format is good for high school students learning to write, but imagine an entire book written that way. I can only read it for 15 minutes before losing interest.
The book does, however, provide plenty of examples from a variety of films.
This book is a companion piece to the PBS series by the same name. The series is much more interesting. Don't bother with the book. A much better film text is "Film: An Introduction", by William Phillips, ISBN: 0312258968.
Book Description
America on Film: Representing Race, Class, Gender, and Sexuality in the Movies is a lively introduction to issues of diversity as represented within the American cinema. The first synthetic and historical text of its kind, America on Film provides a comprehensive overview of the industrial, socio-cultural, and aesthetic factors that contribute to cinematic representations of race, class, gender, and sexuality. The volume chronicles the cinematic history of various cultural groups, examines forces and institutions of bias, and stimulates discussion about the relationship between film and American national culture.Accessible and user-friendly, America on Film features 101 illustrations, a glossary of key terms, questions for discussion, and lists for further reading and further viewing. The book is organized within a broad historical framework, with specific theoretical concepts - including film genre, auteurism, cultural studies, Orientalism, the "male gaze, " feminism, and queer theory - integrated throughout. Each individual chapter features a concise overview of the topic at hand, a discussion of representative films, figures, and movements, and an in-depth analysis of a single film, including The Lion King, The Jazz Singer, Smoke Signals, The Grapes of Wrath, and The Celluloid Closet.
Customer Reviews:
a very interesting book to page through.......2007-07-18
Kenneth Anger's hollywood babylon is the kind of book you can pick up and put down at any time.. I find it interesting to page through before or after I watch one of the older movies of hollywood's golden age.. I can't get enough of this sort of look into the dumpster of tinseltown.. the scandals and episodes that have been brushed under the carpet or just are no longer known about.. The list of characters that populate these pages are as colorful as they were glamorous.. and also at times hideous..
This is not very heavy reading but it is endlessly fascinating..
Thumbs down on the (myth-ridden) text, thumbs up on (some of) the pictures.......2007-07-12
What saves the sensationalistic - not to say trashy and in many places inaccurate - _Hollywood Babylon_ from being a total failure is the huge number of pictures, many shocking and some downright grisly (as in the picture of poor Thelma Todd lying done to death in her car), but mostly fascinating if sometimes nauseating (I'll talk about one of the worst offenders shortly). Which is a good thing, because frankly I want to take a bath every time I read the text to wash off the grime. We all know that Hollywood in its "Golden Age" was a long way removed from the image of saintly morality painted by its self-appointed guardians, the studio moguls - very many of whom had guilty secrets among them - chief among them, but Kenneth Anger seems to take a little too much delight in the sordidity and scandal for my own taste. What makes it worse is that he passes on a number of urban legends rather than do the boring work of get at the truth.
One of the most objectionable myths he fosters in this book, in my view, is the story that Jayne Mansfield was decapitated in the auto accident that took her life in 1967. This is simply not true. There is a ghastly photo in circulation on the web - I won't link to it but those who really want to know can Google for it - that makes it clear that her injuries, while fatal, did not result in the removal of her head. What you see on the car's crumpled hood in that photo (that Anger claims was Mansfield's noggin) is actually her wig. (And did we really need to see that photo of her dead Chihuahua? Ugh.)
If people want a really good book on Hollywood scandals, I strongly suggest they go find James Robert Parish's well-researched, evenhanded, brightly-written _The Hollywood Book of Scandal_ instead. (And that book doesn't contain any photos likely to make you lose your lunch, either!)
Juicy delicious!.......2007-05-19
If you think today's stars are misbehaved, wait til you read this! I couldn't put it down and read it in few days. Anger's style of writing is witty, sarcastic, and will compltely put you back into another era. The book focuses mainly on early, pre-code Hollywood up until Jayne Mansfield's death in 1967. There are so many juicy stories and even morbid details in this book, and tons of awesome pictures. (Although be warned- picture of Jayne Mansfield's car crash and dead dog are depressing and bloody). Includes everyone who was ever anyone- Clara Bow, Carole Landis, Carole Lombard, Marilyn Monroe, Valentino, Novarro, Judy Garland (who died on the toilet), Gary Cooper, William Randolph Hurst, Jayne Mansfield, Charlie Chaplin, etc. etc. etc. All the old legends are in here. Completely worth the price. I just wish there was a newer version.
great book and wonderful gossip.......2007-02-18
if your the type that is intrigued by anna nichole , michael jackson, brittney spears and paris hilton then get this book these people were the real hollywood deal the stars from the 20s 30s and 40s make todays stars seem like cub scouts. this book has it all sex , glamor , drugs all the stuff that will make you not put this book down . you couldnt make this stuff up if you tried .
VERY ENTERTAINING.......2007-01-12
I love reading the trash & gossip about the stars and this book provided it all. It was hard to put down and I was sorry when I finished it.
Great reading!
Book Description
FOLLOW THE YELLOW BRICK ROAD...All the excitement of the world's most beloved film unfolds in three-dimensional splendor as you join Dorothy, the Scarecrow, the Tin Man, the Cowardly Lion---and Toto, too---on their journey to Oz. Over 50 photos from the classic movie are engineered into unforgettable scenes like the Twister, Munchkinland, the Haunted Forest and Emerald City. And the CD includes favorite songs from the original soundtrack, so you can click your heels to the beat while getting swept up in the amazing detail of this collectible book!
Customer Reviews:
A glorious look at the wonderful movie of "The Wizard of Oz".......2005-08-14
Since this is "The Wizard of Oz: The Official 50th Anniversary Pictorial History" of the beloved 1939 film, it is not surprising that John Fricke, Jay Scarfone, and William Stillman have put together the book that tops the "must have" list for fans of the film (after, of course, L. Frank Baum's original novel, which just had its centennial edition come out in 1903. After an introduction by Jack Haley, Jr., the volume's prologue, "The Marvelous Land of Oz," begins with the story of how Baum came up with the name for Oz and looks at the history of his stories prior to the movie. Also included in this prologue are stills from some of the vaudeville and silent movie versions (the 1925 film had Oliver Hardy as the Tin Woodman), the original book covers for the 42 Oz stories, and Technicolor test shots of the movie cast, which includes Judy Garland wearing a blond wig as Dorothy. By the time you finish this prologue you will know that this book is going to be everything that you would want as the table of contents indicates:
Part One - The Oz Diary: Creating a Classic: (1) Acquisition and Casting contrasts the signing of the cast with W.W. Denslow's first pictures of the characters; (2) Scripts, Songs, and Staff focuses on early drafts of the scripts and ideas for song more so than what actually ended up in the movie; (3) Wardrobe and Markup details the evolution of the look of each character with corresponding photographs; (4) The Thorpe "Era" is about Richard Thorpe's short tenure as the film's director, when Gale Sondergaard is the Wicked Witch and Dorothy is a blond; (5) There'll Be Some Changes Made is short but sweet and is about the changes George Cukor made as a stop gap under Victor Fleming was signed to direct the film; (6) "The Wizard" Comes to Life is a lengthy chapter covering the making of the film with its various legendary stories; and (7) Post-Production and Previews, which details what was cut (including "Over the Rainbow" at one point), when and why.
Part Two - The Oz Diary Continued: Promotion and Reception: (8) The Oz Campaign contains everything from Judy Garland telling Frank Morgan "Anybody can be a wizard at Jelly-Making" for a newspaper ad for Certo (never heard of it either)to a two-page full-color spread in "Life" and a special "Wizard of Oz" ad for the Sunday comics; (9) Hollywood Party is about the movie's gala premier; (10) "Capitol" Times in Manhattan is about the show at Loew's Capitol Theater In New York City that showed the movie along with a life performances by Garland and Mickey Rooney. This chapter also shows some of the first product tie-ins for the movie; and (11) From Coast to Coast is a brief look at promotion of the film across the nation and includes what might be the first editorial cartoon that used the Oz characters to comment on a real situation (Hitler is the Wicked Witch of the West and Mussolini is a winged monkey, while Dorothy is European civilization, the Scarecrow is Poland, the Lion is Britain, and the Tin Woodman is France).
Part Three - Raves and Accolades looks at (12) The Reviews, which includes a look at foreign books and domestic record versions; and (13) The Twelfth Annual Academy Awards, where the film won Best Song for "Over the Rainbow," Best Original Score for Herbert Stothart's underscoring and adaptation of the Arlen/Harburg songs, and Garland for best performance of a juvenile during the past year.
Part Four - Oz and Ends, includes brief looks at (14) Original Ozzy Merchandising; (15) Oz Abroad; and (16) Theatrical Reissue.
Part Five - Television Perennial covers how most of us first saw the movie, including (17) Guest Hosts on CBS (I always liked Dick Van Dyke); and (18) NBC Interlude/CBS Comeback.
Part Six - The Legend is another set of brief chapters on (19) Reunions and Reminiscences; (20) Merchandising; and (21) Icon, which ends the book on a perfect grade note with editorial cartoons on the death of Garland in 1959, Jack Haley in 1979, Margaret Hamilton in 1985, and Ray Bolger in 1987.
This volume includes more than 400 illustrations, half in color and many never before published, including over seventy makeup and costume portraits, behind-the-scenes and production photos, and not only stills but script pages from the musical numbers and segments that were filmed but cut from the release print (including "The Jitterbug," Bolger's extended solo dance to "If I Only Had a Brain," and the "triumphal return" sequence). The photographs of all the movie posters, toys, and other items associated with "The Wizard of Oz" can be found throughout the book instead of being collected all at the end of the book corresponding with when the movie came out. The last three parts could essentially be individual chapters to avoid the sense that you are racing through the end of the volume, but that is a minor complaint all things considered.
Oz-some book!.......2005-07-21
If you only buy 1 Oz book for your collection, make it this one! In Oz circles, this book is known as "The Green Book" and it is a virtual encyclopedia of Oz information. The research and work that went into the writing of this book is truly astounding!
The rare photographs will amaze you (including Judy Garland in her blond wig and Buddy Ebsen as the Tin Man).
This book is full of little-known trivia. After reading this book, you can wow your friends with your new-found Oz knowledge!
A Look Back At a Movie Classic!.......2003-03-18
There have been a few books that have given us all a look into the making of MGM's movie version of "The Wizard Of Oz!"? But The John Fricke,Jay Scarfone manuscript surpasses all of the other books.Because it's filled with wonderful photos and info that takes us beyound the making of the film and gives us a look into the continuing popularity of the Oz characters.Using rare photos,extensive research and interviews from the people.Who were involved with the project.Messers Scarfone And Fricke.Show us the early stages of the making of the film.From the many drafts of the script..to the problems with the changes in cast,storylines,music,mishaps with props and special effects.To the promotions of the film on radio(NBC Radio's "MaxwellHouse Coffeetime")and at stage shows to the many other interpretations of the story that appeared on tv,in the movies,on radio, in the theater and at parades and theme parks.The book even gives some more biographical info about the cast and crew and some more insight into the man.Who created this legendary tale:Mr.Lyman Frank Baum.For the fans of this classic story.Who want to know the full extent of it's geniss? This is the one book to have.Kevin S.Butler.
A Look Back At a Movie Classic!.......2003-03-18
There have been a few books that have given us all a look into the making of MGM's movie version of "The Wizard Of Oz!"? But The Jay Scarfone,John Fricke manuscript surpasses all of the other books.Because it's filled with wonderful photos and info that takes us beyound the making of the film and gives us a look into the continuing popularity of the Oz characters.Using rare photos,extensive research and interviews from the people.Who were involved with the project.Messers Scarfone And Fricke.Show us the early stages of the making of the film.From the many drafts of the script..to the problems with the changes in cast,storylines,music,mishaps with props and special effects.To the promotions of the film on radio(NBC Radio's "MaxwellHouse Coffeetime")and at stage shows to the many other interpretations of the story that appeared on tv,in the movies,on radio, in the theater and at parades and theme parks.The book even gives some more biographical info about the cast and crew and some more insight into the man.Who created this legendary tale:Mr.Lyman Frank Baum.For the fans of this classic story.Who want to know the full extent of it's geniss? This is the one book to have.Kevin S.Butler.
Pictorial History That Still Works For The 63rd Anniversary.......2002-12-06
There are many, many books out there about the making of everyone's favorite film, "The Wizard of Oz". There aren't any I've seen that I wouldn't recommend, but if you are looking for pictures, pictures, and more pictures, this beautiful coffee table size book is a great place to start. Pictures, both in color and black and white, of every aspect of the making of the movie fill this attractive volume from cover to cover, and the text, by Oz authority John Fricke is all-encompassing. Although released for the 50th Anniversary of the film's 1939 release, it is still relevant 13 years later, and a great book for the collector or casual researcher. It has yet to be topped.
Book Description
Popular cult author and show business insider James Parish exposes the scandals that rocked Tinseltown
Nothing intrigues the public more than a good, juicy scandal. Add a famous Hollywood star or two to the mix and the nation is hooked. The Hollywood Book of Scandals provides the full account of 32 big, provocative scandals—complete with all the sexy, scintillating, and often shocking details. Written by veteran show business chronicler James Robert Parish, this book dishes the full dirt on:
- Bob Crane’s mysterious death
- Elizabeth Taylor’s seduction of Eddie Fisher
- Robert Mitchum’s arrest for drug possession
- Judy Garland’s public meltdown
- Errol Flynn’s trial for statutory rape
- Winona Ryder’s shoplifting trial
More than 100 black-and-white celebrity photos offer readers a close-up look at the leading players in these sordid dramas.
Customer Reviews:
Those who like this book really like it, those who don't really hate it.......2007-07-12
There's not much space, it seems, for in-betweens, but place me firmly in the "like" camp, especially since I've talked up this book favorably in reviews of several other Hollywood-gossip books here on Amazon. I will say I'm also in Parish's corner. I haven't read a _bad_ book from him yet, IMO. His "Hollywood Book Of..." series specializes in relatively short, punchy articles that are well-researched (certainly in comparison to some other books in this genre), evenhanded and crisply written. While the photos are not always anything special (his series on actresses features much better selections of pictures), they're also usually well-chosen and a lot less sensationalistic than, say, _Hollywood Babylon's_ selections.
Another reviewer questioned why Cary Grant's rooming with Randolph Scott should even be considered a scandal in 2007, which misses the point. It's not that it's not scandalous now, in 2007; the point is how it was regarded _back then_. If Parish doesn't make it clear in that particular instance, he generally does elsewhere in the book (for instance, in his analysis of the Fatty Arbuckle scandal, where it was clear both at the time and now that Arbuckle was a railroaded, innocent man; in fact, Parish explodes the myth of Virginia Rappe's innocence and demonstrates that key (false) testimony was given by a friend of Rappe's who had an axe of her own to grind).
No book is perfect, though, and my own quibble is that Parish covers some material that's already been gone over in other books in the present series, while leaving out other material that clearly deserves inclusion. Specifically, I'm thinking of his section on the Woody Allen-Mia Farrow breakup, which was already discussed at length in "The Hollywood Book of Breakups". The space devoted to that rehash could have been used, instead, to talk about - for instance - the David Begelman check-forgery scandal (where actor Robert Stack discovered his name signed to a check he didn't draw or cash, which was ultimately traced to then-studio head Begelman).
All in all, though, I have no hesitation in recommending this book.
Poor book, badly disjointed, rehashing scandals most people already know about.......2007-03-24
I found this book to be very disjointed, badly organized, and even poorly written. The list of "scandals" is the same old list of tired stories, innuendo, and might-have-beens that every movie fan and scandal fan likely knows about already. Worse, some of the occurrences Parish lists aren't really even scandals - the fact that Robert Blake was tried for his wife's murder may be a scandal, but in 2007 is the fact that Cary Grant shared a house with a fellow male star even slightly scandalous? The only scandal is in those who judged him, one way or the other.
In addition, this book could have benefited from thorough copy editing and fact-checking. There are many minor and major factual errors and, in addition, many typos and grammatical errors.
I don't recommend this book.
I read this book before because it was WRITTEN before..........2006-09-04
If you have read the Hollywood Babylon books, then there is really no need to read this one. It is a rehash of what was in those books.
The only reason you might want to read this one is to save yourself reading the other two or maybe you have no clue at all about these scandals and want to catch up.
I found the book hard to follow in general. Overall I can't tell if this was a repeat by intention or what. I like John Robert Parish too, so this is no slam on him. I just don't get the point, but he isn't the first guy to so something over.
The Hollywood Book of Scandals.......2006-07-29
The scandals themselves were interesting however I found the book hard to read. Some of the information was repetitive from chapter to chapter and it was not well written. I was looking for something that I could just pick up an read a story at a time and this was not the book for that.
Debbie Davis could only like this book........2006-06-24
Only a short bus rider like Debbie davis could love this book.This book is the second book in a row this parish character wrote and its boring an old news from the old tabloids.Unless you have lived under the dirt there is nothing new here. Just an obvious attempt to make money. This has been done much better by better writers like Bob Thomas and James bacon and Earl Wilson!!!!- Note- one reviwer wrote Don Johnston of Beach Boys wrote I write the songs. His name is Bruce dear.
Book Description
A provocative and dynamic force in American culture since the early twentieth century, movies have presented several generations of American writers with a new, fascinating, and challenging subject. How writers rose to the challenge, and in the process created an extraordinary body of work-passionate, contentious, restlessly curious-makes for a dazzling and constantly entertaining volume. "I have focused," writes editor Phillip Lopate, "on film criticism as an art in itself-the magnet for strong, elegant, eloquent, enjoyable writing."
American Movie Critics is an anthology of unparalleled scope that charts the rise of movies as art, industry, and mass entertainment. Beginning in the silent era-with poets Vachel Lindsay and Carl Sandburg hailing the new medium and Edmund Wilson paying tribute to Chaplin's Gold Rush-the collection traces the rapid evolution of the medium in an age of tumultuous political and social changes. Here are the great movie critics who forged a forceful vernacular idiom for talking about the new art: Otis Ferguson in the 1930s finding in James Cagney "the dignity of the genuine worn as easily as his skin"; James Agee in the 1940s on American war films and the advent of Italian neo-realism; Manny Farber, Pauline Kael, Andrew Sarris, Molly Haskell, Vincent Canby, and others from what Lopate calls "the golden age of movie criticism" from the 1950s through the '70s, a period when enthusiasms ran high, and arguments over style and content often took on a larger-than-life quality. Here too are the finest film reviewers on the contemporary scene, including Richard Schickel, Roger Ebert, and Manohla Dargis.
Joining the full-time film writers are many distinguished American authors weighing in on a range of cinematic experiences, including Ralph Ellison, Susan Sontag, James Baldwin, Brendan Gill, and John Ashbery. Together they define an often underappreciated genre of American writing, a tradition filled with the "energy, passion, and analytical juice" that for Lopate mark the best in movie criticism.
Phillip Lopate, editor, is an essayist, novelist, and poet, whose books include Bachelorhood; Against Joie de Vivre; Portrait of My Body; and Waterfront: A Journey Around Manhattan. He has edited The Art of the Personal Essay and, for The Library of America, Writing New York: A Literary Anthology. His selected film criticism appeared in Totally Tenderly Tragically, and he currently serves on the selection committee of the New York Film Festival.
The proceeds from the sale of this book will be used to support the mission of The Library of America, a nonprofit organization created in 1979 to preserve America's literary heritage by publishing and keeping permanently in print authoritative editions of America's best and most significant writing.
Customer Reviews:
Great book, but where's the index?.......2007-01-28
I was surprised not to find an index in this otherwise excellent book.
Screen Tests.......2006-10-25
I wanted a book that would cover a wide array of reviews and struck gold with this one. Though now that I think of it, maybe I should have held out for one that included non-American writers in it. I'm such a dunce, I didn't see until too late that, on the title page, clearly marked, it reads, "A special publication of the Library of America." No wonder it's so America-centric, but I picked up the book and opened it by happenstance to Penelope Gilliatt's scintillating review of Fassbinder's Petra Von Kant, and naturally I took the book to be more international in scope than it actually is. In what universe do people think of Gilliatt as a US writer? It doesn't really matter because what remains deserves four stars.
Lopate doesn't go just for the simple nobrainer essays by each of the authors, but he actually spends time thinking of new ways to showcase their skills. Thus for James Agee we don't get the old Silent Clowns piece, or the one onm MONSIEUR VERDOUX nor Val Lewton. He goes for the unfamiliar nearly every time, which is nice. (The only exception I can see offhand is Molly Haskell on "The Woman's Film," but that's nice in a quite different way since Haskell's essay is so lengthy and comprehensive hat it is only occasionally reprinted anywhere, despite its historical significance.
Bell Hooks and John Ashbery have certainly written better work elsewhere. But it is nice to see James Harvey and Stuart Klawans, both so underrated, here given pride of place. And having Libby Gelman-Waxner in a book of this kind is certainly a victory for gay incursion into the canon. James Baldwin on LADY SINGS THE BLUES and Paul Schrader's "Notes on Film Noir" would alone make a great book, and there are literally dozens of others of equal quality. Gee, that Renata Adler could sure bite back, couldn't she? I don't remember her as so aerbic as she is here about Richard Brooks' film of IN COLD BLOOD. Talk about cold blooded, she's the kind of writer about whom I used to think, admiringly, "She's so New York," when I meant, acidic.
Fast and reasonable.......2006-07-06
I was surprised, first of all, that the book was available. It had been published the day before. I was also surprised at how fast it came--only about 3 days. And, of course, the price was terrific!
Gift for a grandchild.......2006-07-05
The book was selected as a gjft because it seemed to be an excellent choice for a grandchild (age 19) who is very interested in all aspects of film.
Movies are our(US) great cultural form.......2006-06-06
A popular entertainment that sometimes aspires to...and occasionally achieves the status of art. Criticism has always been a stressed and intricate exercise, something that few reviewers manage to excel at ...and those who do may come to regret it.(Just ask a few of Ammie's top reviewers)
The problem is, (stated in AMC) "the job of the American film critic is complicated by the fact that virtually all Americans regard themselves as astute judges of movies." This is because we've all seen so many films in theaters and on TV, but moreover it's really because reviewing combines an activity that almost everybody does...watching movies. And with an activity that almost everybody thinks they can do...writing. The truth is that almost nobody has seen as many movies of such widely varying quality as film critics have, and writing turns out to be harder than it looks..
The movies have been a prime subject for successive generations of American writers who, in response, have produced an extraordinary body of work--writing known for its craft, passion, restless curiosity, sparkling wit and, often, defiance of accepted conventions. Edited by renowned essayist Phillip Lopate is joined on the panel by film critics Richard Schickel, Kenneth Turan and Manohla Dargis....for a roundtable discussion of film criticism as a vibrant art form.
The daunting task of how do we give constructive criticism without appearing phony or cushioning the criticism to a point where the buyer does not take it seriously? Its not easy. Being critical takes time and practice...that is, if you want your criticism to be presented in a positive way and used effectively.
All of this and more are discussed within the binding of AMC.
Book Description
This anthology of specially-commissioned essays introduces the film student to some of the central questions and debates that have concerned the development of film studies. Written by a team of noted scholars, the collection focuses on issues that confront us today, assessing the impact on the discipline of recent technological, cultural, and social developments; challenging received thinking, and reinventing film studies for the post-film era. In each of five thematic sections, early essays open up key problems, issues, and debates while a case study offers concrete examples of what various approaches can deliver. Covering all major topics and fully up-to-date, this reader will be a key text for all serious undergraduate and graduate students who want to understand where film is going in its second century.
Average customer rating:
- A must for anyone interested in hollywoods's golden age
- Fascinating, but buyer beware
- A refreshing take on Hollywood where business men are stars!
- Fantastic resource of film history, and a fun read to boot
- Just an excellent book on the subject
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The Genius of the System: Hollywood Filmmaking in the Studio Era
Thomas Schatz
Manufacturer: Owl Books
ProductGroup: Book
Binding: Paperback
 History & Criticism
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ASIN: 0805046666 |
Book Description
At a time when the studio is making a stunning comeback, film historian Thomas Schatz provides an indispensable account of Hollywood's tradional blend of business and art. This book lays to rest the persistent myth that businesspeople and producers stifle artistic talent and reveals instead the genius of a system of collaboration and conflict. Working from industry documents, Schatz traces the development of house styles, the rise and fall of careers, and the making-and unmaking-of movies, from Frankenstein to Spellbound to Grand Hotel. Richly illustrated and highly readable, The Genius of the System gives the definitive view of the workings of the Old Hollywood and the foundations of the New.
Customer Reviews:
A must for anyone interested in hollywoods's golden age.......2005-03-08
Thomas Schatz does a remarkable job of diagraming the rise of the studio system in Hollywood. The book is remarkably easy to follow (compared to any of Andrew Sarris's works) and includes numerous photographs. He focuses most on the trials and tribulations of Universal Studios, Warner Bros. and MGM and their distinct, integrated studio styles (He mentions RKO as well).
Irving Thalberg, David O. Selznick, Daryl Zanuck and Hitchcock are featured prominently and rightfully so. Also, includes many of the behind the scene battles between studios and directors/ producers.
There are some minor criticisms though. He almost completely ignores Paramount and Colombia. And the decline of the studio system is sparse compared to the rise of. But aside from that, this book is an enjoyable read and recommend it to anyone who is fascinated with early hollywood
Fascinating, but buyer beware.......2004-08-02
Schatz's book is well-rounded and nicely structured. It was a good decision on his part to take a round-robin focus on each studio instead of trying to mix them together, as some authors have. All of the studios had different ideas about what they wanted to achieve in their work, so this approach makes sense. Twentieth-Century Fox and Paramount were left out completely, but Schatz was clearly trying to choose one studio of each type of size and characteristic so as to keep control of the scope of the book.
I did find a glaring error--the finale to "Babes in Arms" was not the minstral number, but the song, "God's Country." In a book of this size, or of any size for that matter, errors will creep in, so it isn't the kiss of death. However, if the reader is familiar with MGM musicals, it may be a small turn-off.
Also, I wasn't satisfied with the epilogue. Instead of citing examples of the comeback of the studio system (LucasFilm, for instance), Schatz simply outlines the creative decline of Alfred Hitchcock. Huh.
Slight shortcomings aside, this book is very entertaining. I wish my film studies textbooks had been this interesting.
A refreshing take on Hollywood where business men are stars!.......2003-11-26
Film theorist Andre Bazin once wrote "The American cinema is a classical art, but why not then admire in it what is most admirable, i.e., not only the talent of this or that filmmaker, but the genius of the system." Quite simply author Thomas Schatz had done just that with this groundbreaking and wondrously entertaining history of the Hollywood studio era.
Up until its publication in 1988, film history had been defined by the "auteur" school of thinking where the director is the supreme artist who nurtured the art form. The studio executives- the money men- were relegated to the background and often depicted as crass capitalist who often hindered the creative process.
In Schatz's eyes, men like Carl Laemmle, Darryl F. Zanuck, David O. Selznick, Harry Warner, and Irving Thalberg were intuitive geniuses who understood the art of storytelling and were able to systematically deliver that art to the masses with drive and innovation. From the low rent beginnings of the Nickelodeon to steady decline of the studio system amid the dawn of Television, these men set standards that are sadly not met by today's faceless conglomerates. They all created "the movies" as we fondly perceive it and Schatz lets the creation of 20th century popular culture unfold with a finely turned narrative sweep.
Fantastic resource of film history, and a fun read to boot.......2003-01-07
It's rare that one can read a book containing so much dry information such as the budgetary concerns of many many films, and still be captivated by the storytelling enough to make it work. This book reads like a well-crafted novel, with the main characters being a handful of studio executives. What results is an utterly readable, insider's look into the business of filmmaking in the studio era. The artistic genius of some of these men is acknowledged, but largely, their business dealings are highlighted. If you're afraid of such business talk, don't be. The author makes budgets and salaries an interesting and integral part of the story. I highly recommend this book to anyone who just loves movies and wants to learn more about how it all started. I also recommend this book to anyone who is in or getting into the producing biz now. What a helpful and inspirational resource. My only regret is that there is just no way that I can remember all of the information that I read in this book. That's why I refer to it as a resource in the title of this review and why I will use it as such for years to come.
Just an excellent book on the subject.......2000-07-28
Prof. Schatz does not suffer from the scholar's disease of academic-speak and writes a book that clearly demonstrates his expertise on the studio structure. Most books I have read extended the view of the outsider looking in at the star system and not the economics of the studios. "Genius of the System" chronicles the history of the studio's business, that is to say the economics and the people behind the economics.
If you want to read about the business structure of Hollywood during its beginnings, this is the book for you. I cannot recommend it enough.
Customer Reviews:
A Fairly Thorough History of Animation.......2007-06-12
I purchased this book for a class, it was the textbook we used. It was interesting and seemed to encompass a fair amount of history. I do wish he'd expanded more on the history of computer animation, but it's pretty extensive in and of itself.
Textbook Excellence........2007-03-14
The book I ordered was in perfect condition and delivery right away. I got it about half the amount of business days I was supposed to get it. Plus the book isn't mind-numbing to read as it's about the coolest subject ever.
The history of cartoons (to the 1980s).......2006-05-26
When I think of the history of animation, I tend to divide things into three periods: The Golden Age, noted for early Warner Brothers cartoons and the classic Disney movies such as Snow White and Fantasia; The Age of Mediocrity, where creativity seemed to reach its nadir, as seen most notably in the bland Hanna Barbera cartoons; and the Modern Era, with the resurgence in cartoon creativity, which, starting with The Little Mermaid in the movies and the Simpsons on TV, animation reached a new level of popularity and respectability. Leonard Maltin's book, Of Mice and Magic, shows that my own view of cartoon history is roughly correct but also overly simple: there was plenty of mediocrity in the Golden Age and plenty of decent stuff in the Age of Mediocrity.
Maltin starts off with a chapter about the silent era, when animation was just beginning. Over time, experience would refine the process, but the big leap would occur with sound, in particular with Walt Disney's Steamboat Willie featuring Mickey Mouse. After the silent era chapter, there are chapters that serve as "biographies" of the major animation studios, starting with the biggest of them all, Disney.
The Disney characters are among the most popular in cartoon history (or film history in general). Mickey Mouse may have been the biggest name, but he didn't have much of a personality, so he started being pushed aside in favor of more developed characters, especially Donald Duck, the first major Disney character with any sort of edge. In fact, this is a constant theme in the book: that the weakest cartoons from any studio were the ones that featured characters with no distinct personalities.
Success would often come with the most offbeat and edgy characters, such as Donald Duck, Bugs Bunny, Popeye and Daffy Duck. But some of the studios had a mercenary nature that would put quantity ahead of quality; probably the worst in the bunch was Terrytoons where good cartoons were the exception, not the rule. Although even Terrytoons would have some memorable characters - in particular, Mighty Mouse and Heckle & Jeckle - even many of the cartoons featuring them were not very good (which is why in the world of cartoons, the Terrytoons characters will never outshine even some of the Disney or Warner Brothers second-stringers).
Space limitations prevent me from going as in depth on this subject as I would like, but suffice it to say that after reading this book, I still do feel justified in defining an Age of Mediocrity. It was not that every cartoon in that period was bad, but the good ones were few and far between and classics were very rare indeed. The Age of Mediocrity was filled with bland cartoons that were more cute than funny, often repeated the same gags over and over again, and had few remarkable characters.
What about what I call the Modern Age? It would have started right after this edition of the book was published (1987), so it is understandably, but sadly omitted. Also missing is any real look at TV cartoons, so Bullwinkle, Underdog, Yogi Bear and the Super Friends, among others, are only mentioned in passing. Maltin admits up front that this book won't cover these TV cartoons, nor non-American products, hence the omission of international fare such as the Italian Fantasia-like movie, Allegro non troppo.
The strengths of this book, however, far outweigh the shortcomings. While my opinions sometimes differ from Maltin's on the quality of various cartoons, these are a matter of individual taste (overall, he tends to go easier on the films than I do; for example, he has a more favorable opinion on the UPA cartoons than I do); besides, this book is more of a history of cartoons than a critique of them. In addition to good writing, we gets lots of pictures (only a few in color) and an extensive filmography for all the chronicled cartoon studios.
You probably need to be a certain age (probably at least 30) to fully appreciate this book, as younger readers may not have really grown up with these cartoons and may not have even seen them as adults (and since many of these cartoons were geared only to kids, they would not even have much appeal to those over 10). But if you remember these cartoons and look back at them with fond nostalgia, this is a great book.
SHOULD BE ENTITLED "HISTORY OF US THEATRICAL ANIMATION".......2005-04-08
I found this book to be an excellent reference source for cartoons produced to be shown in theaters. However, entitling it "A History of American Animated Cartoons" is not exactly truth in advertising. I think most people (except for perhaps some obsessive purists) would agree that the cartoons produced for television from the 40/50's onward would also be considered American Animated Cartoons. But none of these great cartoons (i.e., Gumby, Beany and Cecil, Clutch Cargo, Hanna-Barbara's Huckleberry Hound, Yogi Bear, Pixie & Dixie, and others through the present) are included here in any detail. Also missing from the appendices of studio output are the more obscure products like Warner's Private Snafu and other animation produced for corporate clients. Mr Maltin would do cartoon lovers well by commissioning a second volume to complete the story.
Excellent and informative!!.......2004-01-04
Leonard Maltin has a real knowledge of animation and his passion and enthusiasm for cartoons is apparent. The book traces animation from its beginnings at the turn of the century up to modern day. Extensive coverage is provided to all the major cartoon studios and many of the key directors. The illustrations are excellent. Maltin provides a fair amount of detail but not too much to overwhelm the casual fan. Anyone interested in the history of animation or just wants information on which films to see is well advised to pick up this very well written book.
Book Description
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. 80 black-and-white photos.
Customer Reviews:
Out there.......2007-09-02
I have only read the first 3 or 4 chapters so far, but the editor has no linear stream of conciousness. He meanders along in his thought process with no logical structure in mind. Interesting take on the history of American movies.
A Grand Discourse on Filmdom and Society........2006-12-10
The author shows how movies not only reflect our society but influence it as well.
Are you a film buff, a history buff, or both?
Then this book will fascinate you from start to finish.
Interesting Course Reading.......2005-09-28
This is a great book that was required reading for Steven Ross' "Film, Power, and American, History" course at USC. Not only was it very relevant and well organized, but genuinely interesting too!
Great Classic work.......2005-02-15
This is a must read in the social and cultural history of American cinema.
Perfect.......2003-12-05
Sklar's Movie Made America was assigned as my textbook for a film class I just finished here at UCLA. At first I thought it to be a bit boring, especially because I thought it was just repeating what the professor had discussed in class. However, when I truly began to appreciate this book and take the time to read every word, I realized that Sklar not only presents the facts, but synthesizes the history of American cinema in innovative and interesting contexts. He discusses the way that film, from its start, has changed America as a social body, as a political body, as an economic body, and as a body in of itself.
Certain chapters were intriguing because they took standpoints different than any other author. And while the words are a bit dated, last revised over 10 years ago, it still has a spooky sense of relevance.
Overall, a wonderful book. If you're interested in the history of American film, here you go. I'm not selling this one back to the bookstore during Buy-Back time. That's for sure.
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