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Books on the topic 'American entertainment industry'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Inventing entertainment: The player piano and the origins of an American musical industry. Rowman & Littlefield, 2008.

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2

Dean, Terrance. On the down low in the entertainment industry, from music to Hollywood. Atria Books, 2008.

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3

Melnick, Ross. American showman: Samuel "Roxy" Rothafel and the birth of the entertainment industry, 1908-1935. Columbia University Press, 2012.

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American showman: Samuel "Roxy" Rothafel and the birth of the entertainment industry, 1908-1935. Columbia University Press, 2012.

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5

Industry and the creative mind: The eccentric writer in American literature and entertainment, 1790-1860. University of Michigan Press, 2012.

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6

American Bar Association. Forum on the Entertainment and Sports Industries. The American Bar Association Forum on the Entertainment and Sports Industries presents: Legal and business aspects of the music industry, 1991 : current legal and business issues in the music industry, Friday, November 8, 1991, program #2. Edited by Pierson Edward P. American Bar Association, 1991.

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7

Conda, Kandias. Get that cutie in commercials, television, films, and videos: Breaking your talented child into the entertainment industry : the African-American parents' step-by-step beginners' guide to show business success. Amber Books, 2001.

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8

Exporting entertainment: America in the world film market, 1907-34. BFI Pub., 1985.

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9

Mr. & Mrs. Hollywood: Edie and Lew Wasserman and their entertainment empire. Carroll & Graf Publishers, 2003.

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10

Super Mario: How Nintendo conquered America. Portfolio Penguin, 2011.

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11

Hiding in Hip Hop: On the Down Low in the Entertainment Industry - From Music to Hollywood. Atria Books, 2008.

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12

Melnick, Ross, Margaret Fuller, Joel Myerson, and Judith Mattson Bean. American Showman: Samuel "Roxy" Rothafel and the Birth of the Entertainment Industry, 1908-1935. Columbia University Press, 2012.

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13

Melnick, Ross. American Showman: Samuel "Roxy" Rothafel and the Birth of the Entertainment Industry, 1908-1935. Columbia University Press, 2014.

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14

Hiding in Hip Hop: On the down Low in the Entertainment Industry - From Music to Hollywood. Atria Books, 2009.

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15

Brokerage and Production in the American and French Entertainment Industries: Invisible Hands in Cultural Markets. Lexington Books/Fortress Academic, 2015.

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16

Kessler, Kelly. Broadway in the Box. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190674014.001.0001.

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Broadway in the Box shines a television-centric light on the cross-industry presence of a seminal American art form. Over seven chapters, it works to unearth, explore, and analyze pockets of over seventy years of television programming that have embraced, nodded toward, and satirized the American musical in its various forms. This concentrated exploration of the genre across American television allows for an explication of America’s shifting and at times wavering feelings toward the musical, its songs, and its stars. Further, examining these texts alongside constantly changing and at times int

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17

Rashid, Hussein. Muslims in Film and Muslim Filmmaking in the United States. Edited by Jane I. Smith and Yvonne Yazbeck Haddad. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199862634.013.016.

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This article looks at the American film industry and its relationship to Muslims. It looks at the way films define Muslims, the ways in which Muslims use film to define themselves, the impact of Muslims in the film industry, and ultimately the way film is used to establish Muslims in the American national narrative. Because of the nature of the entertainment industry, reference is also made to television shows as bellwethers for filmic themes. Like all cultural production, film exists in a dialogic continuum, with meanings constantly in flux, so that for Muslims, belonging in America cannot be

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18

Wierzbicki, James. Hollywood. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040078.003.0005.

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This chapter explores one of the ironies that color the history of the American film industry—the fact that its most glorious years, in terms of profitability, were those during which the entire nation struggled desperately to pull itself out of the depths of the Great Depression. Hollywood was as hard hit as any other industry by the stock market crash of 1929. But the captains of the film industry took advantage of several of the “New Deal” offers extended in 1933 by President Franklin D. Roosevelt. Owing in part to smart business practices and in large part to an audience desperately in nee

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19

Thompson, Kristin. Exporting Entertainment: America in the World Film Market, 1907-1934. British Film Inst, 1986.

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20

Spirituals and the birth of a black entertainment industry. 2018.

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21

West of Eden: An American Place. Random House Trade Paperbacks, 2017.

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22

West of Eden: An American place. 2016.

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23

Stein, Jean. West of Eden: An American place. 2016.

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24

West of Eden: An American Place. Penguin Random House, 2017.

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25

White, Miles. Shadow and Act. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036620.003.0002.

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This chapter examines minstrel performance as the first construction of an absent black presence in American popular music, signified by the minstrel mask, and as the first sustained project involving the fetishization and commodification of black male subjectivity. Minstrelsy practice required a body at the level of performance, but not a black one; rather, it called for the representation of blackness constructed in the white American racial imagination of the time. After the Civil War, black male performers who began to access the entertainment industry in minstrel troupes, and they did so

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26

McLaughlin, Robert L., and Sally E. Parry. Broadway Goes to War. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813180946.001.0001.

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The American theater was not ignorant of the developments brought on by World War II, and actively addressed and debated timely, controversial topics for the duration of the war, including neutrality and isolationism, racism and genocide, and heroism and battle fatigue. Productions such as Watch on the Rhine (1941), The Moon is Down (1942), Tomorrow the World (1943), and A Bell for Adano (1944) encouraged public discussion of the war's impact on daily life and raised critical questions about the conflict well before other forms of popular media. American drama of the 1940s is frequently overlo

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27

DeLapp-Birkett, Jennifer. Government Censorship and Aaron Copland’s Lincoln Portrait during the Second Red Scare. Edited by Patricia Hall. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.20.

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Aaron Copland suffered during the Second Red Scare that swept the United States after World War II. When Congressman Fred Busbey announced that the House Committee on Un-American Activities (HUAC) had compiled “a long record of questionable affiliations” proving Copland a “communist sympathizer” or “fellow traveler,” the 1953 Eisenhower inaugural committee cancelled a planned performance of Copland‘s Lincoln Portrait, and the allegations became national news. Copland’s progressive politics of the 1930s, his involvement in the 1949 Waldorf Peace Conference, and his association with the State De

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28

Holmes, Sean P. Weavers of Dreams, Unite! University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037481.003.0001.

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This introductory chapter sets out the book's purpose, which to explore the efforts of American actors to define what it meant to earn a living on the stage at a historical moment when the cultural landscape of the United States was undergoing seismic changes. In so doing, it sheds light on a number of larger issues: the nature of cultural production in the early twentieth century; languages of class and their role in the construction of cultural hierarchy; and the special problems that unionization posed for workers in the commercial entertainment industry. The book focuses on that section of

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29

Holmes, Sean P. All the World’s a Stage! University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037481.003.0004.

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This chapter examines the actors' strike of 1919. It explains how a group of workers who had affiliated with the American Federation of Labor only as a last resort, and who were not well versed in the tactics of militant trade unionism, were able to force their employers to bargain with them collectively. Pointing out that labor–management relations in the theater industry, as in many other service industries, were complicated by the proximity of the paying customer, it demonstrates that the strikers were able to use their commodity status to negate the power differential that underpinned thei

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30

Lampert, Sara E. Starring Women. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043352.001.0001.

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Star actresses and dancers were among the most publicly visible, celebrated, and often polarizing female public figures in the early United States. This book examines the careers and celebrity of the women and girls from Europe and America whose fame drove the growth and transformation of theater between 1790 and 1850 from the Atlantic seaboard to the trans-Appalachian West. Starring women introduced new repertoire—melodramas, breeches roles, dance pantomime and ballet—that catalyzed debates about social ownership of American culture, regional and national identity, and women’s place in public

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31

McWilliam, Rohan. London's West End. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823414.001.0001.

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How did the West End of London become the world’s leading pleasure district? What is the source of its magnetic appeal? How did the centre of London become Theatreland? London’s West End is the first ever history of the area which has enthralled millions. From the Strand up to Oxford Street, the West End came to stand for sensation and vulgarity but also the promotion of high culture. The reader will explore the growth of theatres, opera houses, galleries, restaurants, department stores, casinos, exhibition centres, night clubs, street life, and the sex industry. The West End produced shows an

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32

Berliner, Todd. Hollywood Aesthetic. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.001.0001.

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Hollywood makes the most widely successful pleasure-giving artworks the world has ever known. The American film industry operates under the assumption that pleasurable aesthetic experiences, among large populations, translate into box office success. More than any other historical mode of art, Hollywood has systematized the delivery of aesthetic pleasure, packaging and selling it on a mass scale. If the Hollywood film industry succeeds in delivering aesthetic pleasure both routinely and, at times, in an outstanding way, then we should ultimately regard Hollywood cinema as an artistic achieveme

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33

Surdam, David George. Century of the Leisured Masses: Entertainment and the Transformation of Twentieth-Century America. Oxford University Press, Incorporated, 2015.

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34

Surdam, David George. Century of the Leisured Masses: Entertainment and the Transformation of Twentieth-Century America. Oxford University Press, Incorporated, 2014.

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35

Century of the Leisured Masses: Entertainment and the Transformation of Twentieth-Century America. Oxford University Press, Incorporated, 2015.

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36

Davies, Carole Boyce. Caribbean GPS. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038020.003.0011.

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This chapter discusses racism in the Caribbean. Some Caribbeans have claimed that there was or is no racism in the Caribbean while some have indicated that the United States is where they first encountered racism. Others, in even more extreme articulations, say that Caribbean people do not experience racism in the United States in the same way as do African Americans. However, all research reveals that racism is an international phenomenon that appears differently nuanced according to historical and cultural locations; it is also a structural socioeconomic organizing system that creates a hier

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37

Mr. and Mrs. Hollywood: Edie and Lew Wasserman and Their Entertainment Empire. Carroll & Graf, 2004.

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38

Hughes, Kit. Television at Work. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190855789.001.0001.

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This book explores how work, television, and waged labor come to have meaning in our everyday lives. However, it is not an analysis of workplace sitcoms or quality dramas. Instead, it explores the forgotten history of how American private sector workplaces used television in the twentieth century. It traces how, at the hands of employers, television physically and psychically managed workers and attempted to make work meaningful under the sign of capitalism. It also shows how the so-called domestic medium helped businesses shape labor relations and information architectures foundational to the

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39

Super Mario: How Nintendo Conquered America. Portfolio/Penguin, 2012.

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40

Super Mario: How Nintendo Conquered America. Blackstone Audiobooks, 2011.

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