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Journal articles on the topic 'California Hollywood'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Simmon, Scott. "Beyond Hollywood." Boom 1, no. 4 (2011): 69–75. http://dx.doi.org/10.1525/boom.2011.1.4.69.

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California’s forgotten movie heritage is on view in the National Film Preservation Foundation’s Treasures 5: The West, 1898-1938 DVD set. Included among the 40 films are such fictional ones as The Sergeant (1910, the first surviving narrative film shot in Yosemite), Salomy Jane (1914, from the San Francisco-based California Motion Picture Corp.) and Over Silent Paths (1910, shot in the San Fernando Valley when it was still a desert). Even more revealing are the nonfiction types, including Romance of Water (1931, from the L.A. Department of Water and Power), Sunshine Gatherers (1921, from Del Monte), and two 1916 travelogues that document the beginning of auto tourism: Seeing Yosemite with David A. Curry and Lake Tahoe, Land of the Sky. These once-forgotten films stand as testimony to the complexity of the West—as a concept, a landscape, a borderland, a tourist destination, a burgeoning economy, and an arena for clashing cultures.

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2

Wahl, Alexander. "The global metastereotyping of Hollywood ‘dudes’." Pragmatics and Society 1, no. 2 (November 17, 2010): 209–33. http://dx.doi.org/10.1075/ps.1.2.02wah.

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This study investigates the phenomenon of metastereotyping — that is, the linguistic parody of stereotypic mediatized personas. The analysis draws on data from the 2008 reality television program Big Brother Africa 3, in which contestants ironically perform the lead characters from a 1989 Hollywood teen comedy film who exemplify a highly mediatized California male slacker youth stereotype, the ‘dude’ persona. By examining the linguistic and embodied features deployed by the reality show contestants in their stylization of the film characters, the article shows how metastereotyping involves forms both from within the original representation and beyond. The use by these African contestants of features with such varied semiotic trajectories reveals their globalized ideologies about California and American youth styles as well as their understanding of the film characters’ positions within these styles.

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3

Ehrenfeucht, Renia. "Nonconformity and Street Design in West Hollywood, California." Journal of Urban Design 18, no. 1 (February 2013): 59–77. http://dx.doi.org/10.1080/13574809.2013.739500.

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4

Stewart-Halevy, Jacob. "California Conceptualism's About-Face." October 163 (March 2018): 71–101. http://dx.doi.org/10.1162/octo_a_00318.

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This essay considers the renewal of “deadpan routines” by Conceptual artists in the early 1970s. Allen Ruppersberg, William Leavitt, and William Wegman, among other California Conceptualists, drew deadpan away from the repetition of administrative procedures, thereby evacuating the effects of psychic urgency and trauma with which the device had been conventionally associated in avant-garde practice. Instead, they keyed their routines to the interactional norms of post-studio pedagogy in Southern California art schools and the rote protocols of below-the-line Hollywood institutions where casual negligence towards imposed assignments served to undermine local bureaucratic authority.

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Garafola, Lynn. "In Search of Eden." Experiment 20, no. 1 (October 27, 2014): 260–96. http://dx.doi.org/10.1163/2211730x-12341265.

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Bronislava Nijinska spent the last thirty-two years of her life in Southern California. Beginning with her first visit to Hollywood in 1934 to choreograph the dances in A Midsummer Night’s Dream, this essay examines her activities in California both as a teacher and a choreographer. It looks closely at her Hollywood bowl season of 1940, when she staged three of her ballets, all new to the United States; the dancers she trained who went on to distinguished professional careers, and her approach to teaching. It briefly summarizes her activities in the 1940s, when she choreographed for Ballet Theatre, Ballet Russe de Monte Carlo, and Ballet International; the 1950s, when she worked for the Grand Ballet du Marquis de Cuevas; and the 1960s, when the revival of Les Noces and Les Biches by the Royal Ballet brought her most celebrated works back into repertory. Finally, it speculates on the reasons she settled in California, given the limited opportunities it offered her for creative work.

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6

Mennel, Barbara. "The New Paradigms of German Film Studies." German Politics and Society 22, no. 1 (March 1, 2004): 53–62. http://dx.doi.org/10.3167/104503004782353302.

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Tim Bergfelder, Erica Carter, and Deniz Göktürk, eds., The German Cinema Book (London: British Film Institute, 2002)Lutz Koepnick, The Dark Mirror: German Cinema between Hitler and Hollywood (Berkeley: University of California Press, 2002)

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7

Issacson, Stephen. "Learning Difficulties: The Millennium and Other Bugs." Australasian Journal of Special Education 24, no. 2-3 (2000): 99–105. http://dx.doi.org/10.1017/s1030011200024775.

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I live and work in the beautiful city of Portland, Oregon. I realize that some of you may not know exactly where Oregon is. When I lived for a year in England, most of the people I met thought Oregon was somewhere in the middle of the U.S. like the other “O” states – Oklahoma and Ohio. However, when I told my English friends that Oregon was the state immediately north of California, they knew exactly where it was. Everyone, it seems, knows where California is: Hollywood, surfers, Disneyland, etc.

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8

Bowlt, John E., and Elizabeth Durst. "“The Art of Concealing Imperfection”." Experiment 20, no. 1 (October 27, 2014): 118–45. http://dx.doi.org/10.1163/2211730x-12341261.

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The focus of the essay is on Léon Bakst’s activities in the usa, especially in Los Angeles in 1924, when he lectured at the University of Southern California and at the Biltmore Hotel. The essay also touches on Bakst’s interest in Hollywood and cinema as the “new” medium and on his popularity as a dress and textile designer.

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9

Reynolds, Matthew. "A Glamorous Gentrification: Public Art and Urban Redevelopment in Hollywood, California." Journal of Urban Design 17, no. 1 (February 2012): 101–15. http://dx.doi.org/10.1080/13574809.2011.646246.

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10

Johnson, Lorin, and Donald Bradburn. "Fleeing the Soviet Union, Dancing on the West Coast." Experiment 20, no. 1 (October 27, 2014): 297–316. http://dx.doi.org/10.1163/2211730x-12341266.

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In the 1970s and 1980s, Los Angeles audiences saw Soviet defectors Mikhail Baryshnikov, Alexander Godunov, Natalia Makarova, and Rudolf Nureyev in the prime of their careers at the Hollywood Bowl, The Dorothy Chandler Pavilion and the Greek Theater. Dance photographer Donald Dale Bradburn, a local Southern California dancer describes his behind-the-scenes access to these dancers in this interview. Perfectly positioned as Dance Magazine’s Southern California correspondent, Bradburn offers a candid appraisal of the Southern California appeal for such high-power Russian artists as well as their impact on the arts of Los Angeles. An intimate view of Russian dancers practicing their craft on Los Angeles stages, Bradburn’s interview is illustrated by fourteen of his photographs, published for the first time in this issue of Experiment.

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11

Lo, R. S., A. Ribas, G. V. Long, R. Ballotti, M. Berger, H. Willy, G. T. Gibney, et al. "Meeting report from the Society for Melanoma Research 2012 Congress, Hollywood, California." Pigment Cell & Melanoma Research 26, no. 4 (May 13, 2013): E1—E7. http://dx.doi.org/10.1111/pcmr.12103.

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12

Law, Robin M., and Lois M. Takahashi. "HIV, AIDS and human services: exploring public attitudes in West Hollywood, California." Health and Social Care in the Community 8, no. 2 (March 2000): 90–108. http://dx.doi.org/10.1046/j.1365-2524.2000.00235.x.

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13

Drbohlav, Dusan, and Killian Ying. "Current Post-Soviet Immigrants in West Hollywood, California : Separated and Segregated Seniors." Espace, populations, sociétés 21, no. 1 (2003): 137–52. http://dx.doi.org/10.3406/espos.2003.2069.

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14

Paul, Joanna. "Reception." Greece and Rome 64, no. 2 (October 2017): 217–20. http://dx.doi.org/10.1017/s0017383517000146.

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In American Arcadia, Peter Holliday offers readers a sumptuous and fascinating account of ‘California and the Classical Tradition’. Beautifully presented and illustrated, this book is not only a thought-provoking and pleasurable read but also a valuable addition to the body of scholarship that has explored classical receptions in the United States at some length in recent years. Much of that scholarship has focused on now familiar terrain, from the fixation on antiquity in Hollywood and popular culture more broadly, to the grandiose evocations of classical architecture in eastern cities such as Washington, DC, and New York. California, by contrast, for all its prominence on the world stage and in the cultural imagination, might not spring so readily to mind as a rich locus of classical receptions, but Holliday convincingly demonstrates ‘how Californians used classical antiquity as a metaphor for fashioning the Golden State and their own lives in it’ (355). Although well-known buildings such as the Getty Villa, Hearst Castle, and Caesar's Palace rightly receive lengthy discussion, there are a wealth of examples which are likely to be new to many readers, from the nineteenth-century Hungarian refugee building a Pompeian villa in a self-consciously Arcadian landscape, to the 1960s development of the CalArts campus, whose Modernist architects yet proclaimed their debt to Athens and Rome. Nor is the book solely concerned with architecture. Although the built environment is at its core, the full range of Californian identification with, and appropriation of, classical imagery and ideology is explored. The final chapter, for example, shows how pursuers of the quintessentially Californian healthy lifestyle and body beautiful knowingly looked to classical paradigms on multiple occasions. Resisting the temptation to frame all of this in a conventional ‘classical tradition’ approach, Holliday takes pains to show the full extent of the interaction and innovation that characterizes Californian classicism, and the resulting study is highly recommended.

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15

Hawks, Julie. "Runaway Hollywood: Internationalizing Postwar Production and Location ShootingDanielSteinhart. University of California Press, 2019." Journal of American Culture 42, no. 3 (September 2019): 273. http://dx.doi.org/10.1111/jacc.13088.

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16

Pfeifer, Robert W., and John Oliver. "A study of HIV seroprevalence in a group of homeless youth in Hollywood, California." Journal of Adolescent Health 20, no. 5 (May 1997): 339–42. http://dx.doi.org/10.1016/s1054-139x(97)00038-4.

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17

Law, Robin. "Communities, citizens, and the perceived importance of AIDS-related services in West Hollywood, California." Health & Place 9, no. 1 (March 2003): 7–22. http://dx.doi.org/10.1016/s1353-8292(02)00015-1.

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18

Crenshaw, Andrew H. "2014 Poster E-Scan Pediatric Orthopaedic Society of North America Annual Meeting, Hollywood, California." Current Orthopaedic Practice 25, no. 6 (2014): 612–14. http://dx.doi.org/10.1097/bco.0000000000000167.

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19

James, David E. "Soul of the Cypress: The First Postmodernist Film?" Film Quarterly 56, no. 3 (2003): 25–31. http://dx.doi.org/10.1525/fq.2003.56.3.25.

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In the late 1920s, European expatriates in Hollywood made a number of independent experimental films influenced by avant-garde cultural movements. But these were preceded by three short experimental films made in 1920 by an American, Dudley Murphy, of which one, Soul of the Cypress, survives. Influenced by California Pictorialist photography of the preceding decades, it was in its own day recognized as an avant-garde film, but nevertheless it secured successful commercial distribution. The surviving print of the film, however, was drastically framed by the later addition of a pornographic coda that radically transformed its erotic theme and its social function.

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20

Kay, Rachael, Edward A. M. Ball, Gregory Williams, and Christopher M. D’Souza. "Review of the 26th World Congress of the ISHRS Hollywood, California • October 10-14, 2018." International Society of Hair Restoration Surgery 28, no. 6 (November 2018): 239–43. http://dx.doi.org/10.33589/28.6.0239.

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21

Dolan, James F., Kerry Sieh, Thomas K. Rockwell, Paul Guptill, and Grant Miller. "Active tectonics, paleoseismology, and seismic hazards of the Hollywood fault, northern Los Angeles basin, California." Geological Society of America Bulletin 109, no. 12 (December 1997): 1595–616. http://dx.doi.org/10.1130/0016-7606(1997)109<1595:atpash>2.3.co;2.

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22

Serna, Laura I. "“As a Mexican I Feel It’s My Duty:” Citizenship, Censorship, and the Campaign Against Derogatory Films in Mexico, 1922–1930." Americas 63, no. 2 (October 2006): 225–44. http://dx.doi.org/10.1017/s0003161500062982.

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In June of 1930, Dr. J. M. Puig Casauranc, who held the post of Jefe del Departamento del Distrito Federal (a post then somewhat akin to mayor) received a lengthy letter from theConfederación de Sociedades Mexicanasin Los Angeles, California. The letter asked Dr. Puig if a Committee for the Supervision of Film could be constituted in Los Angeles, a committee to be made up of members of the Confederation and the Mexican consulate in Los Angeles. In their letter members of the Confederation’s steering committee displayed a clear understanding of the history of Mexico’s struggle to exert some control over the content of Hollywood films.

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23

Waite, Kevin. "The “Lost Cause” Goes West." California History 97, no. 1 (2020): 33–49. http://dx.doi.org/10.1525/ch.2020.97.1.33.

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California once housed over a dozen monuments, memorials, and place-names honoring the Confederacy, far more than any other state beyond the South. The list included schools and trees named for Robert E. Lee, mountaintops and highways for Jefferson Davis, and large memorials to Confederate soldiers in Hollywood and Orange County. Many of the monuments have been removed or renamed in the recent national reckoning with Confederate iconography. But for much of the twentieth century and into the twenty-first, they stood as totems to the “Lost Cause” in the American West. Despite a vast literature on the origins, evolution, and enduring influence of the Lost Cause myth, little is known about how this ideology impacted the political culture and physical space of the American West. This article explores the commemorative landscape of California to explain why a free state, far beyond the major military theaters of the Civil War, gave rise to such a vibrant Confederate culture in the twentieth century. California chapters of the United Daughters of the Confederacy (UDC) carried out much of this commemorative work. They emerged in California shortly after the organization's founding in Tennessee in 1894 and, over the course of a century, emblazoned the Western map with salutes to a slaveholding rebellion. In the process, the UDC and other Confederate organizations triggered a continental struggle over Civil War memory that continues to this day.

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24

Pesce, Sara. "Ripping off Hollywood celebrities: Sofia Coppola’s The Bling Ring, luxury fashion and self-branding in California." Film, Fashion & Consumption 4, no. 1 (March 1, 2015): 5–24. http://dx.doi.org/10.1386/ffc.4.1.5_1.

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25

Pinkowitz, Jacqueline. "Hollywood Vault: Film Libraries Before Home Video, by Eric Hoyt (Oakland: University of California Press, 2014)." Quarterly Review of Film and Video 33, no. 3 (January 19, 2016): 274–76. http://dx.doi.org/10.1080/10509208.2015.1071642.

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26

Wisner, Ben, Greg Berger, and JC Gaillard. "We’ve seen the future, and it’s very diverse: beyond gender and disaster in West Hollywood, California." Gender, Place & Culture 24, no. 1 (July 15, 2016): 27–36. http://dx.doi.org/10.1080/0966369x.2016.1204995.

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27

Forest, Benjamin. "West Hollywood as Symbol: The Significance of Place in the Construction of a Gay Identity." Environment and Planning D: Society and Space 13, no. 2 (April 1995): 133–57. http://dx.doi.org/10.1068/d130133.

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The 1984 municipal incorporation of West Hollywood, California offers an opportunity to explore two related themes: (1) the role of place in the creation of identity generally, and (2) the role of place in the creation of sexual identity in particular. Work on the second subject has largely concentrated on the political economy of gay territories, although there has been an ongoing concern with the symbolic importance of these places. Although these studies have provided valuable insights on these themes, they do not reflect the renewed concern in humanistic geography with the normative importance of place, and the study of morally valued ways of life. These latter topics provide alternative avenues into questions of identity. In the coverage of the incorporation campaign, the gay press presented an idealized image of the city. In defining a new gay identity, the gay press utilized the holistic quality of place to weave together the ‘natural’ and cultural elements of West Hollywood. This idealized ‘gay city’ united the place's real and imagined physical attributes with social and personal characteristics of gay men. More simply, the qualities of the city itself expressed intellectual and moral virtues, such that characterizations of the city became part of a narrative defining the meaning of ‘gay’. This new gay male identity included seven elements: creativity, aesthetic sensibility, an orientation toward entertainment or consumption, progressiveness, responsibility, maturity, and centrality. The effort to create an identity centered on West Hollywood was relatively conservative in the sense that it was not a fundamental challenge to existing social and political systems. Rather, it reflected a strategy based on an ethnicity model, seeking to ‘demarginalize’ gays and to bring them closer to the symbolic ‘center’ of US society.

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Jarošová, Markéta. "Hearstův hrad. Kalifornský sen v záři evropské umělecké tradice." Muzeum Muzejní a vlastivedná práce 57, no. 1 (2020): 25–37. http://dx.doi.org/10.37520/mmvp.2019.004.

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Hearst Castle is one of the world‘s most famous public museums. Its architect Julia Morgan built the magnificent building near San Simeon on the Pacific Coast in Central California for William Randolph Hearst between 1919–1947. Its architectural form is mostly based on the examples of the Mediterranean architecture of Spain and southern Italy. The private residence where Hearst had hosted the famous Hollywood Society became a public cultural heritage in 1957. Since then, visitors have been allowed to admire Casa Grande and other suites, furnished with an unusually rich collection of European works of art, mostly of Medieval and Renaissance origins. The interiors are preserved in the original state in order for the visitors to enjoy the atmosphere of the 1930s. The installation of the artworks is one of the prime examples of the living history approach in a museum.

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Pradana, Mahir, Syarifuddin Syarifuddin, and Haeruddin Hafid. "Analyzing Determinants of Product Placements in the Movie 'The Internship’." Journal of Social Sciences Research, no. 57 (July 10, 2019): 1161–66. http://dx.doi.org/10.32861/jssr.57.1161.1166.

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A Hollywood movie entitled ’The Internship’, which was released in the year 2013 is known for its accurate portrayal of a world leading information technology company, located in Silicon Valley, California, USAThis paper intends to find out how far the audience received the company-endorsed messages. The research was conducted in three steps, the first one involved a movie showing, after which the students needed to finish submit a resume assignment about what message they received from the movie. The second step was to spread the questionnaire to 100 students, containing indicators from product placement theory. The last step was analyzing the data using factor analysis to find out what determinants are the most influential in keeping the viewers’ interest and to find out whether the movie was enough to show the true conditions of the company.

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Jackson, Kathy Merlock. "Go West, Young Women!: The Rise of Early Hollywood Hilary A.Hallett. Berkeley, CA: University of California Press, 2013." Journal of American Culture 36, no. 3 (September 2013): 246. http://dx.doi.org/10.1111/jacc.12033.

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31

Macías, Anthony. "California’s Composer Laureate." Boom 3, no. 2 (2013): 34–51. http://dx.doi.org/10.1525/boom.2013.3.2.34.

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This essay uses the 1960s, Gerald Wilson’s most prolific period, as a window into his life and work as a big band jazz trumpeter, soloist, arranger, conductor, and composer. This selective snapshot of Wilson’s career inserts him more fully into jazz—and California—history, while analyzing the influence of Latin music and Mexican culture on his creations. Tracing the black-brown connections in his Alta California art demonstrates an often-overlooked aspect of Wilson’s musical legacy: the fact that he wrote, arranged, recorded, and performed Latin-tinged tunes, especially several brassy homages to Mexican bullfighters, as well as Latin jazz originals. Wilson’s singular soul jazz reveals the drive and dedication of a disciplined artist—both student and teacher—who continually honed his craft and expanded his talents as part of his educational and musical philosophy. Wilson’s California story is that of an African American migrant who moves out west, where he meets a Chicana Angelena and starts a family—in the tradition of Cali-mestizaje—then stays for the higher quality of life, for the freedom to raise his children and live as an artist, further developing and fully expressing his style. However, because he never moved to New York, Wilson remains under-researched and underappreciated by academic jazz experts. Using cultural history and cultural studies research methods, this essay makes the case that Gerald Wilson should be more widely recognized and honored for his genius, greatness, and outstanding achievements in the field of modern jazz, from San Francisco to Monterey, Hollywood, and Hermosa Beach.

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Manning, Martin J. "Film Criticism, the Cold War, and the Blacklist: Reading the Hollywood Reds JeffSmith. Berkeley: University of California Press, 2014." Journal of American Culture 39, no. 3 (September 2016): 361–62. http://dx.doi.org/10.1111/jacc.12586.

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Gardner, Colin. "The Losey–Moscow Connection: Experimental Soviet Theatre and the Living Newspaper." New Theatre Quarterly 30, no. 3 (August 2014): 249–68. http://dx.doi.org/10.1017/s0266464x14000499.

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Although Joseph Losey is best known as the blacklisted director of films such as the Pinter-scripted The Servant, The Go-Between, and Accident, as well as Mr Klein starring Alain Delon, he also had an important career in leftist theatre prior to making his Hollywood film debut in in the late 1940s. Because of his collaboration with Bertolt Brecht on the 1947 Hollywood production of Galileo, it is assumed that Losey learned from him most of his stagecraft – particularly the use of Verfremdungseffekt and self-reflexivity. However, as this article shows, Losey's apprenticeship was rooted not in the Epic Theatre (which was largely a second-hand phenomenon) but in the Soviet theatrical avant garde, observed at first hand during a 1935 Moscow visit studying the techniques of Meyerhold, Vakhtangov, and Pavlovich Okhlopkov, whose ‘theatre in the round’ stagings and use of complex ramps and projections provided the basis for Losey's subsequent Federal Theatre Project ‘Living Newspaper’ productions – notably Triple-A Plowed Under and Injunction Granted! Under the aegis of co-founder Hallie Flanagan, the Living Newspaper proved to be the model of 1930s political theatre: topical, didactic, fast-paced – and almost immediately obsolete as events superseded the plays' relevance. Colin Gardner is Professor of Critical Theory and Integrative Studies at the University of California, Santa Barbara. He is the author of critical studies on Joseph Losey and Karel Reisz for Manchester University Press's ‘British Film Makers’ series and of Beckett, Deleuze, and the Televisual Event: Peephole Art for Palgrave Macmillan. He is currently working with Felicity Colman on a three-volume Encyclopedia of Film-Philosophy.

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Krämer, Peter. "The politics of independence." Alphaville: Journal of Film and Screen Media, no. 6 (December 19, 2013): 89–103. http://dx.doi.org/10.33178/alpha.6.06.

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This article draws, among other things, on press clippings files and scripts found in various archives to reconstruct the complex production history, the marketing and the critical reception of the nuclear thriller The China Syndrome (1979). It shows that with this project, several politically motivated filmmakers, most notably Jane Fonda, who starred in the film and whose company IPC Films produced it, managed to inject their antinuclear stance into Hollywood entertainment. Helped by the accident at the Three Mile Island nuclear power plant two weeks into the film’s release, The China Syndrome gained a high profile in public debates about nuclear energy in the U.S. Jane Fonda, together with her then husband Tom Hayden, a founding member of the 1960s “New Left” who had entered mainstream politics in the California Democratic Party by the late 1970s, complemented her involvement in the film with activities aimed at grass roots mobilisation against nuclear power.

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Nyamathi, Adeline, Benissa Salem, Cathy J. Reback, Steven Shoptaw, Catherine M. Branson, Faith E. Idemundia, Barbara Kennedy, Farinaz Khalilifard, Mary Marfisee, and Yihang Liu. "Correlates of Hepatitis B Virus and HIV Knowledge Among Gay and Bisexual Homeless Young Adults in Hollywood." American Journal of Men's Health 7, no. 1 (August 8, 2012): 18–26. http://dx.doi.org/10.1177/1557988312456068.

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Homeless gay and bisexual (G/B) young men have multiple risk factors that increase their risk of contracting hepatitis B virus (HBV) and human immunodeficiency virus (HIV). This study used baseline information from structured instruments to assess correlates of knowledge to HIV and HBV infection from 267 young (18-39 year old) G/B active methamphetamine, cocaine, and crack-using homeless men enrolled in a longitudinal trial. The study is designed to reduce drug use and improve knowledge of hepatitis and HIV/AIDS in a community center in Hollywood, California. Regression modeling revealed that previous hepatitis education delivered to G/B men was associated with higher levels of HIV/AIDS and hepatitis knowledge. Moreover, higher HIV/AIDS knowledge was associated with combining sex and drinking alcohol. Associations with hepatitis B knowledge was found among G/B men who were engaging in sex while under the influence of marijuana, who were receiving support from non–drug users, and who had been homeless in the last 4 months. Although being informed about HIV/AIDS and hepatitis did not preclude risky sexual and drug use behavior, knowledge about the dangers of concurrent sex with substance use is important. As higher levels of knowledge of hepatitis was associated with more moderate drug use, early access to testing and teaching harm reduction strategies remain critical to reduce exposure and infection of HBV and HIV in this population.

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Dolan, J. F. "Paleoseismologic Evidence for an Early to Mid-Holocene Age of the Most Recent Surface Rupture on the Hollywood Fault, Los Angeles, California." Bulletin of the Seismological Society of America 90, no. 2 (April 1, 2000): 334–44. http://dx.doi.org/10.1785/0119990096.

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37

Ascheid, A. "The Dark Mirror: German Cinema between Hitler and Hollywood. By Lutz Koepnick. Berkeley: University of California Press, 2002. xii + 322 pages. $24.95." Monatshefte XCVII, no. 2 (June 1, 2005): 372–74. http://dx.doi.org/10.3368/m.xcvii.2.372.

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38

Engle, John. "Mademoiselle from Malibu: Eighteenth-Century Pastoral Romance, H-Bombs, and the Collaborative, Intertextual Gidget." Twentieth-Century Literature 66, no. 2 (June 1, 2020): 233–64. http://dx.doi.org/10.1215/0041462x-8536176.

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Mostly dismissed as a trivial entertainment, Frederick Kohner’s Gidget: The Little Girl with Big Ideas (1957) is in fact a telling aesthetic and cultural document. University of Vienna PhD, Jewish exile from Nazi Germany, and successful Hollywood screenwriter Kohner empathetically fictionalized his teenage daughter’s adventures with the original Malibu surf crew and in the process vividly signaled the emergence of a rebellious postwar youth culture. Just as interesting is the way Kohner’s entertaining comic drama of feminist awakening plays out through an intriguingly complex narrative voice, one blurring distinctions between its California teen daughter-protagonist-narrator and the father-author, both learned European exile and savvy Tinseltown operator. In subtly decisive ways, Kohner intervenes allusively and intertextually in the central narrative to anchor buoyant personal history in larger philosophical and political questions, in a cosmopolitan resistance to American puritanical norms, and in knowing reflection on contemporary discussions of representation and image. Gidget is a surprisingly postmodern textual space of disruption and juxtaposition that compellingly addresses its stealth core subject, a postwar America with its Western philosophical baggage and political and historical burden fumbling awkwardly forward toward new social and gender models.

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Grandia, Liza. "Toxic Gaslighting: On the Ins and Outs of Pollution." Engaging Science, Technology, and Society 6 (November 10, 2020): 486. http://dx.doi.org/10.17351/ests2020.431.

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Outdoor images predominate in cultural conceptions of “air pollution,” whilst indoor air quality (IAQ) is typically tenfold more contaminated. Recent nonprofit research revealed that “green label” carpet contains up to 44 hazardous substances. How and why do school administrators not know this? When people speak colloquially about “toxic” schools, they typically refer to social environments whose power dynamics are manipulated by difficult people (bullies, narcissists, gaslighters, etc.). In this article, I borrow the cultural concept of gaslighting to query how and why the literal off-gassing of banal objects like carpet have escaped scientific inquiry. In dialogue with recent innovative air studies in California that blur the boundaries of in/outdoor pollution, this auto-ethnographic paper chronicles a carpet controversy at “Beacon” Elementary, a bilingual school in the Central Valley. Even as outdoor smoke from California wildfires in 2017 pushed PM2.5 levels past red into unprecedented magenta alerts, children were sickened inside school classrooms after new carpets were laid in 2017. By “outing” internal school board communication through repeated public records requests, Beacon mothers discovered how a chemical risk manager on the board manipulated confusion about patterns of pollution to dismiss the mothers’ citizen science of the chemical abuse of their children. When pollution occurs out-of-sight (in locked classrooms) or affects groups rarely studied in exposure (minors), institutions can easily deploy gaslighting techniques of doubt, denial, and disavowal of the chemical abuse of children. Given the slow (Nixon 2011), delayed, incremental, and “gaslighted” nature of modern chemical violence, even those harmed by chronic pollution may misrecognize the symptoms; those that do recognize the symptoms may be perceived or portrayed as delusional in stories worthy of Hollywood noir.

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Berry, Chris. "Hollywood Made in China Aynne Kokas Oakland, CA: University of California Press, 2017 xxii + 245 pp. $29.95; £24.95 ISBN 978-0-520-29402-8." China Quarterly 233 (March 2018): 269–71. http://dx.doi.org/10.1017/s0305741018000358.

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Langdon, Caroline. "Review: Daniel Goldmark, Tunes for Toons: Music and the Hollywood Cartoon. Berkeley: University of California Press, 2005. 243 pp. ISBN 0—520—23617—3." Animation 2, no. 2 (July 2007): 206–9. http://dx.doi.org/10.1177/17468477070020020702.

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Frishman, Gary N., Anthony A. Luciano, and Donald B. Maier. "Evaluation of Astroglide,* a new vaginal lubricant: effects of length of exposure and concentration on sperm motility†‡*Astro-Lube Inc., North Hollywood, California.†Supported by Astro-Lube Inc., North Hollywood, California.‡Presented in part at the 38th Annual Meeting of the Society for Gynecologic Investigation, San Antonio, Texas, March 20 to 23, 1991." Fertility and Sterility 58, no. 3 (September 1992): 630–32. http://dx.doi.org/10.1016/s0015-0282(16)55279-0.

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Culbert, David. "Hollywood in Berlin: American Cinema and Weimar Germany, by Thomas J. SaundersHollywood in Berlin: American Cinema and Weimar Germany, by Thomas J. Saunders. Berkeley, California, University of California Press, 1994. x, 332 pp. $40.00 U.S." Canadian Journal of History 29, no. 3 (December 1994): 596–98. http://dx.doi.org/10.3138/cjh.29.3.596.

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Clegg, Jenny. "Book reviews : Romance and the Yellow Peril': race, sex and discursive strategies in Hollywood fiction By GINA MARCHETTI (Berkeley, University of California Press, 1993), 258pp." Race & Class 36, no. 3 (January 1995): 95–98. http://dx.doi.org/10.1177/030639689503600310.

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Jelavich, Peter. "Hollywood in Berlin. American Cinema and Weimar Germany. By Thomas J. Saunders. Berkeley: University of California Press. 1994. Pp. x + 332. $40.00. ISBN 0-20-08354-7." Central European History 28, no. 1 (March 1995): 105–7. http://dx.doi.org/10.1017/s0008938900011353.

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Carter, B., M. Hochmann, A. Osborne, A. Nisbet, and N. Campbell. "A Comparison of Two Transcutaneous Monitors for the Measurement of Arterial Po2 and Pco2 in Neonates." Anaesthesia and Intensive Care 23, no. 6 (December 1995): 708–14. http://dx.doi.org/10.1177/0310057x9502300610.

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We examined the ability of two transcutaneous devices (Fastrac, Sensormedics Corporation, Yorba Linda, California, U.S.A. and Hewlett Packard M1018A, Hewlett Packard Component Monitoring System, Hewlett Packard, North Hollywood, U.S.A.) to measure arterial Pco2 and Po2 in neonates. Thirty-seven neonates had transcutaneous oxygen measured with the Hewlett Packard (HPo2 group), 38 neonates had transcutaneous carbon dioxide measured with the Hewlett Packard (HPco2 group) and the Fastrac was used on 27 neonates (FTco2 group). Both devices were operated with electrode temperatures of 43.5 °C although an additional ten subjects were studied using the Fastrac with an electrode temperature of 43.0°C. The mean differences (transcutaneous—arterial) and upper and lower limits of agreement were calculated for each group. For the HPo2 group they were 3.78 mmHg (-12.23 to 19.80 mmHg), for the HPco2 group they were 0.40 mmHg (-4.50 to 5.30 mmHg) and for the FTco2 they were - 0.96 mmHg (- 7.85 to 5.92 mmHg). For the Fastrac group at an electrode temperature of 43.0°C the mean difference and limits of agreement were -1.00 mmHg and -4.58 mmHg to 2.58 mmHg. The average sensitivity and specificity for both machines for the detection of hypocarbia were 82% and 92% respectively while for hypercarbia they were 90% and 94% respectively. For hypoxaemia, the sensitivity and specificity were 40% and 94% while for hyperoxaemia the sensitivity and specificity were 83% and 97%. We conclude that both machines provide a useful supplement to arterial Pco2 measurements and the Fastrac performs better at 43.0°C. The measurement of Po2 is less accurate but is still of clinical use.

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Rice, D. Andy. "Weaponizing Affect: A Film Phenomenology of 3D Military Training Simulations during the Iraq War." Catalyst: Feminism, Theory, Technoscience 2, no. 1 (April 22, 2016): 1–39. http://dx.doi.org/10.28968/cftt.v2i1.28830.

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This article critically considers the relation between simulation design and human experience through the analysis of three-dimensional military training simulation scenarios developed between 2003 and 2012 at the Fort Irwin National Training Center in the Mojave Desert of California. Following news reports of torture at Abu Ghraib, the US military began to implement “cultural awareness” training for all troops set to deploy to the Middle East. The military contracted with Hollywood special-effects studios to develop a series of counterinsurgency warfare immersive-training simulations, including hiring Iraqi-American and Afghan-American citizens to play villagers, mayors, and insurgents in scenarios. My primary question centers on the military technoscience of treating human bodies as variables in a reiterative simulation scenario. I analyze interviews with soldiers and actors, my own experiences videotaping training simulations at the fort, and the accounts of many other visiting journalists and filmmakers across time. From this, I contend that the stories participants tell about simulation experiences constitute one key outcome of the simulation itself, blunting dissent and aiding the fort’s long-term efforts to retain clout and funding in the face of wars whose intensity fluctuates. I treat the ongoing cinematic performances on the fort as a kind of “simulation body” unbounded by skin, a theoretical framework drawn from Vivian Sobchack’s (1992) film phenomenological concept of the “film body” and affect theory grounded in the work of Kara Keeling (2007), as well as Eve Sedgwick (2003), Sedgwick and Adam Frank (1995), and Lisa Cartwright (2008), by way of American behavioral psychoanalyst Silvan Tomkins (2008).

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Evans, Curtis J. "Hollywood Be Thy Name: African American Religion in American Film, 1929–1949. By Judith Weisenfeld. Berkeley: University of California Press, 2007. xiv + 344 pp. $60.00 cloth; $24.95 paper." Church History 77, no. 2 (May 12, 2008): 514–16. http://dx.doi.org/10.1017/s0009640708000942.

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Clark, Claire. "Mark Lynn Anderson. Twilight of the Idols: Hollywood and the Human Sciences in 1920s America. Berkeley, CA: University of California Press, 2011. 238 pp. $24.95 (paperback). ISBN-13: 9780520267084." Journal of the History of the Behavioral Sciences 48, no. 2 (April 25, 2012): 180–81. http://dx.doi.org/10.1002/jhbs.21536.

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Butsch, Richard. "Kathryn Fuller-Seeley, ed. Hollywood in the Neighborhood: Historical Case Studies of Local Moviegoing. Berkeley: University of California Press, 2008. 290 pp. ISBN 978-0-520-24973-8, $27.95 (paper)." Enterprise & Society 12, no. 1 (March 2011): 246–47. http://dx.doi.org/10.1017/s1467222700009848.

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