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Books on the topic 'Hollywood Ten'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Odd man out: A memoir of the Hollywood Ten. Southern Illinois University Press, 1995.

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2

Dick, Bernard F. Radical innocence: A critical study of the Hollywood Ten. University Press of Kentucky, 1989.

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3

UCLA Entertainment Symposium (29th 2005 University of California, Los Angeles). Top ten: The ultimate Hollywood checklist : twenty-ninth annual UCLA Entertainment Symposium. Edited by Thompson Matthew C, Raufi Caroline A, University of California, Los Angeles. School of Law., and UCLA Entertainment Symposium Advisory Committee. Regents of the University of California], 2005.

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4

Smiley, Jane. Ten days in the hills. Faber and Faber, 2007.

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5

Ten days in the hills. Faber and Faber, 2007.

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6

Horne, Gerald. The final victim of the blacklist: John Howard Lawson, dean of the Hollywood Ten. University of California Press, 2007.

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7

Calcagno, Rosemary Sforza. Hollywood goes to the Alamo. Crosslines, Inc. PO Box 4823 Oakbrook IL 60523, 1994.

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8

Wee, Valerie. Teen media: Hollywood and the youth market in the digital age. McFarland & Company, Inc., Publishers, 2010.

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9

Teen media: Hollywood and the youth market in the digital age. McFarland & Company, Inc., Publishers, 2010.

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10

Muñoz, Gabriel Trujillo. Tan cerca de Hollywood: Cine, televisión y video en Baja California. Universidad Autónoma de Baja California, 2010.

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11

Bruin, D. L. Ten Percent- A Hollywood Tale. Buccaneer Entertainment, 2003.

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12

Bruin, D. L. Ten Percent -Hollywood Can Be Murder. Buccaneer Entertainment, Incorporated, 2015.

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13

Dmytryk, Edward. Odd Man Out: A Memoir of the Hollywood Ten. Southern Illinois University, 1996.

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14

Dick, Bernard F. Radical Innocence: A Critical Study of the Hollywood Ten. University Press of Kentucky, 2009.

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15

Cohen, Jeff B. The dealmaker's ten commandments: Ten essential tools for business forged in the trenches of Hollywood. 2015.

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16

Horne, Gerald. Final Victim of the Blacklist: John Howard Lawson, Dean of the Hollywood Ten. University of California Press, 2006.

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17

Horne, Gerald. Final Victim of the Blacklist: John Howard Lawson, Dean of the Hollywood Ten. University of California Press, 2006.

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18

Horne, Gerald. The Final Victim of the Blacklist: John Howard Lawson, Dean of the Hollywood Ten. University of California Press, 2006.

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19

Horne, Gerald. The Final Victim of the Blacklist: John Howard Lawson, Dean of the Hollywood Ten. University of California Press, 2006.

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20

NBB, N. B. B. &hollywood&hollywood&: Zweet Kapİtel. Independently Published, 2020.

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21

Smith, Frances. Rethinking the Hollywood Teen Movie. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474413091.001.0001.

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Rethinking the Teen Movie is the first academic monograph to theorise the construction of identity in the Hollywood Teen Movie, one of the most popular, yet academically overlooked film genres. As such, the book constitutes a significant intervention in Film Studies, providing a reconsideration of such key tropes as the male juvenile delinquent figure, the makeover and the teen vampire. Providing detailed case studies of key films from the genre, the book provides an innovative overview of the genre, and its relationship to performativity, intersectionality, post-feminism, and the post-human.

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22

Lerner, Neil. Pride of the Marines. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.25.

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The 1945 Warner Bros. filmPride of the Marinesoffers a revealing case study for ways that a Hollywood film could represent visual impairments. Based on an actual Marine who had suffered serious vision loss while fighting in World War II, this film had a number of people working on it who would soon find themselves suffering under from the politics of anticommunism (two of its writers were among the Hollywood Ten, and its star actor was also blacklisted). In addition to visual elements, dialogue, and acting techniques, the music provides an important dimension to the ways blindness could be rep

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23

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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24

Cohan, Steven. Historical Hollywood. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190865788.003.0007.

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This chapter singles out accounts of three eras that have preoccupied backstudios. First it looks at films that depict fictionalized versions of real Hollywood scandals from the early 1920s that are set in 1929, the year Hollywood undertook its conversion to all-talking pictures. Then it looks at films about the blacklist, most of which are set in 1951, the year the U.S. House Un-American Activities Committee renewed its investigation of the motion picture industry. Finally, it turns to 1962, the year of Marilyn Monroe’s death, signaling to many the end of Hollywood’s Golden Age, as illustrate

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25

Smith, Frances. Rethinking the Hollywood Teen Movie: Gender, Genre and Identity. Edinburgh University Press, 2019.

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26

Rethinking the Hollywood Teen Movie: Gender, Genre and Identity. Edinburgh University Press, 2017.

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27

Rebels and Chicks: A History of the Hollywood Teen Movie. Back Stage Books, 2005.

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28

Kushner, Bill, and Jim Chenoweth. From Tee to Green to Hollywood: Golfing With the Stars. Quality Sports Publications, 1998.

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29

Erigha, Maryann. The Hollywood Jim Crow. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479886647.001.0001.

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The Jim Crow era of outright racism seemingly ended decades ago, yet the major American film industry—Hollywood—is waist deep in racial politics. Jim Crow Hollywood shows how Hollywood insiders consider race when making decisions about moviemaking. Movies by and about white Americans are said to be worthy investments, while movies by and about Black Americans are said to be risky investments. This way of thinking has profound effects on the way movies and people move through the Hollywood system—shaping their production budgets, determining who directs lucrative tent pole blockbuster franchise

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30

West, Alexandra. 1990s Teen Horror Cycle: Final Girls and a New Hollywood Formula. McFarland & Company, Incorporated Publishers, 2018.

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31

Stevens, Chambers, and Renee Rolle-Whatley. Sensational Scenes for Teens : The Scene Studyguide for Teen Actors! (Hollywood 101). Sandcastle Publishing, 2001.

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32

Heins, Laura. Germany’s Great Love vs. the American Fortress: Home Front Melodrama. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037740.003.0005.

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This chapter compares Hollywood and Nazi uses of melodrama during World War II and demonstrates that the American home front film portrayed the war effort as a defense of middle-class domesticity, while the Nazi home front melodrama suggested that war provided a means to intensified erotic experience. Home front melodramas featuring female main protagonists, contemporary settings, and a thematization of the war were produced in Hollywood and in Babelsberg, but the form and extent of this treatment was not identical in the two cinemas. The chapter considers the approaches to cinematic propagand

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33

Smyth, J. E. Last Woman Standing. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190840822.003.0008.

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Today, when the media puts studio-era Hollywood and feminism together, the answer is usually Katharine Hepburn. But during her career at RKO and MGM, she did not discuss women’s issues regarding equal pay, career opportunities, or political equality. However, she did state flatly in 1933, “I intend to speak my mind when I please, despite movie traditions,” setting her independence against the Hollywood establishment. She remained uninterested in working with other Hollywood women on-screen or in recognizing the advantages of promoting women’s careers through publicity networks off the set. Kat

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34

Eller, Jonathan R. L.A. High and the Science Fiction League. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036293.003.0003.

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This chapter discusses Ray Bradbury's achievement in fiction as a student at Los Angeles High School and his membership in Science Fiction League (SFL). It begins with a discussion of Bradbury's early obsession with Hollywood, as seen in his snapshots of scores of Hollywood stars and in more than a thousand autographs of Hollywood personalities, as well as with radio. It then considers Bradbury's fascination with the concept of space and on space and time travel during his time at Los Angeles High School; his participation in the activities of the Los Angeles SFL and editorial work with the or

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35

LaRocca, David, ed. Metacinema. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190095345.001.0001.

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When a work of art shows an interest in its own status as a work of art—either by reference to itself or to other works—we have become accustomed to calling this move “meta.” While scholars and critics have, for decades, referred to reflexivity in films, it is only here, for the first time, that a group of leading and emerging film theorists joins to directly and systematically address with clarity and rigor the meanings and implications of the meta for cinema. In ten new essays and a selection of vital canonical works, contributors chart, explore, and advance the ways in which metacinema is a

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36

Menne, Jeff. Francis Ford Coppola and the Underground Corporation. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038822.003.0001.

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This introductory chapter provides an overview of Francis Ford Coppola's American Zoetrope. Taking a page from his mentor Roger Corman, Coppola gathered his film-school friends to form American Zoetrope, an off-Hollywood production firm that, like American International Pictures (AIP) before it, would make its way by setting up operations beyond the reach of the regulatory controls that had frozen young talent out of Hollywood. Coppola chose San Francisco for Zoetrope's base because it was an epicenter of the counterculture, and he wanted “bohemian life” to pervade the corporation. However, wh

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37

Jäger, Armin, ed. Rouben Mamoulian und Frank Borzage. edition text + kritik im Richard Boorberg Verlag, 2012. http://dx.doi.org/10.5771/9783869168906.

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Ende der 1920er, Anfang der 1930er Jahre, eine aufregende Zeit in Hollywood. Unter dem Einfluss europäischer Filme entstehen gegen Ende der Stummfilmära visuelle Sinfonien aus Licht und Bewegung. Zwei der zentralen Künstler dieser Epoche: Rouben Mamoulian und Frank Borzage. Mamoulian, ein Magier der Leinwand, der Gesamtkunstwerke entstehen lässt und rebellische Figuren ins Zentrum seiner Filme stellt, Borzage, ein romantischer Idealist der Liebe, der auf bürgerliche Sittlichkeit pfeift. Wie viele einfallsreiche Regisseure sehen auch sie den aufkommenden Ton lm als Chance, die Filmsprache zu er

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38

Harris, Julia. Corey Haim Adult Coloring Book: Legendary Child Actor and the Lost Boys Star, Hollywood Icon and Teen Idol Inspired Adult Coloring Book. Independently Published, 2018.

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39

Lupack, Barbara Tepa. Silent Serial Sensations. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501748189.001.0001.

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This book, the first book-length study of pioneering and prolific filmmakers Ted and Leo Wharton, offers a fascinating account of the dynamic early film industry. As the book demonstrates, the Wharton brothers were behind some of the most profitable and influential productions of the era, including The Exploits of Elaine and The Mysteries of Myra, which starred such popular performers as Pearl White, Irene Castle, Francis X. Bushman, and Lionel Barrymore. Working from the independent film studio they established in Ithaca, New York, Ted and Leo turned their adopted town into “Hollywood on Cayu

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40

Johnson, Timothy R. Courtroom Proceedings in U.S. Federal Courts. Edited by Lee Epstein and Stefanie A. Lindquist. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199579891.013.16.

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This article discusses courtroom proceedings in U.S. federal courts. It begins by examining how federal district courts conduct trials. To make clear how these proceedings run it compares what really happens in most trials compared to how Hollywood portrays trials. In addition, it considers several key rights associated with trial proceedings. From there, it considers how federal circuit courts conduct business in open court. A key aspect of this section is how circuit proceedings differ across the country because each circuit has different rules governing arguments. Finally, it assesses the o

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41

Zimmerman, Marc. Puerto Rican and Chicano Crossovers in Latino Film and Music Culture. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036460.003.0001.

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This chapter examines the implications of Puerto Rican pop artists becoming marketed as Latinos. In spite of the U.S. Puerto Rican erasure in the very epistemology of Anglo America, and in spite of the negligible and negative representation of Puerto Ricans in film, Puerto Ricans, ironically enough, have participated significantly in subsuming Mexican and Chicano spaces in the configuration of Latino identities in United States and mainly Hollywood cinema. The chapter then argues that all the manipulations and appropriations labeled Hispanic or Latino are not simply imposed or created but are

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42

Raykoff, Ivan. Liberace’s Musical/Material Appeal. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199935321.013.175.

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Inspired by the celebrated pianist-bandleaders Eddy Duchin and Carmen Cavallaro and the cinematic technique of José Iturbi in Hollywood films, pianist-entertainer Liberace (1919–1987) developed a distinctive and highly successful aesthetic and performance style that prioritized visual spectacle and emphasized the tactile elements of his playing. As evident in his first Soundies from 1943, then his nationally syndicated television show in the 1950s, Liberace highlighted the physicality and materiality of his music-making, an approach that later evolved into the signature props and flashy costum

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43

Caps, John. Not Quite Jazz. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0003.

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This chapter details events in Mancini's life after he was released from active army duty in March 1946. His old master sergeant in the army became one of the arrangers for what was called the Glenn Miller Orchestra with Tex Beneke, and a job was found for him there, first as an occasional arranger and in the late 1940s as the band's rather underused pianist. He eventually grew close to Beneke band singer, Ginny O'Connor, who convinced Henry that they should quit the Beneke band to settle near Los Angeles, and that they should get married. The year 1950 would bring two important milestones to

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44

White, Rob. Interview with Todd Haynes. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037566.003.0002.

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Distillation of three phone interviews conducted by the author on November 3 and 22, 2011, and April 17, 2012.ROB WHITE:What is your family background?TODD HAYNES:My mom, Sherry Lynne Haynes, came from a middle-class Jewish family in Los Angeles. Her father, Arnold Semler, whom I called Bompi, and mother, Blessing, whom I called Monna, were a very supportive aspect of my upbringing. Bompi had worked in Warner Bros., starting as a messenger boy, becoming head of set construction. He was a union organizer and was close to many of the blacklisted figures in midcentury Hollywood. He left the studi

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45

Bronner, Simon J., ed. Jewishness. Liverpool University Press, 2008. http://dx.doi.org/10.3828/liverpool/9781904113454.001.0001.

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This book proposes that the idea of ‘Jewish’, or what people think of as ‘Jewishness’, is revealed in expressions of culture and applied in constructions of identity and representation. Part I considers how the kabbalistic red string found at sites throughout Israel conveys a political and psychological response to terrorism. It examines Jewish and non-Jewish narratives concerning a synagogue in eastern Europe and looks at expressions of cultural continuity in displaced persons camps in the aftermath of the Holocaust. It then discusses how Jewish folk music was presented as high art in early t

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46

Malley, Shawn. Excavating the Future. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941190.001.0001.

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Well-known in popular culture for tomb-raiding and mummy-wrangling, the archaeologist is also a rich though often unacknowledged figure for constructing ‘strange new worlds’ from ‘strange old worlds’ in science fiction. But more than a well-spring for scenarios, SF’s archaeological imaginary is also a hermeneutic tool for excavating the ideological motivations of digging up the past buried in the future. A cultural study of an array of popular though critically neglected North American SF film and television texts–spanning the gamut of telefilms, pseudo-documentaries, teen serial drama and Hol

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47

Nishime, Leilani. The Matrix Trilogy and Multiraciality at the End of Time. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038075.003.0005.

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This chapter presents an analysis that emphasizes the interpretive possibilities of contestory or ambivalent readings of multiracial narratives. As argued in Chapter 1, only a portion of the moviegoing audience can read Keanu Reeves as a multiracial Asian. Rather than recapitulate viewing habits that render multiraciality irrelevant, using a multiracial perspective to understand The Matrix film series enables a far richer and more rewarding film experience. Understanding Reeves's character Neo as multiracial makes visible the interrelated representations of multiraciality, future utopias, and

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48

Thomas, Rosie. Not Quite (Pearl) White. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037689.003.0007.

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This chapter examines the construction of one form of modern Indian femininity in the late colonial period by focusing on the intriguing figure of Fearless Nadia, aka Mary Evans. Billed as the “Indian Pearl White,” Evans seems to have been the personification of the “Heroine of a Thousand Stunts” but without her gentler qualities. This chapter first provides an overview of the Fearless Nadia serial films before discussing the films of brothers Homi and Jamshed Wadia, including Diamond Queen. It then analyzes Nadia within the film production context of 1930s Bombay and how the Wadia brothers de

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49

Milam, Erika Lorraine. Creatures of Cain. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691181882.001.0001.

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After World War II, the question of how to define a universal human nature took on new urgency. This book charts the rise and precipitous fall in Cold War America of a theory that attributed man's evolutionary success to his unique capacity for murder. The book reveals how the scientists who advanced this “killer ape” theory capitalized on an expanding postwar market in intellectual paperbacks and widespread faith in the power of science to solve humanity's problems, even to answer the most fundamental questions of human identity. The killer ape theory spread quickly from colloquial science pu

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50

Sheppard, W. Anthony. Extreme Exoticism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.001.0001.

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Extreme Exoticism: Japan in the American Musical Imagination offers a detailed and wide-ranging documentation and investigation of the role of music in shaping American perceptions of the Japanese, the influence of Japanese music on American composers, and the place of Japanese Americans in American musical life. This book covers over 150 years of American musical history, from the first American encounters with the Japanese in the mid nineteenth-century to today, as it reveals the central role of music in American japonisme. Nearly every musical genre, media, and form is discussed, as paralle

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