Relevant bibliographies by topics / Warren Brothers Company

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  2. Book chapters

Academic literature on the topic 'Warren Brothers Company'

Author: Grafiati
Published: 26 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Warren Brothers Company"

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Adams, Jillian Elaine. "Marketing Tea against a Turning Tide: Coffee and the Tea Council of Australia 1963–1974." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.472.

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The Coming of Coffee Before World War II, Australians followed British tradition and largely drank tea. When coffee challenged the tea drinking habit in post-war Australia, the tea industry fought back using the most up-to-date marketing techniques imported from America. The shift to coffee drinking in post-war Australia is, therefore, explored through a focus on both the challenges faced by the tea industry and how that industry tackled the trend towards coffee. By focusing on the Australian Tea Council’s marketing campaign promoting tea as a fashionable drink and preferable to coffee, this a
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Book chapters on the topic "Warren Brothers Company"

1

Rode, Alan K. "A Family Business." In Michael Curtiz. University Press of Kentucky, 2017. http://dx.doi.org/10.5810/kentucky/9780813173917.003.0009.

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Harry Warner interviewed Kertész in early 1926 while searching for talent to support his growing film company. He and his younger brother Jack—the studio’s production chief—got hold of a print of The Moon of Israel and became determined to hire Kertész. An overview summation of the Warner family business and interpersonal dynamics follows; Kertész eventually signed what was a one-sided contract, typical of the era, which favored Warner Bros. Although confident to the point of arrogance of his ability to succeed in America, Kertész wrapped up his final Sascha film, The Golden Butterfly, and bid
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2

Horak, Jan-Christopher. "The Classical Hollywood Studio Era." In The Oxford Handbook of American Film History. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197556153.003.0008.

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Abstract This chapter outlines how Warner Brothers (WB) grew from a small, independent concern into a major film company, incorporating under one corporate banner film production, distribution, and exhibition. Original documents found in the Warner Brothers archives at the University of Southern California and the George Eastman Museum reveal the Fordist production principles and complex division of labor that governed studio operation and detail how films were developed, produced, postproduced, marketed, distributed, and exhibited in the classical era. No less than 558 positions were listed i
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3

Harold, Claudrena N. "A Special Kind of Witness." In When Sunday Comes. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043574.003.0003.

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Through a close examination of Andraé Crouch’s musical contributions, as well as his central role in opening the industry’s doors to other black artists, this chapter details how Crouch altered the sonic landscape of contemporary Christian music during the 1970s and 1980s. It also documents his unique relationship with Ralph Carmichael’s Light Records, his underappreciated role in the company’s emergence as a major player in urban contemporary gospel music, and his vital contributions to the praise and worship genre. In accounting for Crouch’s crossover success, the chapter highlights his musi
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4

Winkler, Peter. "Randy Newman’s Americana." In Reading Pop. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198166122.003.0002.

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Abstract This essay is a study of the musical style of Randy Newman, one of the most intriguing singer-songwriters in the United States today. Since Newman’s is hardly a household name, let me begin with a biographical note. Born in New Orleans in 1943, Randy Newman moved to Southern California at the age of five and has lived there ever since. While still a teenager he became staff songwriter for a small publishing company, and in 1966 achieved his first commercial success with a song recorded by Judy Collins, ‘I Think It’s Going to Rain Today’. He began recording for Warner Brothers/Reprise
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Claverie, Ezra. "The Adult Turn." In Copyright Vigilantes. University Press of Mississippi, 2024. https://doi.org/10.14325/mississippi/9781496851338.003.0005.

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This chapter examines how duopoly films of the middle 2010s diverged from the coming-of-age stories typical of PG-13 franchises. Where earlier duopoly films filled their scripts with surrogate fathers for adolescent protagonists to rebel against, later films began presenting adult protagonists, literal fathers with responsibilities like jobs and child care. This pattern crosses studio lines, appearing in Marvel Studios’ Ant-Man (Peyton Reed, 2015), Warner Brothers’ Suicide Squad (David Ayer, 2016), and Fox’s Logan (James Mangold, 2017). More than a decade after duopoly films established their
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6

Li, Jie Jack. "To Market, to Market." In Triumph of the Heart. Oxford University Press, 2009. http://dx.doi.org/10.1093/oso/9780195323573.003.0012.

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Parke-Davis submitted Lipitor’s New Drug Application to the FDA in June 1996 and received approval in December 1996, a relatively short turnaround due to its priority review status. At the time, four statins were already on the market: Merck’s lovastatin (Mevacor, 1987) and simvastatin (Zocor, 1991), Bristol-Myers Squibb’s pravastatin (Pravachol, 1991), and Sandoz’s fluvastatin (Lescol, 1994). Th e sixth statin, Bayer’s cerivastatin (trade names Baycol and Lipobay), another optically pure synthetic statin like Lipitor, was soon to be on the market. The success of the four existing statins had
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