For fifty years, the newsreel was a fixture in American movie theaters. Released twice a week, less than ten minutes long, each had news footage that combined journalism with entertainment. With the advent of television news programs after World War II, newsreels began to be obsolete, but they remain the first instances of moving image photographic journalism and were for decades a unique source of information--and misinformation. This history details the full span of the American newsreel from 1911 to 1967, discussing the European forerunners, changes in the American version over time, and the ethical and unethical use of newsreels in present-day television documentaries. Photographs, bibliography and index.

From the inception of the science fiction film, writers, directors, producers, and actors have understood that the genre lends itself to a level of social commentary not available in other formats. Viewers find it easier to accept explorations of such issues as domestic violence, war, xenophobia, faith, identity, racism, and other difficult topics when the protagonists exist in future times or other worlds that are only vaguely similar to our own. The 22 original essays in this collection examine how the issues in particular science fiction films--from 1930's High Treason to 1999's The Iron Giant--reflect and comment on the prevailing issues of their time. The 16 writers (including such noted contributors as Ted Okuda, Gary Don Rhodes, Bryan Senn, John Soister and Ken Weiss) provide insight on how the genre's wistful daydreaming, forthcoming wonders, and nightmarish scenarios are often grounded in the grimmer realities of the human condition. Films covered include It Came from Outer Space, Godzilla, The 27th Day, Alien and Starship Troopers, plus television's The Adventures of Superman, the Flash Gordon serials, and vintage space cartoons by Fleischer.

Text & Presentation is an annual publication devoted to all aspects of theatre scholarship. This new volume represents a selection of the best research presented at the 34th international, interdisciplinary Comparative Drama Conference held in Los Angeles in 2010. Topics covered include metatheatrical experiments and adaptations of Greek tragedy, early Soviet orientalist plays, the working class on the 1920s Broadway stage, Tennessee Williams's grandfather as character model, psychotherapy on stage, and African-American musicals, among other topics. Reviews of eight selected books are also included.

Cinema has played a key role in articulating the impact and legacies of the so-called anni di piombo in Italy, the years of intra-national political terrorism that lasted from 1969 until well into the 1980s. Tragedia all’italiana offers an analytical exploration of Italian cinema’s representation and refraction of those years, showing how a substantial and still growing corpus of films has shaped the ways in which Italians have assimilated and remembered the events of this period. This is the first monograph in English on terrorism and film in Italy, a topic that is attracting the interest of a wide range of scholars of film, cultural studies and critical terrorism studies. It provides novel analytical categories for an intriguing corpus of films and offers careful accounts of works and genres as diverse as La meglio gioventú, Buongiorno, notte, the poliziottesco (cop film) and the commedia all’italiana. The author argues that fiction film can provide an effective frame for the elaboration of historical experience but that the cinema is symptomatic both of its time and of the codes of the medium itself – in terms of its elisions, omissions and evasions as well as its emphases. The book is a study of a body of films that has elaborated the experience of terrorism as a fascinating and even essential part of the heritage of modern Italy.

An examination of the careers of communist and liberal actors, screenwriters, playwrights, and directors in Hollywood from the late 1920s to the present, this book uses studio and PCA correspondence, FBI files, film and theater reviews, and other sources to reveal how all of these artists were concerned with and active in the cinema of social protest. It examines the works of those liberal stars and directors who collaborated with communist artists in New York and Hollywood, including John Garfield, Canada Lee, Frances Farmer, Paul Robeson, James Edwards, and Paul Muni; liberal filmmakers like Philip Dunne; and ex-communists (and HUAC-friendly witnesses) like Elia Kazan, Edward Dmytryk, and Robert Rossen. It also looks at the activities of the Communist Party in Hollywood and the far-reaching influence of the U.S.S.R.]

Long before the invention of "talk radio," music was the heart and soul of radio programming--whether standing alone, filling in the time between features, or identifying to widespread audiences the shows coming on and signing off the air.

Jim Cox's Music Radio encompasses the entire range of musical programming from the early 1920s to the early 1960s. Jazz, country, classical, gospel, pop, big band, western, and semi-classical forms are covered, as are the vocalists, instrumentalists and disc jockeys who made them available to listeners. Virtually all the major series and artists are explored in depth, and lesser known shows and performers are touched on as well. Some of the series included are The Bing Crosby Show, The Chamber Music Society of Lower Basin Street, The Fred Waring Show, Grand Ole Opry, The Bell Telephone Hour, The Cities Service Concerts, Your Hit Parade, The Kate Smith Show, The Railroad Hour, and The Voice of Firestone.

Sex Work in Popular Culture delves into provocative movies, TV shows, and documentaries about sex work produced in the last decade – a period of debate and change around the meaning of sex work in North American society. From Oscar-winning films to viral YouTube videos, and from indie documentaries to hit series – many of which are made by women – the book reveals how sex work is being recognized as real work and an issue of human rights. Lauren Kirshner shares how popular culture has responded by producing the dynamic new figure of a sex worker who challenges tropes and promotes understanding of the key issues shaping sex work. The book draws on labour and feminist theory, film history, current news, and popular culture, all within the context of neoliberal capitalism and the rise of transactional intimate labour. Kirshner takes us from erotic dance clubs to porn sets, illuminating the professional lives of erotic dancers, massage parlour workers, webcam models, call girls, sex surrogates, and porn performers. Probing how progressive popular culture challenges stereotypes, Sex Work in Popular Culture tells the story of sex work as labour and how the screen can show us the world’s oldest profession in a new light.

This is a collection of 23 original interviews with stars of the silent screen, with biographical information and a filmography included for each. Interviewed are Lew Ayres, William Bakewell, Lina Basquette, Madge Bellamy, Eleanor Boardman, Ethlyne Clair, Junior Coghlan, Joyce Compton, Douglas Fairbanks, Jr., Dorothy Gulliver, Maxine Elliott Hicks, Dorothy Janis, George Lewis, Marion Mack, Patsy Ruth Miller, Lois Moran, Baby Marie Osborne, Muriel Ostriche, Eddie Quillan, Esther Ralston, Dorothy Revier, David Rollins and Gladys Walton.

On the motion picture screen, Hollywood star Warren William (1894-1948) was a magnificent rogue, often deliciously immoral and utterly callous, yet remarkably likable in his wickedness. Off-screen, the actor was as humble and retiring as his film characters were mean and heartless. This biography examines William's life and career in detail, from his rural Minnesota roots through his service in World War I, his Broadway stage success, and his meteoric rise and gradual fall from Hollywood fame in the 1930s and 1940s. Also analyzed are his film persona and the curious mechanisms by which our culture "selects" certain film personalities to remember and others to forget. Featured is a wealth of biographical material never before available, including rare candid photos of William's early years. Interviews with his surviving nieces provide intimate family details and personal remembrances.

'Kellogg's, Pep, the Super delicious cereal presents' - ""The Adventures of Superman"". 'Faster than a speeding bullet. More powerful than a locomotive. Able to leap tall buildings in a bound'. The openings and closings to radio programs of all types, from comedies (""Blondie"", ""The Jack Benny Program"", and ""Lum and Abner"") to mysteries (""Inner Sanctum Mysteries"" and ""The Black Chapel"") to game shows (""Can You Top This?"" and ""Truth or Consequences"") to serials (""Second Husband"" and ""Bachelor's Children"") to crime dramas (""The Falcon"", ""Eno Crime Clues"", ""The Green Hornet"", and ""Mr. and Mrs. North"") to westerns (""Gunsmoke"", ""Wild Bill Hickok"", and ""Hawk Larabee"") that were aired between 1931 and 1972, are included in this work. The programs are listed alphabetically, and each entry has a brief introductory paragraph that provides information about the storyline, principal cast, sponsors and air dates. Commercials have been included if the programs were under regular sponsorship. Also included are an index and three appendices (sponsors, slogans and jingles and World War II announcements).

This work identifies 436 American silent films released between 1909 and 1929 that engaged the issues of militant labor and revolutionary radicalism. It begins with an extended introduction and analytical chapters that investigate the ways in which the American motion picture industry portrayed the interrelationships between labor radicals, exploitative capitalists, socialist idealists and Bolsheviks during this critical twenty-year period.

Each entry contains a detailed plot synopsis, citations to primary sources, coding indicating the presence or absence of 14 predominant discernible biases (including anti- and pro-capitalism, socialism, revolution and labor), and subject coding keyed to 64 related terms and concepts (including agitators, Bolshevism, bombs, female radicals, militias, mobs, political refugees, and strikes). These statistical data included in the filmography are presented in a series of charts and are fully integrated into the historical-critical text. Total number and percentage statistics for the instances of these coded biases and traits are given per year, per era, and overall.

Character Design Quarterly (CDQ) is a lively, creative magazine bringing inspiration, expert insights, and leading techniques from professional illustrators, artists, and character art enthusiasts worldwide. Each issue provides detailed tutorials on creating diverse characters, enabling you to explore the processes and decision making that go into creating amazing characters. Learn new ways to develop your own ideas, and discover from the artists what it is like to work for prolific animation studios such as Disney, Warner Bros., and DreamWorks.

American films, like America itself, have long been fascinated by the threat of outsiders posing as citizens to destroy the American way of life. This book tracks real-world fears appearing in the movies--Nazi agents, Japanese-American spies, Communist Party subversives, Islamic sleeper cells--as well as the science-fiction threats that play to the same fears, such as alien body-snatchers and android doppelgangers. The work also examines fears inspired by World War I German spies, the Japanese-American internment and the McCarthyite witch-hunts and shows how these issues, and others, played out on screen.

Between 1783 and 1860, more than 100,000 enslaved African Americans escaped across the border between slave and free territory in search of freedom. Most of these escapes were unaided, but as the American anti-slavery movement became more militant after 1830, assisted escapes became more common. Help came from the Underground Railroad, which still stands as one of the most powerful and sustained multiracial human rights movements in world history. This work examines and interprets the available historical evidence about fugitive slaves and the Underground Railroad in Kentucky, the southernmost sections of the free states bordering Kentucky along the Ohio River, and, to a lesser extent, the slave states to the immediate south. Kentucky was central to the Underground Railroad because its northern boundary, the Ohio River, represented a three hundred mile boundary between slavery and nominal freedom. The book examines the landscape of Kentucky and the surrounding states; fugitive slaves before 1850, in the 1850s and during the Civil War; and, their motivations and escape strategies and the risks involved with escape. The reasons why people broke law and social convention to befriend fugitive slaves, common escape routes, crossing points through Kentucky from Tennessee and points south, and specific individuals who provided assistance - all are topics covered.

An examination of the cinematic and cultural discourse surrounding work, the worker, organized labor, and the working class in 20th century America, this book analyzes a number of films within the historical context of labor and politics. Looking at both comedies (Modern Times, Gung Ho, Office Space) and dramas (The Grapes of Wrath, On the Waterfront, F.I.S.T., Blue Collar, Norma Rae, and Matewan), it reveals how these films are not merely products of their times, but also producers of ideological stances concerning the status of capitalism, class struggle, and democracy in America. Common themes among the films include the myth of the noble worker, the shifting status of the American Dream, and the acceptability of reform versus the unacceptability of revolution in affecting economic, political, and social change in America.

Sweden's place in film history is secure and prominent. Swedish films are associated internationally with Ingmar Bergman's successful and high quality works. However, another breed of Swedish film is notorious for its laissez-faire attitude towards nudity, relaxed sexuality, drugs, and shocking violence. Produced in the backyard of the Swedish film industry, these sexually daring films join countless sensational Swedish movies dealing with shocking or taboo subjects--street punks, space aliens, hard drugs, and drunken vikings. Other efforts are simply too strange and Swedish to ignore. Once again, "Swedish Death Metal" author Daniel Ekeroth delves into the arcane culture of his homeland, returning with the first comprehensive overview of "Sensationsfilms"--Swedish Exploitation Cinema.

While every new TV series has to face some problems, no show had to overcome greater obstacles than Gilligan's Island. In spite of that, no series has achieved greater success, as measured by the fact that Gilligan's Island has given rise to three TV movies, two animated series, and is the most rerun program in the entire history of television. Now, Sherwood Schwartz, creator, writer, and producer of Gilligan's Island, tells the life story of the show: from the labor pains of scripting, casting, and production to its golden years of afternoon reruns. Fascinating history that could be known only by the show's creator is enhanced by wonderful photos, sketches, and other illustrations from the author's personal collection, as well as the guest forewords by all seven ""Castaways."" An appendix lists plots, writers and directors for every episode. All this behind-the-scenes information makes the book a special treat, not only for fans, but for anyone interested in an inside look at the television industry.

In the early days of radio, producers, directors and scriptwriters were well aware of the listening public's fascination with subject matter that was tinged with almost any form of wrongdoing. Stories that compared right and wrong, portrayed crime and punishment, and showed the characters upholding law and order kept audiences of every age hooked on this type of program for more than thirty years. This work covers over 300 syndicated radio mystery and adventure serials that aired in the early or middle twentieth century. To be included in the book, a series must have included one or more characters who regularly appeared in occupations or avocations that fought against espionage, theft, murder, and other criminal activities. Each entry includes the name of the series, air dates (stations and times are noted), the sponsor, extant episodes, cast information (such as the directors, writers, composers, announcers, lead actors and supporting actors), and a brief synopsis.

In 1912, Guillermo Calles (1893-1958) became the first Mexican actor to appear in films made in California. Despite limited resources, he began directing and producing his own movies, and in 1929 pioneered production of Spanish-language sound films. His major works, among them the long-unavailable El indio yaqui and Raza de bronce (both 1927), represented Calles' tireless crusade to restore the image of Mexicans and Indians in an era dominated by Hollywood stereotypes.

This biography traces Calles' career from his earliest Hollywood days through the 1950s. Included are the only surviving images of the filmmaker's silent productions, a closing commentary on his intimate circle of relatives, and an appendix featuring two fascinating letters written by Calles during a filming trip.

In 1935 Sidney Kingsley's play about streetwise urban kids, Dead End, opened on Broadway featuring 14 adolescent actors. For two years on Broadway and then on tour, Kingsley's play delivered its social commentary contrasting affluent neighborhoods and tenement slums on New York City's East River. The film industry picked up the story and in 1937 released Dead End, which spawned 23 more years of films and serials featuring the Dead End kids and their offshoots, Little Tough Guys, East Side Kids and the Bowery Boys. This chronicle follows the street kids through the many assorted incarnations, shifting casts and studios. First the reader is introduced to how the original play and film came about. A cast list and analysis of each production follows. For the major players, the author provides a biography and filmography, and several of these entries include a tribute from a friend or family member. Brief biographical profiles are given for other actors. Sketches of the ""Dead End"" revivals of 1978 and 2005 follow.

The thinkers of ancient Egypt, Greece and India recognized that numbers governed much of what they saw in their world and hence provided an approach to its divine creator. Robert Lawlor sets out the system that determines the dimension and the form of both man-made and natural structures, from Gothic cathedrals to flowers, from music to the human body. By also involving the reader in practical experiments, he leads with ease from simple principles to a grasp of the logarithmic spiral, the Golden Proportion, the squaring of the circle and other ubiquitous ratios and proportions. This book is part of the Art and Imagination series, gloriously illustrated paperbacks which cover Eastern and Western religion and philosophy, including myth and magic, alchemy and astrology. The distinguished authors bring a wealth of knowledge, visionary thinking and accessible writing to each intriguing subject.

Beginning with ""The Jazz Singer"" in 1927 and ending with ""Sweeney Todd"" in 2007, this comprehensive critical history examines the greatest movie musicals of all time. Organized alphabetically by decade, more than 150 films are analyzed on the basis of importance, entertainment value and musical presentation. Included are Broadway adaptations (""West Side Story""), screen originals (""The Wizard of Oz""), all-star revues (""The King of Jazz""), musical biopics (""The Glenn Miller Story""), 'dance' pictures (""Fame"") and animated features (""Aladdin""). Each entry contains full cast and production credits, a list of awards, background information, and a synopsis incorporating the musical numbers in order of appearance. An appendix itemizes the 'greatest musical' selections of the American Film Institute and ""Entertainment Weekly"" magazine.

King Baggot began making films for Carl Laemmle in 1909 and was a major star from 1910 to 1916. Baggot then gained renown as a director in the 1920s and as a character actor in the 1930s and 1940s, but perhaps most notably, he was the first publicized leading man in America. In his two-reel ""Shadows"" - this was a first in film history - he played ten different characters and also directed. He founded the Screen Club, the first and most prestigious club strictly for film personnel, and became an international star in England with Ivanhoe and in France with Absinthe. As a director, he worked on Kissed, in which Marie Prevost had her first starring role. He also directed The Home Maker, a social drama that explored the role reversal between a husband and wife when such an idea was not at all accepted, and Tumbleweeds, now considered a classic among western films. This work is a biography and filmography of the early film pioneer. It covers his early life before he broke into the film industry, traces his career from his beginnings as a stage actor in 1900 to the peak of his career in the 1920s, 1930s and 1940s, and ends with his death in 1948. The extensive filmography documents every known film in which he took part, and provides cast and production credits, release date, length, Library of Congress registration number, places where the film can be found today, and other information.

Deals with the various aspects of theatre scholarship. This title presents a selection of the best research presented at the international, interdisciplinary Comparative Drama Conference. It includes papers from the 33rd annual conference held in Los Angeles, California.