During World War II, Academy Award-winning director Frank Capra (1897-1991) made propaganda films for the U.S. Government, such as Prelude to War, The Nazis Strike, The Battle of Britain, War Comes to America and The Negro Soldier. These entries in the Why We Fight documentary series have been largely neglected by Capra scholars. This work analyzes the cinematic and thematic techniques Capra employed in these films, linking them to the techniques and ideology of the director's popular mainstream narrative films, including It Happened One Night, Mr. Deeds Goes to Town and Mr. Smith Goes to Washington. Also analyzed are the manners in which Frank Capra's war service affected his later films, notably his 1946 masterpiece It's a Wonderful Life, and how Capra's belief in individual liberty shaped both his films and his career under the oppressive Hollywood studio system.

Since 1985, Radio Marti, a Radio Free Europe-type station, has broadcast American news and propaganda in Cuba. Its sister station, TV Marti, debuted in 1990. A respected operation at the start, Radio and TV Marti fell under the influence of the Cuban American National Foundation--a group of hard-line Cuban exiles--who intensified the anti-Castro rhetoric the station sent to the island and promoted its leaders as the heirs to a post-Castro Cuba. Though the initial goal of the two stations was to increase pro-American sentiment among the island-nation's citizens, the stations have only succeeded in driving the two nations further apart. This history of American propaganda broadcasting in Cuba describes how Castro used radio to obtain power; explores the impact of Radio and TV Marti on U.S.-Cuba relations, including the phenomenon of Cuban rafters; and chronicles the domestic political struggles to keep the stations on the air.

Break out your favourite pencil and roll up your sleeves! The Save the Cat! (R) Beat Sheet Workbook provides key writing prompts and asks all the important questions-but you bring the story, filling out the pages that walk you step-by-step through the Save the Cat! process. The official hands-on companion to the best-selling Save the Cat! and Save the Cat! Writes for TV, this interactive workbook helps you dig deep into every aspect of your story. It's inspiring, easy to manage, and your guide to: * Idea and Concept Brainstorming - Unlock your idea engine with a series of exercises and prompts geared to help you find your best story idea. * Meaningful Themes - Explore yourself, matching your story to something that speaks to your soul and represents your tastes and personality. * Story Genre Identification - Nail down that pesky question of ""What is your story?"" with the Save the Cat! Story Genres. * Create Fully Developed Characters - Give life to main characters who have wants, needs, and flaws. Surround them with a supporting cast that provides opportunities for conflict and thematic tension. * The Save the Cat! Beat Sheet - Discover the tools and detailed exercises to give your story the structure to succeed

For over a hundred years a wildly held assumption has ruled the debate on the social composition of theatre audiences. This assumption states that in the period from the late eighteenth century to the Great War (1773 -1914) theatre audience was largely elite, till the French Revolution chased them to opera. The drama performances were sought by petty bourgeois and unskilled labour force, till, in 1870, the re-conquest of the stage by the upper bourgeoisie set in. In this study for the first time a large empirical research is presented to test this ‘master narrative’. Based on thorough archival research from the past twenty years, combined with robust statistical analysis, the conclusion with respect to this still dominant narrative can be short: it is to be fully rejected.

In a rapidly changing world, the ways in which economic forces affect both personal and global change can be difficult to track, particularly in the arts. This collection of twenty new essays explores both obscure and famous plays dealing with economic issues. Beginning with the Industrial Revolution, the text moves from Marx's theories to Wall Street speculation, nineteenth century immigration issues, the excesses of the Gilded Age and the 1920s, the Great Depression, World War II and millennial economic challenges.

An exhaustive reference volume to the thousands of songs, songwriters and performers in 1,460 American and British films (musical and nonmusical) since the advent of the talkie in 1928. Listed alphabetically by film title, each entry provides full production information on the movie, including the country of origin, year of release, running time, director, musical director, musical score, studio, producer, orchestra or bands featured, music backup, vocalist, (dubber who sang on the soundtrack), and performers. Each song title in the main entry is followed by the name of the performer, lyricist, composer, and, when appropriate, arranger.

From Doctor Who in the 1960s, to the more recent Heroes and Lost a select group of television series with strong elements of fantasy has achieved cult status. Focusing on eight such series, this work analyzes what makes these programs unique, and what they have in common. Examination of the interaction between the series' creators, studios and fans provides further insight into the series' lasting impact. Included are assessments of the strategies used to promote the series' appeal; an explanation of "transmedia" storytelling and its influence on the television fantasy genre; evaluations of how viewers have shaped cult texts and how greater audience acceptance encouraged creators to develop challengingly complex long-form dramas; and descriptions of changes within broadcasting that have enabled "telefantasy" to transcend niche status and enjoy prominence and popularity.

Since 1968, the name of motion picture director George Romero has been synonymous with the living dead. His landmark film Night of the Living Dead formed the paradigm of modern zombie cinema; often cited as a metaphor for America during the Vietnam War and the Civil Rights movement, the film used the tenets of the drive-in horror movie genre to engage the sociophobics of late-1960s culture. In the years following Night of the Living Dead, George Romero has created five more zombie films, and other directors, including Tom Savini and Steve Miner, have subsequently remade Romero's movies. This survey of those remakes examines ways in which the sociocultural contexts of different time periods are reflected by changes to the narrative (and the zombies) of Romero's original versions.

In the days before television, radio was the constant voice in American life. When radio spoke, America listened--especially to the men and women who spoke directly to their unseen audience. Sometimes formal, sometimes as familiar as the friend next door, their presence filled the airwaves: announcers, newscasters, sportscasters, showbiz reporters, advice consultants, emcees and breakfast chatterboxes. These radio personalities became as popular and familiar as the most public faces of the time. Here among profiles of more than 1100 ""radio speakers"" are famous names like George Ansbro, Red Barber, H.V. Kaltenborn, Dorothy Kilgallen, Edward R. Murrow, Louella Parsons, Walter Winchell and more. Also amply represented are hundreds of lesser known individuals who left indelible auditory impressions. Whether their fame was forever or fleeting, all were a part of the American voice during the grand epoch of network radio.

Founding member of the Provincetown Players, Pulitzer Prize-winning playwright, best-selling novelist and short story writer Susan Glaspell (1876-1948) was a great contributor to American literature. An exploration of eleven plays written between the years 1915 and 1943, this critical study focuses on one of Glaspell's central themes, the interplay between place and identity. This study examines the means Glaspell employs to engage her characters in proxemical and verbal dialectics with the forces of place that turn them into victims of location. Of particular interest are her characters' attempts to escape the influence of territoriality and shape identities of their own.

Censorship has been an ongoing issue from the early days of filmmaking. One hundred years of film censorship, encompassing the entire 20th century, are chronicled in this volume. The freewheeling nature of films in the early decades was profoundly affected by Prohibition, the Depression and the formation of the Legion of Decency--culminating in a new age of restrictiveness in the movies.Such powerful arbiters of public taste as Will H. Hays of the Motion Picture Producers and Distributors of America, and Joseph Breen of the Production Code Association, fomented an era whereby films with contentious material were severely censored or even condemned. This held sway until rebellious filmmakers like Otto Preminger challenged the system in the 1950s, eventually resulting in the abandonment of the old regime in favor of the contemporary G through NC-17 ratings system.

The Brussels World's Fair was perhaps the most important propaganda event to be staged for European allies by the Eisenhower administration, an administration that viewed culture as a necessary weapon in the battle against communism. This historical text examines how film played a pivotal role in the information war waged against the Soviets in the American pavilion at the fair. Topics covered include how the administration sought to create a visual rendition of America that was arresting and inspirational, and how film was used as a method of political persuasion.

From the French and Indian War to the Civil War, well over a hundred years of American history is reflected through the lives of six bold and famous men: Daniel Boone, Davy Crockett, Jim Bowie, Sam Houston, Jim Bridger, and Kit Carson. Here is a book that details their lives, their legends, and the many films and television shows their stories inspired. A biography of each frontiersman in followed by a detailed examination of films and television shows featuring that man as a character. Discussion of films includes cast and credit listings, synopses, and notes on the production, including comments on accuracy and interpretation. Television coverage includes listings of episode titles and discussion of each series' history. The book is illustrated with both film stills and contemporary drawings and paintings of the frontiersmen. An appendix of documentaries and a bibliography are included.

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.

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.

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.

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.