During more than two decades (1932-1954), William Faulkner worked on approximately fifty screenplays for studios, including MGM, 20th Century-Fox, and Warner Bros., and was credited on such classic films as The Big Sleep and To Have and Have Not. The scripts that Faulkner wrote for film and, later on, television constitute an extensive and, until now, thoroughly underexplored archival source. Stefan Solomon not only analyzes the majority of these scripts but compares them to the novels and short stories Faulkner was writing at the same time. Solomon's aim is to reconcile two aspects of a career that were not as distinct as they first might seem: Faulkner as a screenwriter and Faulkner as a high modernist, Nobel Prize-winning author. Faulkner's Hollywood sojourns took place during a period roughly bounded by the publication of Light in August (1932) and A Fable (1954) and that also saw the publication of Absalom, Absalom!; Go Down, Moses; and Intruder in the Dust. As Solomon shows Faulkner attuning himself to the idiosyncrasies of the screen writing process (a craft he never favored or admired), he offers insights into Faulkner's compositional practice, thematic preoccupations, and understanding of both classic cinema and the emerging medium of television. In the midst of this complex exchange of media and genres, much of Faulkner's fiction of the 1930s and 1940s was directly influenced by his protracted engagement with the film industry. Solomon helps us to see a corpus integrating two vastly different modes of writing and a restless author, sensitive to the different demands of each. Faulkner was never simply the southern novelist or the West Coast "hack writer" but always both at once. Solomon's study shows that Faulkner's screenplays are crucial in any consideration of his far more esteemed fiction and that the two forms of writing are more porous and intertwined than the author himself would have us believe. Here is a major American writer seen in a remarkably new way.

Rising from a Missouri boyhood and meager prospecting success to owning the most productive copper, silver, and gold mines in the world and being elected a United States senator, George Hearst (1820-91) spent decades veering between the heights of prosperity and the depths of financial ruin. In George Hearst: Silver King of the Gilded Age, Matthew Bernstein captures Hearst's ascent, casting light on his actions during the Civil War, his tempestuous marriage to his cousin Phoebe, his role as disciplinarian and doting father to future media magnate William Randolph Hearst, and his devious methods of building the greatest mining empire in the West. Whether driving a pack of mules laden with silver from the Comstock Lode to San Francisco, bribing jurors in Pioche and Deadwood, or unearthing bonanzas in Utah and Montana Territories, Hearst's cunning, energy, and industry were always evident, along with occasional glimmers of the villainy ascribed to him in the television series Deadwood. In this first full-length biography, George Hearst emerges in all his human dimensions and historical significance-an ambitious, complex, flawed, and quintessentially American character.

Appalachia resides in the American imagination at the intersections of race and class in a very particular way, in the tension between deep historic investments in seeing the region as "pure white stock" and as deeply impoverished and backward. Meredith McCarroll's Unwhite analyzes the fraught location of Appalachians within the southern and American imaginaries, building on studies of race in literary and cinematic characterizations of the American South. Not only do we know what "rednecks" and "white trash" are, McCarroll argues, we rely on the continued use of such categories in fashioning our broader sense of self and other. Further, we continue to depend upon the existence of the region of Appalachia as a cultural construct. As a consequence, Appalachia has long been represented in the collective cultural history as the lowest, the poorest, the most ignorant, and the most laughable community. McCarroll complicates this understanding by asserting that white privilege remains intact while Appalachia is othered through reliance on recognizable nonwhite cinematic stereotypes. Unwhite demonstrates how typical characterizations of Appalachian people serve as foils to set off and define the "whiteness" of the non-Appalachian southerners. In this dynamic, Appalachian characters become the racial other. Analyzing the representation of the people of Appalachia in films such as Deliverance, Cold Mountain, Medium Cool, Norma Rae, Cape Fear, The Killing Season, and Winter's Bone through the critical lens of race and specifically whiteness, McCarroll offers a reshaping of the understanding of the relationship between racial and regional identities.

This book is written by 17 year old music whiz Matthew Bernstein. The book features 70 musicians including Gene Simmons from Kiss and Chaka Kahn. All proceeds from book sales are being donated to the Fender Music Foundation to keep music programs healthy and vibrant across the nation. We will be booking media appearances for this Author as well as book signing events in the Author hometown as well as additional cities and states. Music Soothes the Soul features engaging stories from seventy musicians, artists, scientists and entrepreneurs who show how music can positively impact our lives. These personal narratives demonstrate that music truly is a universal language. Music Soothes the Soul reveals the worlds of famous celebrities as well as those who work behind the scenes. Discover how Gene Simmons, Chaka Khan, Dave Wakeling, Riker Lynch, and other artists got their start. Appreciate how nonprofits like Road Recovery and Guitars Not Guns help at-risk youth find emotional strength through making music. Get a peek backstage from musicians who play with Carlos Santana, Beyonce, and Prince. Learn about performing on reality TV. Music inspired each story and this book tells why.

Fresh perspectives on some of the most influential films of John Ford.

The Western is arguably the most popular and enduring form in cinematic history, and the acknowledged master of that genre was John Ford. His Westerns, including The Searchers, Stagecoach, and The Man Who Shot Liberty Valance, have had an enormous influence on contemporary U.S. films, from Star Wars to Taxi Driver.

In John Ford Made Westerns, nine major essays by prominent scholars of Hollywood film situate the sound-era Westerns of John Ford within contemporary critical contexts and regard them from fresh perspectives. These range from examining Ford s relation to other art forms (most notably literature, painting, and music) to exploring the development of the director s reputation as a director of Westerns. While giving attention to film style and structure, the volume also treats the ways in which these much-loved films engage with notions of masculinity and gender roles, capitalism and community, as well as racial, sexual, and national identity.

Contributors include Charles Ramirez Berg, Matthew Bernstein, Edward Buscombe, Joan Dagle, Barry Keith Grant, Kathryn Kalinak, Peter Lehman, Charles J. Maland, Gaylyn Studlar, and Robin Wood.

Contents
Part I
Introduction, Gaylyn Studlar & Matthew Bernstein

" Shall We Gather at the River?: The Late Films of John Ford," Robin Wood
"Sacred Duties, Poetic Passions: John Ford and Issue of Femininity in the Western," Gaylyn Studlar
"The Margin as Center: The Multicultural Dynamics of John Ford s Westerns," Charles Ramirez Berg
"Linear Patterns and Ethnic Encounters in the Ford Western," Joan Dagle
"How the West Wasn't Won: the Repression of Capitalism in John Ford's Westerns," Peter Lehman
"Painting the Legend: Frederic Remington and the Western," Edward Buscombe
" The Sound of Many Voices: Music in John Ford s Westerns," Kathryn Kalinak
"John Ford and James Fenimore Cooper: Two Rode Together," Barry Keith Grant
"From Aesthete to Pappy: The Evolution of John Ford's Public Reputation," Charles J. Maland
Part II Dossier
Emanuel Eisenberg, "John Ford: Fighting Irish," New Theater, April 1936
Frank S. Nugent, "Hollywood s Favorite Rebel," Saturday Evening Post, July 23, 1949
John Ford, "John Wayne My Pal," Hollywood, no. 237 (March 17, 1951), translated from the Italian by Gloria Monti
Bill Libby, "The Old Wrangler Rides Again," Cosmopolitan, March 1964
"About John Ford," Action 8.8 (Nov.-Dec. 1973)

"

The Sheik. Pepe le Moko. Casablanca. Aladdin. Some of the most popular and frequently discussed titles in movie history are imbued with orientalism, the politically charged way in which Western artists have represented gender, race, and ethnicity in the cultures of North Africa and Asia. This is the first anthology to address and highlight orientalism in film from pre-cinema fascinations with Egyptian culture through the "Whole New World" of Aladdin. Eleven illuminating and well-illustrated essays utilize the insights of interdisciplinary cultural studies, psychoanalysis, feminism, and genre criticism. Other films discussed include The Letter, Caesar and Cleopatra, Lawrence of Arabia, Indochine, and several films of France's cinema colonial. In addition to the editors, the contributors are Dudley Andrew, Phebe Shih Chao, Mary Hamer, Marina Heung, Antonia Lant, Adrienne L. McLean, Janice Morgan, Alan Nadel, Charles O'Brien, and Ella Shohat.

Rising from a Missouri boyhood and meager prospecting success to owning the most productive copper, silver, and gold mines in the world and being elected a United States senator, George Hearst (1820-91) spent decades veering between the heights of prosperity and the depths of financial ruin. In George Hearst: Silver King of the Gilded Age, Matthew Bernstein captures Hearst's ascent, casting light on his actions during the Civil War, his tempestuous marriage to his cousin Phoebe, his role as disciplinarian and doting father to future media magnate William Randolph Hearst, and his devious methods of building the greatest mining empire in the West. Whether driving a pack of mules laden with silver from the Comstock Lode to San Francisco, bribing jurors in Pioche and Deadwood, or unearthing bonanzas in Utah and Montana Territories, Hearst's cunning, energy, and industry were always evident, along with occasional glimmers of the villainy ascribed to him in the television series Deadwood. In this first full-length biography, George Hearst emerges in all his human dimensions and historical significance-an ambitious, complex, flawed, and quintessentially American character.

Appalachia resides in the American imagination at the intersections of race and class in a very particular way, in the tension between deep historic investments in seeing the region as "pure white stock" and as deeply impoverished and backward. Meredith McCarroll's Unwhite analyzes the fraught location of Appalachians within the southern and American imaginaries, building on studies of race in literary and cinematic characterizations of the American South. Not only do we know what "rednecks" and "white trash" are, McCarroll argues, we rely on the continued use of such categories in fashioning our broader sense of self and other. Further, we continue to depend upon the existence of the region of Appalachia as a cultural construct. As a consequence, Appalachia has long been represented in the collective cultural history as the lowest, the poorest, the most ignorant, and the most laughable community. McCarroll complicates this understanding by asserting that white privilege remains intact while Appalachia is othered through reliance on recognizable nonwhite cinematic stereotypes. Unwhite demonstrates how typical characterizations of Appalachian people serve as foils to set off and define the "whiteness" of the non-Appalachian southerners. In this dynamic, Appalachian characters become the racial other. Analyzing the representation of the people of Appalachia in films such as Deliverance, Cold Mountain, Medium Cool, Norma Rae, Cape Fear, The Killing Season, and Winter's Bone through the critical lens of race and specifically whiteness, McCarroll offers a reshaping of the understanding of the relationship between racial and regional identities.