Americans have long been obsessed with their images-their looks, public personas, and the impressions they make. This preoccupation has left its mark on the law. The twentieth century saw the creation of laws that protect your right to control your public image, to defend your image, and to feel good about your image and public presentation of self. These include the legal actions against invasion of privacy, libel, and intentional infliction of emotional distress. With these laws came the phenomenon of "personal image litigation"-individuals suing to vindicate their image rights. Laws of Image tells the story of how Americans came to use the law to protect and manage their images, feelings, and reputations. In this social, cultural, and legal history, Samantha Barbas ties the development of personal image law to the self-consciousness and image-consciousness that has become endemic in our media-saturated culture of celebrity and consumerism, where people see their identities as intertwined with their public images. The laws of image are the expression of a people who have become so publicity-conscious and self-focused that they believe they have a right to control their images-to manage and spin them like actors, politicians, and rock stars.

In the 1930s and '40s, Morris Ernst was one of the best-known liberal lawyers in the United States. An eminent attorney and general counsel of the ACLU for decades, Ernst was renowned for his audacious fights against literary and artistic censorship. He successfully defended Ulysses against obscenity charges, litigated groundbreaking reproductive rights cases, and supported the widespread broadening of protections for sexual expression, union organizing, and public speech. Yet this "human dynamo," as friends called him, was also a man of stark contradictions, who also waged a personal battle against Communism, defended a foreign autocrat, and aligned himself with J. Edgar Hoover's inflammatory crusades. Arriving at a moment when issues of privacy, artistic freedom, and personal expression are freshly relevant, The Rise and Fall of Morris Ernst, Free Speech Renegade brings this singularly complex figure into a timely new light. As Samantha Barbas's eloquent and compelling biography makes ironically clear, Ernst both transformed free speech in America and inflicted damage to the cause of civil liberties. Drawing on Ernst's voluminous cache of publications and papers, Barbas follows the life of this singular idealist from his pugnacious early career to his legal triumphs of the 1930s and '40s and later-life turn toward zealous anticommunism. As she shows, today's challenges to free speech and the exercise of political power make Morris Ernst's battles as pertinent as ever.

A deeply researched legal drama that documents this landmark First Amendment ruling-one that is more critical and controversial than ever. Actual Malice tells the full story of New York Times v. Sullivan, the dramatic case that grew out of segregationists' attempts to quash reporting on the civil rights movement. In its landmark 1964 decision, the Supreme Court held that a public official must prove "actual malice" or reckless disregard of the truth to win a libel lawsuit, providing critical protections for free speech and freedom of the press. Drawing on previously unexplored sources, including the archives of the New York Times Company and civil rights leaders, Samantha Barbas tracks the saga behind one of the most important First Amendment rulings in history. She situates the case within the turbulent 1960s and the history of the press, alongside striking portraits of the lawyers, officials, judges, activists, editors, and journalists who brought and defended the case. As the Sullivan doctrine faces growing controversy, Actual Malice reminds us of the stakes of the case that shaped American reporting and public discourse as we know it.

In 1952, the Hill family was held hostage by escaped convicts in their suburban Pennsylvania home. The family of seven was trapped for nineteen hours by three fugitives who treated them politely, took their clothes and car, and left them unharmed. The Hills quickly became the subject of international media coverage. Public interest eventually died out, and the Hills went back to their ordinary, obscure lives. Until, a few years later, the Hills were once again unwillingly thrust into the spotlight by the media-with a best-selling novel loosely based on their ordeal, a play, a big-budget Hollywood adaptation starring Humphrey Bogart, and an article in Life magazine. Newsworthy is the story of their story, the media firestorm that ensued, and their legal fight to end unwanted, embarrassing, distorted public exposure that ended in personal tragedy. This story led to an important 1967 Supreme Court decision-Time, Inc. v. Hill-that still influences our approach to privacy and freedom of the press. Newsworthy draws on personal interviews, unexplored legal records, and archival material, including the papers and correspondence of Richard Nixon (who, prior to his presidency, was a Wall Street lawyer and argued the Hill family's case before the Supreme Court), Leonard Garment, Joseph Hayes, Earl Warren, Hugo Black, William Douglas, and Abe Fortas. Samantha Barbas explores the legal, cultural, and political wars waged around this seminal privacy and First Amendment case. This is a story of how American law and culture struggled to define and reconcile the right of privacy and the rights of the press at a critical point in history-when the news media were at the peak of their authority and when cultural and political exigencies pushed free expression rights to the forefront of social debate. Newsworthy weaves together a fascinating account of the rise of big media in America and the public's complex, ongoing love-hate affair with the press.

Hollywood celebrities feared her. William Randolph Hearst adored her. Between 1915 and 1960, Louella Parsons was America's premier movie gossip columnist and in her heyday commanded a following of more than forty million readers. This first full-length biography of Parsons tells the story of her reign over Hollywood during the studio era, her lifelong alliance with her employer, William Randolph Hearst, and her complex and turbulent relationships with such noted stars, directors, and studio executives as Orson Welles, Joan Crawford, Louis B. Mayer, Ronald Reagan, and Frank Sinatra - as well as her rival columnists Hedda Hopper and Walter Winchell. Loved by fans for her 'just folks', small-town image, Parsons became notorious within the film industry for her involvement in the suppression of the 1941 film "Citizen Kane" and her use of blackmail in the service of Hearst's political and personal agendas. As she traces Parsons' life and career, Samantha Barbas situates Parsons' experiences in the broader trajectory of Hollywood history, charting the rise of the star system and the complex interactions of publicity, journalism, and movie-making. Engagingly written and thoroughly researched, "The First Lady of Hollywood" is both an engrossing chronicle of one of the most powerful women in American journalism and film and a penetrating analysis of celebrity culture and Hollywood power politics.