Business Principles for Landscape Contracting, fully revised and updated in its third edition, is an introduction to the application of business principles of financial management involved in setting up your own landscape contracting business and beginning your professional career. Appealing to students and professionals alike, it will build your knowledge of financial management tools and enable you to relate their applications to real-life business scenarios. Focusing on the importance of proactive financial management, the book serves as a primer for students in landscape architecture, contracting, and management courses and entrepreneurs within the landscape industry preparing to use business principles in practice. Topics covered include: Financial management and accountability Budget development Profitable pricing and estimating Project management Creating a lean culture Personnel management and employee productivity Professional development Economic sustainability.

Originally compiled and published in 1980, this volume contains the plays of James Broaden. Although not many critics of eighteenth-century drama mention Broaden, he loved the theatre and its world, and this love comes across in everything he wrote. This volume contains plays including the songs and chorusses of his first, Ozmynn and Daraxa, from 1793, Fountainville Forest, from 1794, and The Secret Tribunal, from 1795, as well as many others.

Originally compiled and published in 1980, this volume contains the plays of James Broaden. Although not many critics of eighteenth-century drama mention Broaden, he loved the theatre and its world, and this love comes across in everything he wrote. This volume contains plays including the songs and chorusses of his first, Ozmynn and Daraxa, from 1793, Fountainville Forest, from 1794, and The Secret Tribunal, from 1795, as well as many others.

Articles examine the musical in relation to its generic form and conventions, the relationship between narrative and spectacle, gender and feminist analysis, camp production and reception, stardom, and the representation of race and ethnicity.
Includes essays by: Rick Altman, Lucie Arbuthnot and Gail Seneca, Carol Clover, Steven Cohan, Richard Dyer, Jane Feuer, Patricia Mellencamp, Linda Mizejewski, Shari Roberts, Pamela Robertson, Michael Rogin, Martin Rubin and Matthew Tinkcom.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

Billy Wilder's Sunset Boulevard was a critical and commercial success on its release in 1950 and remains a classic of film noir and one of the best-known Hollywood films about Hollywood. Both its opening, with William Holden as the screenwriter Joe Gillis floating facedown in ageing star Norma Desmond's (Gloria Swanson) pool, and lines such as 'I am big, it's the pictures that got small' are some of the most memorable in Classical Hollywood cinema. Steven Cohan's study of the film draws on original archival research to shed new light on the film's production history, and the contribution to the film's success and meanings of director Wilder, stars Holden and Swanson but also supporting actors Erich von Stroheim, Nancy Olson (who plays Betty Schaefer), Cecil B. DeMille, and Hedda Hopper, as well as costumier Edith Head, and composer Franz Waxman. Cohan considers the film both as a 'backstudio' picture (a movie about Hollywood) and as a film noir, and in the context of McCarthyism, blacklisting and the Hollywood Ten. Cohan explores how the film was marketed, its reception and afterlife, tracing how the film is at once a product of its own particular historical moment as the movie industry was transitioning out of the studio era, yet one that still speaks powerfully to contemporary audiences, and speculates on the reasons for its enduring appeal.

Business Principles for Landscape Contracting, fully revised and updated in its third edition, is an introduction to the application of business principles of financial management involved in setting up your own landscape contracting business and beginning your professional career. Appealing to students and professionals alike, it will build your knowledge of financial management tools and enable you to relate their applications to real-life business scenarios. Focusing on the importance of proactive financial management, the book serves as a primer for students in landscape architecture, contracting, and management courses and entrepreneurs within the landscape industry preparing to use business principles in practice. Topics covered include: Financial management and accountability Budget development Profitable pricing and estimating Project management Creating a lean culture Personnel management and employee productivity Professional development Economic sustainability.

Hollywood Musicals offers an insightful account of a genre that was once a mainstay of twentieth-century film production and continues to draw audiences today. What is a film musical? How do musicals work, formally and culturally? Why have they endured since the introduction of sound in the late 1920s? What makes them more than glittery surfaces or escapist fare? In answering such questions, this guidebook by Steven Cohan takes new and familiar viewers on a tour of Hollywood musicals. Chapters discuss definitions of the genre, its long history, different modes of analyzing it, the great stars of the classic era, and auteur directors. Highlights include extended discussions of such celebrated musicals from the studio era as The Love Parade, Top Hat, Holiday Inn, Stormy Weather, The Gang's All Here, Meet Me in St. Louis, Cover Girl, Mother Wore Tights, Singin' in the Rain, Gentlemen Prefer Blondes, The Band Wagon, Seven Brides for Seven Brothers, and Jailhouse Rock as well as later films such as Cabaret, All that Jazz, Beauty and the Beast, and La La Land. Cohan brings in numerous other examples that amplify and extend to the present day his claims about the musical, its generic coherence and flexibility, its long and distinguished history, its special appeal, and its cultural significance. Clear and accessible, this guide provides students of film and culture with a succinct but substantial overview that provides both analysis and intersectional context to one of Hollywood's most beloved genres.

Articles examine the musical in relation to its generic form and conventions, the relationship between narrative and spectacle, gender and feminist analysis, camp production and reception, stardom, and the representation of race and ethnicity.
Includes essays by: Rick Altman, Lucie Arbuthnot and Gail Seneca, Carol Clover, Steven Cohan, Richard Dyer, Jane Feuer, Patricia Mellencamp, Linda Mizejewski, Shari Roberts, Pamela Robertson, Michael Rogin, Martin Rubin and Matthew Tinkcom.

From successful, published editors, Transnational Cinema: The Film Reader provides an overview of the key concepts and debates within the developing field of transnational cinema. Bringing together seminal essays from a wide range of sources, this volume engages with films that fashion their narrative and aesthetic dynamics in relation to more than one national or cultural community, demonstrating that, in an era no longer marked by the sharp divisions between communist and capitalist nation states, or even 'first' and 'third' worlds, Europe and the U.S. must be factored into the increasingly hybrid notion of 'world cinema'. The reader is divided into four sections: From National to Transnational Cinema; Global Cinema in the Digital Age; Motion Pictures: Film, Migration and Diaspora; and Tourists and Terrorists. Examining how the significance of crossing borders varies according to the ethnic and/or gendered identity of the traveller the editors suggest that the crossing of certain lines generates fundamental shifts in both the aesthetics and the ethics of cinema as a representational art. studies students have a one-stop reference for all their transnational cinema needs.

Hollywood Musicals offers an insightful account of a genre that was once a mainstay of twentieth-century film production and continues to draw audiences today. What is a film musical? How do musicals work, formally and culturally? Why have they endured since the introduction of sound in the late 1920s? What makes them more than glittery surfaces or escapist fare? In answering such questions, this guidebook by Steven Cohan takes new and familiar viewers on a tour of Hollywood musicals. Chapters discuss definitions of the genre, its long history, different modes of analyzing it, the great stars of the classic era, and auteur directors. Highlights include extended discussions of such celebrated musicals from the studio era as The Love Parade, Top Hat, Holiday Inn, Stormy Weather, The Gang's All Here, Meet Me in St. Louis, Cover Girl, Mother Wore Tights, Singin' in the Rain, Gentlemen Prefer Blondes, The Band Wagon, Seven Brides for Seven Brothers, and Jailhouse Rock as well as later films such as Cabaret, All that Jazz, Beauty and the Beast, and La La Land. Cohan brings in numerous other examples that amplify and extend to the present day his claims about the musical, its generic coherence and flexibility, its long and distinguished history, its special appeal, and its cultural significance. Clear and accessible, this guide provides students of film and culture with a succinct but substantial overview that provides both analysis and intersectional context to one of Hollywood's most beloved genres.

More than a century after its emergence, classical Hollywood cinema remains popular today with cinephiles and scholars alike. Resetting the Scene: Classical Hollywood Revisited, edited by Philippa Gates and Katherine Spring, showcases cutting-edge work by renowned researchers of Hollywood filmmaking of the studio era and proposes new directions for classical Hollywood studies in the twenty-first century. Resetting the Scene includes twenty-six accessible chapters and an extensive bibliography. In Part 1, Katherine Spring's introduction and David Bordwell's chapter reflect on the newest methods, technological resources, and archival discoveries that have galvanized recent research of studio filmmaking. Part 2 brings together close analyses of film style both visual and sonic with case studies of shot composition, cinematography, and film music. Part 3 offers new approaches to genre, specifically the film musical, the backstudio picture, and the B-film. Part 4 focuses on industry operations, including the origins of Hollywood, cross-promotion, production planning, and talent management. Part 5 offers novel perspectives on the representation of race, in regard to censorship, musicals, film noir, and science fiction. Part 6 illuminates forgotten histories of women's labor in terms of wartime propaganda, below-the-line work, and the evolution of star persona. Part 7 explores the demise of the studio system but also the endurance of classical norms in auteur cinema and screenwriting in the post-classical era. Part 8 highlights new methods for studying Hollywood cinema, including digital resources as tools for writing history and analyzing films, and the intersection of film studies with emergent fields like media industry studies. Intended for scholars and students of Hollywood film history, Resetting the Scene intersects with numerous fields consonant with film studies, including star studies, media industry studies, and critical race theory.

More than a century after its emergence, classical Hollywood cinema remains popular today with cinephiles and scholars alike. Resetting the Scene: Classical Hollywood Revisited, edited by Philippa Gates and Katherine Spring, showcases cutting-edge work by renowned researchers of Hollywood filmmaking of the studio era and proposes new directions for classical Hollywood studies in the twenty-first century. Resetting the Scene includes twenty-six accessible chapters and an extensive bibliography. In Part 1, Katherine Spring's introduction and David Bordwell's chapter reflect on the newest methods, technological resources, and archival discoveries that have galvanized recent research of studio filmmaking. Part 2 brings together close analyses of film style both visual and sonic with case studies of shot composition, cinematography, and film music. Part 3 offers new approaches to genre, specifically the film musical, the backstudio picture, and the B-film. Part 4 focuses on industry operations, including the origins of Hollywood, cross-promotion, production planning, and talent management. Part 5 offers novel perspectives on the representation of race, in regard to censorship, musicals, film noir, and science fiction. Part 6 illuminates forgotten histories of women's labor in terms of wartime propaganda, below-the-line work, and the evolution of star persona. Part 7 explores the demise of the studio system but also the endurance of classical norms in auteur cinema and screenwriting in the post-classical era. Part 8 highlights new methods for studying Hollywood cinema, including digital resources as tools for writing history and analyzing films, and the intersection of film studies with emergent fields like media industry studies. Intended for scholars and students of Hollywood film history, Resetting the Scene intersects with numerous fields consonant with film studies, including star studies, media industry studies, and critical race theory.

The backstudio picture, or the movie about movie-making, is a staple of Hollywood film production harking back to the silent era and extending to the present day. What gives backstudios their coherence as a distinctive genre, Steven Cohan argues in Hollywood by Hollywood, is their fascination with the mystique of Hollywood as a geographic place, a self-contained industry, and a fantasy of fame, leisure, sexual freedom, and modernity. Yet by the same token, if backstudio pictures have rarely achieved blockbuster box-office success, what accounts for the film industry's interest in continuing to produce them? The backstudio picture has been an enduring genre because, aside from offering a director or writer a chance to settle old scores, in branding filmmaking with the Hollywood mystique, the genre solicits consumers' strong investment in the movies. Whether inspiring the "movie crazy" fan girls of the early teens and twenties or the wannabe filmmakers of this century heading to the West Coast after their college graduations, backstudios have given emotional weight and cultural heft to filmmaking as the quintessential American success story. But more than that, a backstudio picture is concerned with shaping perceptions of how the film industry works, with masking how its product depends upon an industrial labor force, including stardom, and with determining how that work's value accrues from the Hollywood brand stamped onto the product. Cohan supports his well theorized and well researched claims with nuanced discussions of over fifty backstudios, some canonical and well-known, and others obscure and rarely seen. Covering the hundred-year timespan of feature length film production, Hollywood by Hollywood offers an illuminating perspective for considering anew the history of American movies.

D?espite having had its obituary written many times, the movie musical remains a flourishing twenty-first century form, and as this volume demonstrates, one that exists far beyond the confines of Broadway and Hollywood. The Sound of Musicals examines the films, stars, issues and traditions of the genre from the 1930s to the present day. Featuring sixteen original essays by leading international scholars, this illuminating collection addresses the complex history and global variety of the movie musical, and considers the delight and passionate engagement that musicals continue to inspire in audiences around the world. The contributors address key issues for understanding the movie musical: questions of genre and generic traditions; questions of history, bringing fresh perspectives to a consideration of Classical Hollywood musicals; and the musical beyond Hollywood, looking at alternatives to the Hollywood model from the 'New Hollywood' and American independent cinema to Bollywood and other national musical traditions. Individual chapters consider key musical stars such as Frank Sinatra, Julie Andrews and Barbra Streisand; film-makers including Robert Altman and Christophe Honore, and classic musicals such as South Pacific (1958) and Hairspray (1988). In his introduction to the volume, Steven Cohan addresses the significance and enduring appeal of this multi-faceted genre, and considers its recent renaissance with movies such as the High School Musical franchise, and the success of the television series Glee.