Before the sun rises, an artist and her daughter slip out of their cottage into the morning air to explore and record the treasures of their North Carolina barrier island. They sketch, paint, and observe the sights around them and as night falls they return to their cottage, bringing back pieces of their island home to compile this scrapbook of a special time and place.

Today, the director is considered the leading artistic force behind a film. The production of a Hollywood movie requires the labor of many people, from screenwriters and editors to cinematographers and boom operators, but the director as author of the film overshadows them all. How did this concept of the director become so deeply ingrained in our understanding of cinema? In Hollywood's Artists, Virginia Wright Wexman offers a groundbreaking history of how movie directors became cinematic auteurs that reveals and pinpoints the influence of the Directors Guild of America (DGA). Guided by Frank Capra's mantra "one man, one film," the Guild has portrayed its director-members as the creators responsible for turning Hollywood entertainment into cinematic art. Wexman details how the DGA differentiated itself from other industry unions, focusing on issues of status and creative control as opposed to bread-and-butter concerns like wages and working conditions. She also traces the Guild's struggle for creative and legal power, exploring subjects from the language of on-screen credits to the House Un-American Activities Committee's investigations of the movie industry. Wexman emphasizes the gendered nature of images of the great director, demonstrating how the DGA promoted the idea of the director as a masculine hero. Drawing on a broad array of archival sources, interviews, and theoretical and sociological insight, Hollywood's Artists sheds new light on the ways in which the Directors Guild of America has shaped the role and image of directors both within the Hollywood system and in the culture at large.

Who decides how, when, and where Americans fall in love and get married? Virginia Wexman's acute observations about movie stars and acting techniques show that Hollywood has often had the most powerful voice in demonstrating socially sanctioned ways of becoming a couple. Until now serious film critics have paid little attention to the impact of performance styles on American romance, and have often treated "patriarchy," "sexuality," and the "couple" as monolithic and unproblematic concepts. Wexman, however, shows how these notions have been periodically transformed in close association with the appearance, behavior, and persona of the stars of films such as "The Maltese Falcon," "The Big Sleep," "Way Down East," "The Man Who Shot Liberty Valance," "Sunset Boulevard," "On the Waterfront," "Nashville," "House of Games," and "Do the Right Thing."

The author focuses first on the way in which traditional marriage norms relate to authorship (the Griffith-Gish collaboration) and genre (John Wayne and the Western). Looking at male and female stardom in terms of the development of "companionate marriage," she discusses the love goddess and the impact of method acting on Hollywood's ideals of maleness. Finally she considers the recent breakdown of the ideal of monogamous marriage in relation to Hollywood's experimentation with self-reflexive acting styles. "Creating the Couple" is must reading for film scholars and enthusiasts, and it will fascinate everyone interested in the changing relationships of men and women in modern culture.

During the 1960s, when cinema first entered the academy as a serious object of study, the primary focus was on ""auterism"", or on film's authorship. Burgeoning cinema studies courses demonstrated how directors were the authors of work that undermined (or succeeded in spite of) all the constraints that Hollywood threw at them. New critical methods were introduced as the field matured, and studies of the author/director, for the most part, were considered obsolete. The cSpanning fields from poststructuralism, feminism, queer theory, postcolonialism, and cultural studies, the contributors ask - what does ""auteurship"" look like today in light of these developments? ontent s are divided into three major sections: Theoretical Statements; Historical and Institutional Contexts; and Case Studies. Virginia Wright Wexman's comprehensive introduction contextualizes the selections and summarizes the scholarly approaches with which auteurism has been addressed in the past; it also provides a sketch of the history of media authorship.

Today, the director is considered the leading artistic force behind a film. The production of a Hollywood movie requires the labor of many people, from screenwriters and editors to cinematographers and boom operators, but the director as author of the film overshadows them all. How did this concept of the director become so deeply ingrained in our understanding of cinema? In Hollywood's Artists, Virginia Wright Wexman offers a groundbreaking history of how movie directors became cinematic auteurs that reveals and pinpoints the influence of the Directors Guild of America (DGA). Guided by Frank Capra's mantra "one man, one film," the Guild has portrayed its director-members as the creators responsible for turning Hollywood entertainment into cinematic art. Wexman details how the DGA differentiated itself from other industry unions, focusing on issues of status and creative control as opposed to bread-and-butter concerns like wages and working conditions. She also traces the Guild's struggle for creative and legal power, exploring subjects from the language of on-screen credits to the House Un-American Activities Committee's investigations of the movie industry. Wexman emphasizes the gendered nature of images of the great director, demonstrating how the DGA promoted the idea of the director as a masculine hero. Drawing on a broad array of archival sources, interviews, and theoretical and sociological insight, Hollywood's Artists sheds new light on the ways in which the Directors Guild of America has shaped the role and image of directors both within the Hollywood system and in the culture at large.

Mikey loves everything about Christmas except one thing--deciding what gift he wants. As Christmas nears he frantically flips the pages of his mother's department store catalogs, looking for a toy that he wants most. Turning to his best friend Charlie for ideas, he finally finds the answer. But will he get what he wants this year? The Christmas Secret is an inspiring Christmas story written in a tone reminiscent of Christmas past--recommend for children and adults alike

Join this very adventurous little bear cub, as she wanders too far from the den in the snow covered mountains of Maine.

Join in on the fun for a day and follow Tyler after he receives an amazing gift for his birthday. With this unusual gift he discovers a magical world just beyond, where he learns that an act of kindness helps another overcome his fear of being unlike others.