"Laurie Shulman's book places the Meyerson in its socio-political context, tracing its history to the early 1970s when financial collapse forced the Dallas Symphony to suspend operations. Drawing on interviews with more than 100 individuals as well as documentary resources, her narrative shows how the orchestra's recovery led to a splendid new hall."--BOOK JACKET.

"This is the colorful and dramatic biography of two of America's most controversial entrepreneurs: Moses Louis Annenberg, 'the racing wire king, ' who built his fortune in racketeering, invested it in publishing, and lost much of it in the biggest tax evasion case in United States history; and his son, Walter, launcher of TV Guide and Seventeen magazines and former ambassador to Great Britain."--Jacket.

Silhouettes tell the story of courtship.

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.

A twelfth-century poem by the creator of the Arthurian romance describes the courageous exploits and triumphs of a brave lord who tries to win back his deserted wife's love

Christopher Bigsby explores the entirety of Arthur Miller's work, including plays, poetry, fiction and films, in this comprehensive and stimulating study. Drawing on interviews conducted over the last twenty years, on unique rehearsal material and research archives, he paints a compelling picture of how Miller's works were influenced by and created in the light of events of the twentieth and twenty-first centuries. This is an enjoyable insight into a great playwright that will interest both theatregoers and students of modern drama.