Samantha McAffee is at a crossroads in life. As a recent college graduate her parents send her and a friend on vacation to California. She never thought that those two weeks would change her life. After meeting Joe Mattison, an up-and-coming young actor, Samantha is convinced that she's fallen in love. It doesn't take long before she decides to move out of her parent's home in New York and start a new life in Los Angeles. After landing a great job and finding the perfect apartment, it seems like she finally has the life she always wanted. That is until she runs into troubled former child actor Chris Adams, or better known as the boy-your-father-warned-you-about. Samantha needs to make some mistakes in order to figure out that sometimes what you want in life is not always what you need.

Shares recollections of the author's years in Hollywood, as child extra, sound editor, award-winning film editor, and director, and of such greats as Chaplin, Walsh, and Ford

Media expansion into the digital realm and the continuing segregation of users into niches has led to a proliferation of cultural products targeted to and consumed by women. Though often dismissed as frivolous or excessively emotional, feminized culture in reality offers compelling insights into the American experience of the early twenty-first century. Elana Levine brings together writings from feminist critics that chart the current terrain of feminized pop cultural production. Analyzing everything from Fifty Shades of Grey to Pinterest to pregnancy apps, contributors examine the economic, technological, representational, and experiential dimensions of products and phenomena that speak to, and about, the feminine. As these essays show, the imperative of productivity currently permeating feminized pop culture has created a generation of texts that speak as much to women's roles as public and private workers as to an impulse for fantasy or escape. Incisive and compelling, Cupcakes, Pinterest, and Ladyporn sheds new light on contemporary women's engagement with an array of media forms in the context of postfeminist culture and neoliberalism.

Kate Sullivan wants revenge, but how far will she go to get it? Successful corporate lawyer Kate Sullivan still carries scars from the car accident that killed her little sister. Five years ago, she fled Los Angeles to the East Coast to escape the memories of the man who was driving the other car. But now that she is back in LA, now that she has seen his face, she won’t stop until she finds him, even if that means breaking the heart of the man who has information she needs. Movie director Chris Johnston wants to do more than make films about explosions and aliens. He puts his career and his reputation on the line to make a documentary about human trafficking. He had planned on making the film alone, until a feisty and stubborn East Coast lawyer offers to help. But he risks more than his career when Kate joins his production company…he risks his heart as well. From the beaches of Malibu to the studios of Hollywood, Farewell to Hollywood is a story of forgiveness, love, and the power of God’s grace.

Movie-Made Jews focuses on a rich, usable American Jewish cinematic tradition. This tradition includes fiction and documentary films that make Jews through antisemitism, Holocaust indirection, and discontent with assimilation. It prominently features the unapologetic assertion of Jewishness, queerness, and alliances across race and religion. Author Helene Meyers shows that as we go to our local theater, attend a Jewish film festival, play a DVD, watch streaming videos, Jewishness becomes part of the multicultural mosaic rather than collapsing into a generic whiteness or being represented as a life apart. This engagingly-written book demonstrates that a Jewish movie is neither just a movie nor for Jews only. With incisive analysis, Movie-Made Jews challenges the assumption that American Jewish cinema is a cinema of impoverishment and assimilation. While it’s a truism that Jews make movies, this book brings into focus the diverse ways movies make Jews.

Readers are invited to fasten their cellphones and get ready for a zany, yet practical look at breaking into Hollywood from a wannabe's perspective.

Movie-Made Jews focuses on American Jewish cinematic tradition. This tradition includes fiction and documentary films that make Jews through antisemitism, Holocaust indirection, and discontent with assimilation, and through unapologetic assertion of Jewishness, queerness, and alliances across race and religion. While it's a truism that Jews make movies, this book demonstrates how movies make Jews.

Investigator and #1 New York Times bestselling author Ian Halperin pulls back the curtain on America’s notorious Kardashian family’s meteoric rise to fame, and the dark secrets they’ve struggled to hide in Kardashian Dynasty. The Kardashians and Jenners have taken the world by storm, collectively rising to superfame after making their reality show debut on E! with Keeping Up with the Kardashians in 2007. Since then, their family life has remained a constant circus of tabloid headlines, red carpet appearances, branding deals, reality shows and their spinoffs, and a slew of media coverage. And yet, amidst their mega success, the Kardashians have faced a firestorm of negative publicity over the years: particularly over Kris Jenner’s role in the family. As matriarch and momager of the Kardashian clan, Kris has been accused of exploiting her children for fame and money and playing the media like a deck of cards. Based on extensive research, Ian Halperin delivers the salacious details behind the Kardashians’ rise to fame. With revelations exposing the family’s foundation as unstable at best and scandalous at worst, Halperin scrutinizes their self-made multi-million dollar brand and provides an unparalleled glimpse into the events and scandals that have propelled the Kardashians to worldwide celebrity, for better or worse.

From 1934 to 1954 Joseph I. Breen, a media-savvy Victorian Irishman, reigned over the Production Code Administration, the Hollywood office tasked with censoring the American screen. Though little known outside the ranks of the studio system, this former journalist and public relations agent was one of the most powerful men in the motion picture industry. As enforcer of the puritanical Production Code, Breen dictated "final cut" over more movies than anyone in the history of American cinema. His editorial decisions profoundly influenced the images and values projected by Hollywood during the Great Depression, World War II, and the Cold War. Cultural historian Thomas Doherty tells the absorbing story of Breen's ascent to power and the widespread effects of his reign. Breen vetted story lines, blue-penciled dialogue, and excised footage (a process that came to be known as "Breening") to fit the demands of his strict moral framework. Empowered by industry insiders and millions of like-minded Catholics who supported his missionary zeal, Breen strove to protect innocent souls from the temptations beckoning from the motion picture screen. There were few elements of cinematic production beyond Breen's reach he oversaw the editing of A-list feature films, low-budget B movies, short subjects, previews of coming attractions, and even cartoons. Populated by a colorful cast of characters, including Catholic priests, Jewish moguls, visionary auteurs, hardnosed journalists, and bluenose agitators, Doherty's insightful, behind-the-scenes portrait brings a tumultuous era and an individual both feared and admired to vivid life.

It could be said that the career of Canadian-born film director Allan Dwan (1885-1981) began at the dawn of the American motion picture industry. Originally a scriptwriter, Dwan became a director purely by accident. Even so, his creativity and problem-solving skills propelled him to the top of his profession. He achieved success with numerous silent film performers, most spectacularly with Douglas Fairbanks Sr. and Gloria Swanson, and later with such legendary stars as Shirley Temple and John Wayne. Though his star waned in the sound era, Dwan managed to survive through pluck and ingenuity. Considering himself better off without the fame he enjoyed during the silent era, he went on to do some of his best work for second-echelon studios (notably Republic Pictures' Sands of Iwo Jima) and such independent producers as Edward Small. Along the way, Dwan also found personal happiness in an unconventional manner. Rich in detail with two columns of text in each of its nearly 400 pages, and with more than 150 photographs, this book presents a thorough examination of Allan Dwan and separates myth from truth in his life and films.