"The most revealing, penetrating book on filmmaking I know of . . ."--King Vidor David O. Selznick was a unique figure in the golden Hollywood studio era. He produced some of the greatest and most memorable American films ever made--notably, Rebecca, A Star Is Born, Anna Karenina, A Farewell to Arms, and, above all, Gone With the Wind. Selznick's absolute power and artistic control are evidenced in his impassioned, eloquent, witty, and sometimes rageful memos to directors, writers, stars and studio executives, writings that have become almost as famous as his films. Newsweek wrote,"I can't imagine how a book on the American movie business could be more illuminating, more riveting or more fun to read than this collection of David Selznick's memos.

The authorized biography of this Hollywood producer, who made REBECCA and GONE WITH THE WIND, looking at his career from his swift rise to prominence to the collapse of his empire.

"A writer of great wit and style...I've read her books to ragged shreds."—Kate Fenton, Daily Telegraph A daring escape Penelope Creed will do anything to avoid marrying her repulsive cousin. Dressed in boy's clothing, she's fleeing from London when she's discovered by Sir Richard Wyndham, himself on the verge of the most momentous decision of his life. And a heroic rescue When Sir Richard encounters the lovely young fugitive, he knows he can't allow her to travel to the countryside all alone, so he offers himself as her protector. As it happens, at that very moment Sir Richard could use an escape of his own... What Readers Say: "Marvelous screwball comedy and great romance!" "Light–hearted and fun, full of adventure and misadventure. But it is Heyer's style, much reminiscent of Jane Austen's, yet more colorful and engaging, that makes this book truly delightful." "A sprightly handful of a heroine, an amused grey–eyed hero, and a colorful and diverse group of supporting characters...throw in a road trip, a murder over stolen jewels, and a mystery, and there's a little something for everyone." "Triumphantly good...Georgette Heyer is unbeatable."—India Knight, Sunday Telegraph "Her books sparkle with wit and style."—Publishers Weekly

Companion publication to the Harry Ransom Center's exhibition, September 9, 2014-January 4, 2015, marking the seventy-fifth anniversary of the film's release.

The discipline of American studies was established in the early days of World War II and drew on the myth of American exceptionalism. Now that the so-called American Century has come to an end, what would a truly globalized version of American studies look like? Brian T. Edwards and Dilip Parameshwar Gaonkar offer a new standard for the field’s transnational aspiration with Globalizing American Studies. The essays here offer a comparative, multilingual, or multisited approach to ideas and representations of America. The contributors explore unexpected perspectives on the international circulation of American culture: the traffic of American movies within the British Empire, the reception of the film Gone with the Wind in the Arab world, the parallels between Japanese and American styles of nativism, and new incarnations of American studies itself in the Middle East and South Asia. The essays elicit a forgotten multilateralism long inherent in American history and provide vivid accounts of post–Revolutionary science communities, late-nineteenth century Mexican border crossings, African American internationalism, Cold War womanhood in the United States and Soviet Russia, and the neo-Orientalism of the new obsession with Iran, among others. Bringing together established scholars already associated with the global turn in American studies with contributors who specialize in African studies, East Asian studies, Latin American studies, media studies, anthropology, and other areas, Globalizing American Studies is an original response to an important disciplinary shift in academia.

Introduces the world of film preservation, looking at its history and techniques

Presenting 60 years of newspaper advertising for motion pictures great and small, this book features ads created by Hollywood and adapted by local and regional exhibitors that motivated patrons to leave their homes, part with precious income, and spend time in the dark. Because of the high stakes involved, theater operators used wildly creative means to make that happen. They made movie advertising equal parts art and psychology, appealing to every human instinct in an effort to push product and keep their theatres in business. From the pen-and-ink masterpieces of the 1920s and 30s to location-specific folk art to ad space jam-packed with enticements for every member of the family, the book dissects the psyche of the American movie-going public and the advertisers seeking to push just the right buttons.