Starmaking brings together a cluster of work published over the past 35 years by Nelson Goodman and two Harvard colleagues, Hilary Putnam and Israel Scheffler, on the conceptual connections between monism and pluralism, absolutism and relativism, and idealism and different notions of realism -- issues that are central to metaphysics and epistemology. The title alludes to Goodman's famous defense of the claim that because all true representations of stars and other objects are human creations, it follows that in an important sense the stars themselves are made by us. More generally, the argument moves from the fact that our right representations are constructed by us to the claim that the world itself is similarly constructed. Starmaking addresses the question of whether this seeming paradox can be turned into a serious philosophical view. Goodman and Putnam are sympathetic; Scheffler is the critic. Although many others continue to write about pluralism, relativism, and constructionalism, Starmaking brings together the protagonists in the debate since its beginnings and follows closely its still developing form and substance, focusing sharply on Goodman's claim that "we make versions, and right versions make worlds."

Science fiction-roman.

" Star Making Machinery chronicles the history of one rock band, Commander Cody and His Lost Planet Airmen, to penetrate the myths and glamour of a business that grosses over four billion dollars annually. Geoffrey Stokes goes behind the scenes to view the almost infinite cast of characters involved in the producing and selling of a "hit" record. It is a world rife with record-company power plays, scandals, payola, and the inevitable clash of egos. Striking a critical balance between music as art and music as commodity, it is a valuable study of the economics of mass culture"--Cover.

Jim Halsey, veteran music manager who built the number one country-music agency in the world, shares the secrets he learned while shepherding the careers of The Oak Ridge Boys, Roy Clark and many other entertainment giants. Halsey digs deep into the fundamentals: how to develop an act, how to get an agent, how to use the press to build your audience, how to play the biggest and best forums. His incisive advice will help you find your place on the teama "the position that will give you the most successful and most fulfilling career. Whether you dream of seeing your name in lights or prefer a powerful position behind the scenes, Jim Halsey can tell you how to achieve your dream."

This memoir by the legendary publicist offers “an intimate glimpse into the best and the worst of the golden age of Hollywood” (Stacy Keach, Golden Globe Award–nominated actor). Jay Bernstein, an entertainment industry fixture who helped launch the careers of celebrities including Farrah Fawcett and Suzanne Somers, was famed for his sense of showmanship, his outrageous style, and the publicity stunts he engineered to get attention for his clients. Starmaker tells his story, from his childhood in Oklahoma City and his first job in a Hollywood mailroom to the ownership of his own public relations firm and his work as a television producer. In addition to a behind-the-scenes look at several generations of show business and hard-hitting insights about how the industry changed over the decades, Bernstein also describes the relationships he had with stars and his notorious techniques, such as paying women to throw hotel keys at Tom Jones, having Entertainment Tonight host Mary Hart’s legs insured for one million dollars, and getting married underwater for an episode of Lifestyles of the Rich and Famous. With the wisdom of experience and a sense of humor, this autobiography shares the intimate details of a fascinating Hollywood life.

ONE OF THE HOLLYWOOD REPORTER'S 100 GREATEST FILM BOOKS OF ALL TIME • From one of our most distinguished film scholars, comes a rich, penetrating, amusing book about the golden age of movies and how the studios worked to manufacture stars. With revelatory insights and delightful asides, Jeanine Basinger shows us how the studio “star machine” worked when it worked, how it failed when it didn't, and how irrelevant it could sometimes be. She gives us case studies focusing on big stars groomed into the system: the “awesomely beautiful” (and disillusioned) Tyrone Power; the seductive, disobedient Lana Turner; and a dazzling cast of others. She anatomizes their careers, showing how their fame happened, and what happened to them as a result. Deeply engrossing, full of energy, wit, and wisdom, The Star Machine is destined to become an classic of the film canon.

Martin Shingler presents the mother volume for Palgrave's Film Stars series in three easily-navigable chapters in which he provides a summative and instructive account of star studies for today's film student. Via a critical evaluation of the work of leading film scholars, he provides a convincing argument for howthis important area of film studies has evolved. Building on this, he offerssome new directions for star scholarship, and ends by offering the film student a useful set of themes and issues for his or her own investigation. 'Star Studies' is the perfect companion for the student who wishes to foster further research on stardom across a wide range of contexts, from national cinemas, to mainstream and marginal cinemas, to different historical periods and beyond.

During the mid-1950s, when Hollywood found itself struggling to compete within an expanding entertainment media landscape, certain producers and studios saw an opportunity in making films that showcased performances by rock 'n' roll stars. Rock stars eventually found cinema to be a useful space to extend their creative practices, and the motion picture and recording industries increasingly saw cinematic rock stardom as a profitable means to connect multiple media properties. Indeed, casting rock stars for film provided a tool for bridging new relationships across media industries and practices. From Elvis Presley to Madonna, this book examines the casting rock stars in films. In so doing, Rock Star/Movie Star offers a new perspective on the role of stardom within the convergence of media industries. While hardly the first popular music culture to see its stars making the transition to screen, the timing of rock's emergence and its staying power within popular culture proved fortuitous for a motion picture business searching for its place in the face of continuous technological and cultural change. At the same time, a post-star-system film industry provided a welcoming context for rock stars who have valued authenticity, creative autonomy, and personal expression. This book uses illuminating archival resources to demonstrate how rock stars have often proven themselves to be prominent film workers exploring this terrain of platforms old and new - ideal media laborers whose power lies in the fact that they are rarely recognized as such. Combining star studies with media industry studies, this book proposes an integrated methodology for writing media history that combines the actions of individuals and the practices of industries. It demonstrates how stars have operated as both the gravitational center of media production as well as social actors who have taken on a decisive role in the purposes to which their images are used.

Challenges traditional Hollywood-derived models of star studiesIs classical Hollywood stardom the last word on film stars? How do film stars function in non-Hollywood contexts, such as Bollywood, East Asia and Latin America, and what new developments has screen stardom undergone in recent years, both in Hollywood and elsewhere? Gathering together the most important new research on star studies, with case studies of stars from many different cultures, this diverse and dynamic collection looks at film stardom from new angles, challenging the received wisdom on the subject and raising important questions about image, performance, bodies, voices and fans in cultures across the globe. From Hollywood to Bollywood, from China to Italy, and from Poland to Mexico, this collection revisits the definitions and origins of star studies, and points the way forward to new ways of approaching the field.Key featuresFeatures cutting-edge research on stardom and fandom from a range of different cultures, contributed by a diverse and international range of scholarsGenerates new critical models that address non-Hollywood forms of stardom, as well as under-researched areas of stardom in Hollywood itselfRevisits the definitions of stars and star studies that are previously defined by the study of Hollywood stardom, then points the way forward to new ways of approaching the fieldLooks at stars/stardom within a new local/translocal model, to overcome the Hollywood-centrism inherent to the existing national/transnational modelBrings into light various types of previously unacknowledged star textsEmploys a dynamic inter-disciplinary approachContributorsGuy Austin, Newcastle UniversityLinda Berkvens, University of Sussex Pam Cook, University of Southampton Elisabetta Girelli, University of St Andrews Sarah Harman, Brunel UniversityStella Hockenhull, University of WolverhamptonLeon Hunt, Brunel University Kiranmayi Indraganti, Srishti Institute of Art, Design and TechnologyJaap Kooijman, University of AmsterdamMichael Lawrence, University of SussexAnna Malinowska, University of SilesiaLisa Purse, University of ReadingClarissa Smith, University of SunderlandNiamh Thornton, University of Liverpool Yiman Wang, University of California-Santa CruzSabrina Qiong Yu, Newcastle UniversityYingjin Zhang, University of California-San Diego