Boorstin believes that every movie is really three movies running at once: the voyeuristic movie (the emotional thrills the film elicits). Here he examines these elements using his own experiences as well as the experiences of legend ary filmmakers to demonstrate how the moviemaking process works. 100 black-an d-white illustrations.

The Cherokee actor, veteran of more than two hundred films, recounts his movie career and his work on behalf of the American Indian.

"Once a guarded cinematic secret, this definitive history reveals for the first time the art and craft of Hollywood's hand painted-backdrops, and pays homage to the scenic artists who brought them to the big screen." -- Slipcase.

Draws on the author's experiences as an "ambush interview" radio host to confront inconsistencies in the liberal views of leading Hollywood celebrities who support President Obama, from Michael Moore to Angelina Jolie.

Thomas Edison invented his motion picture system in New Jersey in the 1890s, and within a few years most American filmmakers could be found within a mile or two of the Hudson River. They planted themselves here because they needed the artistic and entrepreneurial energy that D. W. Griffith realized New York had in abundance. But as the going rate for land and labor skyrocketed and their business grew more industrialized, most of them moved out. The way most historians explain it, the role of New York in the development of American film ends here. In Hollywood on the Hudson, Richard Koszarski rewrites an important part of the history of American cinema. During the 1920s and 1930s, film industry executives had centralized the mass production of feature pictures in a series of gigantic film factories scattered across Southern California, while maintaining New York as the economic and administrative center. But as Koszarski reveals, many writers, producers, and directors also continued to work here, especially if their independent vision was too big for the Hollywood production line. East Coast filmmakers-Oscar Micheaux, Rudolph Valentino, Ben Hecht, Charles MacArthur, Paul Robeson, Gloria Swanson, Max Fleischer, and others-quietly created a studio system without back-lots, long-term contracts or seasonal production slates. They substituted "newsreel photography" for Hollywood glamour, targeted niche audiences instead of middle-American families, ignored accepted dramatic conventions, and pushed the boundaries of motion picture censorship. Rebellious and unconventional, they saw the New York studios as laboratories, not factories-and used them to pioneer the development of new technologies (from talkies to television), new genres, new talent, and ultimately, an entirely new vision of commercial cinema.

This book analyzes the ways in which sport reflects, imitates, and questions cultural values. It examines the representation of team sports, heroes, race, families, and gender in films and other media. Analysis of the ways in which broadcast media and films create such images allows us to map the ways in which traditional cultural beliefs and practices resist and accommodate changes. Films about sport do not reproduce a simple, unified set of values-rather, they exhibit the complications of attempting to negotiate ideological contradictions. During the last 50 years, sports films have shifted from the heroic idealization of The Babe Ruth Story (1948) to films revealing complexities, controversies, and uncertainties within the sports world, like Everybody's All American (1988). These contradictions are especially strong in the areas of race and gender, which are related major changes in the traditional notion of the hero. The book traces the transformation of the image of the hero in sports films within the context of the development of the sports celebrity, epitomized by Michael Jordan.

MAKING MOVIES WORK is a fascinating and accessible guide for both filmmakers and serious film fans. It is about how filmmakers think about film. "Through thoughtful examination of the filmmaker's art, Jon Boorstin enhances our sense of enjoyment and appreciation of the results.--Robert Redford.

The legendary Hollywood Hills are home to wealth, fame, and power -- passing through the neighborhood, it's hard not to get a little greedy. LAPD veteran "Hollywood Nate" Weiss could take or leave the opulence, but he wouldn't say no to onscreen fame. He may get his shot when he catches the appreciative eye of B-list director Rudy Ressler, and his troublemaking fiancée, Leona Brueger, the older-but-still-foxy widow of a processed-meat tycoon. Nate tries to elude her crafty seductions, but consents to keep an eye on their estate in the Hollywood Hills while they're away. Also minding the mansion is Raleigh Dibble, a hapless ex-con trying to put the past behind him. Raleigh is all too happy to be set up for the job -- as butler-cum-watchdog -- by Nigel Wickland, Leona's impeccably dressed art dealer. What Raleigh doesn't realize is that under the natty clothes and posh accent, Nigel has a nefarious plan: two paintings hanging on the mansion's walls will guarantee them more money than they've ever seen. Everyone's dreams are just within reach -- the only problem is, this is Hollywood. A circle of teenage burglars that the media has dubbed The Bling Ring has taken to pillaging the homes of Hollywood celebutants like Paris Hilton and Lindsay Lohan, and when a pair of drug-addled young copycats stumbles upon Nigel's heist, that's just the beginning of the disaster to come. Soon Hollywood Nate, surfer cops Flotsam and Jetsam, and the rest of the team at Hollywood Station have a deadly situation on their hands. Hollywood Hills is a raucous and dangerous roller coaster ride that showcases Joseph Wambaugh in vintage form.

From the New York Times bestselling author of The Dressmaker and A Touch of Stardust, comes a Hollywood coming-of-age novel, in which Ingrid Bergman's affair with Roberto Rossellini forces her biggest fan to reconsider everything she was raised to believe In 1950, Ingrid Bergman—already a major star after movies like Casablanca and Joan of Arc—has a baby out of wedlock with her Italian lover, film director Roberto Rossellini. Previously held up as an icon of purity, Bergman's fall shocked her legions of American fans. Growing up in Hollywood, Jessica Malloy watches as her PR executive father helps make Ingrid a star at Selznick Studio. Over years of fleeting interactions with the actress, Jesse comes to idolize Ingrid, who she considered not only the epitome of elegance and integrity, but also the picture-perfect mother, an area where her own difficult mom falls short. In a heated era of McCarthyism and extreme censorship, Ingrid's affair sets off an international scandal that robs seventeen-year-old Jesse of her childhood hero. When the stress placed on Jesse's father begins to reveal hidden truths about the Malloy family, Jesse's eyes are opened to the complex realities of life—and love. Beautifully written and deeply moving, The Hollywood Daughter is an intimate novel of self-discovery that evokes a Hollywood sparkling with glamour and vivid drama.