Christopher L. Bell,Michael Boucher,F. William Brownell,Ronald E. Cardwell,Kevin Collins,Andrew Davis,Jeff Holmstead,Jason B. Hutt,Jessica O. King,Stanley W. Landfair
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CELLULOID MIRRORS is an exciting new survey of major developments in American filmmaking since 1945. Coverage includes changes in film content, alterations in the business structure of Hollywood, shif
Words into Images: Screenwriters on the Studio System is an engaging look into the inner workings of Hollywood's big studio system as experienced by thirteen veteran screenwriters. All taped between 1
At fifteen, Linda Darnell left her Texas home and normal adolescence to live the Hollywood dream promoted by fan magazine and studio publicity offices. She appeared in dozens of films and won internat
As the star of these classic Broadway musicals, Mary Martin captivated theater audiences with her impish persona and magnificent voice. Now Ronald L. Davis fills a major gap in theater history, movin
In its heyday Hollywood’s big studio system mirrored the corporate ideology that catapulted the United States into economic prominence. By the mid-1920s power was consolidated into four major studios:
Almost two decades after his death, John Wayne is still America’s favorite movie star. More than an actor, Wayne is a cultural icon whose stature seems to grow with the passage of time. In this illumi
Throughout the 1940s, Zachary Scott (1914-1965) was the model for sophisticated, debonair villains in American film. His best-known roles include a mysterious criminal in The Mask of Dimitrios and the
From the late 1930s to the mid-1950s, five big movie studios-Paramount, Warner Bros., Twentieth Century-Fox, Metro-Goldwyn-Mayer (MGM), and RKO-dominated Hollywood's film industry. This "big studio sy
Van Johnson's dazzling smile, shock of red hair, and suntanned freckled cheeks made him a movie-star icon. Among teenaged girls in the 1940s, he was popularized as the bobbysoxer's heartthrob.He won t
