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Clark Gable: Tormented Star
by David BretClark Gable was perceived as the archetypal Hollywood superman, the kind of man that women lusted after and their husbands envied. However, as David Bret reveals in this powerful biography, in the early days of his career, with his squinty teeth and fondness for men as well as woman, he was anything but the wholesome figure he appeared. Gable was adopted by the &‘Sewing Circle&’ – the group that included Jean Harlow and, ironically, Carole Lombard, the great love of his life. Bret also reveals how Gable&’s wartime &‘heroics&’, which saw him promoted through the ranks from Private to Major in less than a year, were no more than an elaborate publicity stunt. Like an earlier paternity suit, it was an exercise dreamed up by studio chief, Louis B. Mayer to promote and protect Gable&’s image. After ending an affair with Ben Maddox in 1942, Gable seems to have &‘gone straight&’, from which point Bret moves into more familiar territory, focusing on Gable&’s great movies including Gone With the Wind and on his affairs with Joan Crawford, Ava Gardner and other famous stars. Drawing on a wealth of unpublished material, Bret pulls no punches in this star-studded story of Gable&’s life, told with candour and panache. David Bret is one of Britain&’s leading showbusiness biographers, and an authority on the chanson. His many highly successful books incllde: Edth Piaf, Joan Crawford, Jean Harlow, Errol Flynn and the soon to be published Mario Lanza (all from JR Books)
Clark Gable: A Biography
by Warren G. HarrisClark Gable arrived in Hollywood after a rough-and-tumble youth, and his breezy, big-boned, everyman persona quickly made him the town's king. He was a gambler among gamblers, a heavy drinker in the days when everyone drank seemingly all the time, and a lover to legions of the most attractive women in the most glamorous business in the world, including the great love of his life, Carole Lombard.In this well-researched and revealing biography, Warren G. Harris gives an exceptionally acute portrait of one of the most memorable actors in the history of motion pictures--whose intimates included such legends as Marilyn Monroe, Joan Crawford, Loretta Young, David O. Selznick, Jean Harlow, Judy Garland, Lana Turner, Spencer Tracy, and Grace Kelly--as well as a vivid sense of the glamour and excess of mid-century Hollywood.From the Trade Paperback edition.
Clash: Includes Crash, Clash And Crush (Crash #2)
by Nicole WilliamsThe second book in the New York Times bestselling Crash trilogy!Their Romeo-and-Juliet-level passion is the only thing Jude and Lucy agree on. That, and fighting all the time . . .Also not helping? Lucy's raging jealousy of the cheerleader who's wormed her way into Jude's life.While trying to hang on to her quintessential bad boy and also training to be the top ballet dancer in her class, Lucy knows something's going to give . . . soon.How can she live without the boy she loves? How can she live with herself if she gives up on her dreams? If Lucy doesn't make the right choice, she could lose everything.
Class Act: The Jazz Life of Choreographer Cholly Atkins
by Cholly Atkins Jacqui MaloneCholly Atkins's career has spanned an extraordinary era of American dance. He began performing during Prohibition and continued his apprenticeship in vaudeville, in nightclubs, and in the army during World War II. With his partner, Honi Coles, Cholly toured the country, performing with such jazz masters as Louis Armstrong, Cab Calloway, and Count Basie. As tap reached a nadir in the fifties, Cholly created the new specialization of "vocal choreography," teaching rhythm-and-blues singers how to perform their music by adding rhythmical dance steps drawn from twentieth-century American dance, from the Charleston to rhythm tap. For the burgeoning Motown record label, Cholly taught such artists as the Supremes, Smokey Robinson and the Miracles, the Temptations, Gladys Knight and the Pips, and Marvin Gaye to command the stage in ways that would enhance their performances and "sell" their songs.Class Act tells of Cholly's boyhood and coming of age, his entry into the dance world of New York City, his performing triumphs and personal tragedies, and the career transformations that won him gold records and a Tony for choreographing Black and Blue on Broadway. Chronicling the rise, near demise, and rediscovery of tap dancing, the book is both an engaging biography and a rich cultural history.
Class, Crime and International Film Noir
by Dennis BroeClass, Crime and International Film Noir argues that, in its postwar, classical phase, this dark variant of the crime film was not just an American phenomenon. Rather, these seedy tales with their doomed heroes and heroines were popular all over the world including France, Britain, Italy and Japan.
Class Divisions in Serial Television
by Sieglinde Lemke Wibke SchniedermannThis book brings the emergent interest in social class and inequality to the field of television studies. It reveals how the new visibility of class matters in serial television functions aesthetically and examines the cultural class politics articulated in these programmes. This ground-breaking volume argues that reality and quality TV's intricate politics of class entices viewers not only to grapple with previously invisible socio-economic realities but also to reconsider their class alignment. The stereotypical ways of framing class are now supplemented by those dedicated to exposing the economic and socio-psychological burdens of the (lower) middle class. The case studies in this book demonstrate how sophisticated narrative techniques coincide with equally complex ways of exposing class divisions in contemporary American life and how the examined shows disrupt the hegemonic order of class. The volume therefore also invites a rethinking of conventional models of social stratification.
Class on Screen: The Global Working Class in Contemporary Cinema
by Sarah AttfieldThis book provides an analysis of the global working class on film and considers the ways in which working-class experience is represented in film around the world. The book argues that representation is important because it shapes the way people understand working-class experience and can either reinforce or challenge stereotypical depictions. Film can shape and shift discussions of class, and this book provides an interdisciplinary study of the ways in which working-class experience is portrayed through this medium. It analyses the impact of contemporary films such as Sorry To Bother You, This is England and Le Harve that focus on working class life. Attfield demonstrates that the global working class are characterised by diversity of race, ethnicity, gender, religion and sexuality but that there are commonalities of experience despite geographical distance and cultural difference. The book is structured around themes such as work, culture, diasporas, gender and sexuality, and race.
Class Struggle in Hollywood, 1930-1950: Moguls, Mobsters, Stars, Reds, & Trade Unionists
by Gerald HorneAs World War II wound down in 1945 and the cold war heated up, the skilled trades that made up the Conference of Studio Unions (CSU) began a tumultuous strike at the major Hollywood studios. This turmoil escalated further when the studios retaliated by locking out CSU in 1946. This labor unrest unleashed a fury of Red-baiting that allowed studio moguls to crush the union and seize control of the production process, with far-reaching consequences. This engrossing book probes the motives and actions of all the players to reveal the full story of the CSU strike and the resulting lockout of 1946. Gerald Horne draws extensively on primary materials and oral histories to document how limited a "threat" the Communist party actually posed in Hollywood, even as studio moguls successfully used the Red scare to undermine union clout, prevent film stars from supporting labor, and prove the moguls' own patriotism.
Class Struggle in Hollywood, 1930–1950: Moguls, Mobsters, Stars, Reds, & Trade Unionists
by Gerald Horne&“A taut narrative in elegant prose . . . Horne has unearthed a vitally important and mostly forgotten aspect of Hollywood and labor history.&” —Publishers Weekly As World War II wound down in 1945 and the cold war heated up, the skilled trades that made up the Conference of Studio Unions (CSU) began a tumultuous strike at the major Hollywood studios. This turmoil escalated further when the studios retaliated by locking out CSU in 1946. This labor unrest unleashed a fury of Red-baiting that allowed studio moguls to crush the union and seize control of the production process, with far-reaching consequences. This engrossing book probes the motives and actions of all the players to reveal the full story of the CSU strike and the resulting lockout of 1946. Gerald Horne draws extensively on primary materials and oral histories to document how limited a &“threat&” the Communist party actually posed in Hollywood, even as studio moguls successfully used the Red scare to undermine union clout, prevent film stars from supporting labor, and prove the moguls&’ own patriotism. Horne also discloses that, unnoticed amid the turmoil, organized crime entrenched itself in management and labor, gaining considerable control over both the &“product&” and the profits of Hollywood. This research demonstrates that the CSU strike and lockout were a pivotal moment in Hollywood history, with consequences for everything from production values, to the kinds of stories told in films, to permanent shifts in the centers of power.
The Classic Ballet: Basic Technique And Terminology
by Lincoln Kirstein Muriel Stuart Carlus DyerA warm welcome back to this beloved classic! For decades the standard text for ballet technique, this book--first published in 1952--presents a beginner's guide to basic movements, steps, and terminology. Written by the staff of the School of American Ballet, it builds on the Russian tradition of Anna Pavlova and reflects the dance style of George Balanchine.
The Classic British Telefantasy Guide
by Paul Cornell Martin Day Keith ToppingThe Classic British Telefantasy Guide is derived from the second edition of The Guinness Book of Classic British TV with various corrections and a revised introduction to bring it up to date. It was written when the Internet barely existed, and at a time when few books had been published on the subject. This is, however, by no means a new or completely revised version of the original material - too much time has passed, and if we were to start reworking and correcting the text now, it would probably never be finished! Instead, Classic British Telefantasy is an electronic reprint of some of the authors' earliest work, repacked for a new format and, perhaps, a new age.
Classic Hollywood: Lifestyles and Film Styles of American Cinema, 1930-1960
by Michael Meadows Veronica PravadelliStudies of "Classic Hollywood" typically treat Hollywood films released from 1930 to 1960 as a single interpretive mass. Veronica Pravadelli complicates this idea. Focusing on dominant tendencies in box office hits and Oscar-recognized classics, she breaks down the so-called classic period into six distinct phases that follow Hollywood's amazingly diverse offerings from the emancipated females of the "Transition Era" and the traditional men and women of the conservative 1930s that replaced it to the fantastical Fifties movie musicals that arose after anti-classic genres like film noir and women's films. Pravadelli sets her analysis apart by paying particular attention to the gendered desires and identities exemplified in the films. Availing herself of the significant advances in film theory and modernity studies that have taken place since similar surveys first saw publication, she views Hollywood through strategies as varied as close textural analysis, feminism, psychoanalysis, film style and study of cinematic imagery, revealing the inconsistencies and antithetical traits lurking beneath Classic Hollywood's supposed transparency.
Classic Jazz: A Personal View of the Music and the Musicians
by Floyd LevinAn award-winning jazz writer has pulled together 50 years' worth of his articles, which appeared mostly in jazz magazines, to take readers into the world of jazz and its musicians. This personal view of a rich American music weaves in anecdotal material, primary research, and music analysis into every chapter. 51 photos. 10 line illustrations.
The Classical Hollywood Cinema: Film Style and Mode of Production to 1960
by David Bordwell Janet Staiger Kristin ThompsonHow films are conceived,planned, and produced leaves a mark upon the films, directly and structurally. The relations between film style and mode of production are, according to the authors, reciprocal and mutually influencing. The authors trace such topics as style, economics, and technology over time, demonstrating how significant changes occurred in Hollywood from the earliest days through the sixties.
Classical Hollywood Narrative: The Paradigm Wars
by Jane M. GainesSince the 1970s film studies has been dominated by a basic paradigm--the concept of classical Hollywood cinema--that is, the protagonist-driven narrative, valued for the way it achieves closure by neatly answering all of the enigmas it raises. It has been held to be a form so powerful that its aesthetic devices reinforce gender positions in society. In a variety of ways, the essays collected here--representing the work of some of the most innovative theorists writing today--challenge this paradigm.Significantly expanded from a special issue of South Atlantic Quarterly (Spring 1989), these essays confront the extent to which formalism has continued to dominate film theory, reexamine the role of melodrama in cinematic development, revise notions of "patriarchal cinema," and assert the importance of television and video to cinema studies. A range of topics are discussed, from the films of D. W. Griffith to sexuality in avant-garde film to television's Dynasty.Contributors. Rick Altman, Richard Dienst, Jane Feuer, Jane Gaines, Christine Gledhill, Miriam Hansen, Norman N. Holland, Fredric Jameson, Bill Nichols, Janey Staiger, Chris Straayer, John O. Thompson
The Classical Hollywood Reader
by Steve NealeThe Classical Hollywood Reader brings together essential readings to provide a history of Hollywood from the 1910s to the mid 1960s. Following on from a Prologue that discusses the aesthetic characteristics of Classical Hollywood films, Part 1 covers the period between the 1910s and the mid-to-late 1920s. It deals with the advent of feature-length films in the US and the growing national and international dominance of the companies responsible for their production, distribution and exhibition. In doing so, it also deals with film making practices, aspects of style, the changing roles played by women in an increasingly business-oriented environment, and the different audiences in the US for which Hollywood sought to cater. Part 2 covers the period between the coming of sound in the mid 1920s and the beginnings of the demise of the `studio system` in late 1940s. In doing so it deals with the impact of sound on films and film production in the US and Europe, the subsequent impact of the Depression and World War II on the industry and its audiences, the growth of unions, and the roles played by production managers and film stars at the height of the studio era. Part 3 deals with aspects of style, censorship, technology, and film production. It includes articles on the Production Code, music and sound, cinematography, and the often neglected topic of animation. Part 4 covers the period between 1946 and 1966. It deals with the demise of the studio system and the advent of independent production. In an era of demographic and social change, it looks at the growth of drive-in theatres, the impact of television, the advent of new technologies, the increasing importance of international markets, the Hollywood blacklist, the rise in art house imports and in overseas production, and the eventual demise of the Production Code. Designed especially for courses on Hollywood Cinema, the Reader includes a number of newly researched and written chapters and a series of introductions to each of its parts. It concludes with an epilogue, a list of resources for further research, and an extensive bibliography.
The Classical Monologue (M): Men
by Michael Earley Philippa KeilThe Classical Monologue in two volumes, one for men and one for women, is a fresh selection of the best speeches from the repertoire of the classical theatre, from the Greeks to the beginning of the 20th century. These great dramatic monologues--from all periods and styles, all varied in tone and genre--make an indispensable actor's companion for auditioning, rehearsing and performing. Each monologue is accompanied by textual notes explaining any unusual vocabulary or syntax, and by commentary in which the editors offer interpretative points and practical advice in preparing the speech for performance. Both beginners and experienced actors will find The Classical Monologue a treasury of theatrical riches waiting to be released on stage.
The Classical Monologue (W): Women
by Michael Earley Philippa KeilFirst Published in 1993. Routledge is an imprint of Taylor & Francis, an informa company.
The Classical Music Industry (Routledge Research in Creative and Cultural Industries Management)
by Chris Dromey Julia HaferkornThis volume brings together academics, executives and practitioners to provide readers with an extensive and authoritative overview of the classical music industry. The central practices, theories and debates that empower and regulate the industry are explored through the lens of classical music-making, business, and associated spheres such as politics, education, media and copyright. The Classical Music Industry maps the industry’s key networks, principles and practices across such sectors as recording, live, management and marketing: essentially, how the cultural and economic practice of classical music is kept mobile and alive. The book examining pathways to professionalism, traditional and new forms of engagement, and the consequences of related issues—ethics, prestige, gender and class—for anyone aspiring to ‘make it’ in the industry today. This book examines a diverse and fast-changing sector that animates deep feelings. The Classical Music Industry acknowledges debates that have long encircled the sector but today have a fresh face, as the industry adjusts to the new economics of funding, policy-making and retail The first volume of its kind, The Classical Music Industry is a significant point of reference and piece of critical scholarship, written for the benefit of practitioners, music-lovers, students and scholars alike offering a balanced and rigorous account of the manifold ways in which the industry operates.
Classical Music Top 40
by Anthony RudelIn this informal and informative guide, Rudel leads listeners through the 40 most essential and popular compositions from the Four Seasons to Rhapsody in Blue, explaining the musical structure of each passage and highlighting special themes or elements to listen for as the music continues.
Classical Storytelling and Contemporary Screenwriting: Aristotle and the Modern Scriptwriter
by Brian PriceSince we first arrived on the planet, we’ve been telling each other stories, whether of that morning’s great saber-tooth tiger hunt or the latest installment of the Star Wars saga. And throughout our history, despite differences of geography or culture, we’ve been telling those stories in essentially the same way. Why? Because there is a RIGHT way to tell a story, one built into our very DNA. In his seminal work Poetics, Aristotle identified the patterns and recurring elements that existed in the successful dramas of his time as he explored precisely why we tell stories, what makes a good one, and how to best tell them. In Classical Storytelling and Contemporary Screenwriting, Brian Price examines Aristotle’s conclusions in an entertaining and accessible way and then applies those guiding principles to the most modern of storytelling mediums, going from idea to story to structure to outline to final pages and beyond, covering every relevant screenwriting topic along the way. The result is a fresh new approach to the craft of screenwriting—one that’s only been around a scant 2,500 years or so—ideal for students and aspiring screenwriters who want a comprehensive step-by-step guide to writing a successful screenplay the way the pros do it.
The Classical Style: Haydn, Mozart, Beethoven
by Charles RosenThis book treating the three most beloved composers of the Vienna School is considered basic to any study of classical-era music. Drawing on his rich experience and intimate familiarity with the works of these giants, Charles Rosen presents his keen insights in clear and persuasive language.<P><P> Winner of the National Book Award
Classical Traditions In Science Fiction
by Brett M. Rogers Benjamin Eldon Stevensor all its concern with change in the present and future, science fiction is deeply rooted in the past and, surprisingly, engages especially deeply with the ancient world. Indeed, both as an area in which the meaning of "classics" is actively transformed and as an open-ended set of texts whose own 'classic' status is a matter of ongoing debate, science fiction reveals much about the roles played by ancient classics in modern times. Classical Traditions in Science Fiction is the first collection in English dedicated to the study of science fiction as a site of classical receptions, offering a much-needed mapping of that important cultural and intellectual terrain.
The Classrooms All Young Children Need
by Patricia M. CooperThe book identifies a pedagogical model organized around two complementary principles: a curriculum that promotes play and imagination, and the idea of classrooms as fair places where young children of every color, ability, and disposition are welcome.
Claude Chabrol: Interviews (Conversations with Filmmakers Series)
by Christopher BeachClaude Chabrol (1930–2010) was a founding member of the French New Wave, the group of filmmakers that revolutionized French filmmaking in the late 1950s and early 1960s. One of the most prolific directors of his generation, Chabrol averaged more than one film per year from 1958 until his death in 2010. Among his most influential films, Le Beau Serge, Les Cousins, and Les Bonnes Femmes established his central place within the New Wave canon. In contrast to other filmmakers of the New Wave such as Jean-Luc Godard and Eric Rohmer, Chabrol exhibited simultaneously a desire to create films as works of art and an impulse to produce work that would be commercially successful and accessible to a popular audience. The seventeen interviews in this volume, most of which have been translated into English for the first time, offer new insights into Chabrol’s remarkably wide-ranging filmography, providing a sense of his attitudes and ideas about a number of subjects. Chabrol shares anecdotes about his work with such actors as Isabelle Huppert, Gérard Depardieu, and Jean Yanne, and offers fresh perspectives on other directors including Jean-Luc Godard, Fritz Lang, and Alfred Hitchcock. His mistrust of conventional wisdom often leads him to make pronouncements intended as much to shock as to elucidate, and he frequently questions established ideas and normative attitudes toward moral, ethical, and social behaviors. Chabrol’s intelligence is far-reaching, moving freely between philosophy, politics, psychology, literature, and history, and his iconoclastic spirit, combined with his blend of sarcasm and self-deprecating humor, gives his interviews a tone that hovers between a high moral seriousness and a cynical sense of hilarity in the face of the world’s complexities.