Explore the vast range of titles available.

The first full-length study of the authorial and cross-media practices of the English novelist Elinor Glyn (1864-1943), Elinor Glyn as Novelist, Moviemaker, Glamour Icon and Businesswoman examines Glyn's work as a novelist in the United Kingdom followed by her success in Hollywood where she adapted her popular romantic novels into films. Making extensive use of newly available archival materials, Vincent L. Barnett and Alexis Weedon explore Glyn's experiences from multiple perspectives, including the artistic, legal and financial aspects of the adaptation process. At the same time, they document Glyn's personal and professional relationships with a number of prominent individuals in the Hollywood studio system, including Louis B. Mayer and Irving Thalberg. The authors contextualize Glyn's involvement in scenario-writing in relationship to other novelists in Hollywood, such as Edgar Wallace and Arnold Bennett, and also show how Glyn worked across Europe and America to transform her stories into other forms of media such as plays and movies. Providing a new perspective from which to understand the historical development of both British and American media industries in the first half of the twentieth century, this book will appeal to historians working in the fields of cultural and film studies, publishing and business history.

The dismissal of Orson Welles from his contract at RKO is one of the most debated topics in the history of American film. This article examines the corporate background behind this decision through the role of Floyd Odlum and the Atlas Corporation in engineering Welles's dismissal. It then explains the company strategy that Odlum pursued vis-à-vis his assumption of control at RKO, against the backdrop of Atlas as a large US investment firm. It also re-examines Welles's claim that (apart from It's All True ) his films never went over-budget. By bringing these elements together, a new understanding of why Welles was dismissed from RKO is obtained.

This article examines the significant financial rewards obtained by the English popular novelist Elinor Glyn as a result of the motion picture adaptations of her stories in the 1920s. It uses newly available archive materials to present detailed financial information on a number of Glyn adaptations (including Three Weeks and It), and discusses the narrative around these data in terms of the issue of contracts and the role of specific film companies such as MGM and Paramount. It also shows that conflict over royalties and the relevant accounting practices were significant elements of Glyn's experiences in Hollywood at this time. Comparing Glyn's status as a 'star' author and personality with other well-known authors of the period, the article concludes that she was in some ways a unique phenomenon in terms of the level of her artistic and financial success.

This article addresses the relationship of Elinor Glyn, Louis B. Mayer and Irving Thalberg at the time of the formation of Metro-Goldwyn-Mayer. Through the use of newly available archival materials it focuses specifically on the contractual negotiations over motion picture rights to Glyn's stories, negotiations that were of definite significance in establishing the practices of cross-media collaboration that existed between novelists and moviemakers in Hollywood in the 1920s. It also serves to indicate how the economic, artistic and legal processes involved in moviemaking in this period were inextricably connected, and suggests that personal and professional conflicts were often an essential part of the evolving practices of Hollywood in the silent era.

The concept of 'character doubling,' which has deep literary roots, was developed with special force in the cinema. Carl Jung's theory of psychological types, first published in English in 1923, suggests an approach to understanding the use of stereotyped characters, especially doubles, so familiar in American cinema. The on- and off-screen career of actress Kim Novak is used as an illustration of this fascination with disjointed personalities, particularly in such films as Vertigo, Bell, Book and Candle, The Legend of Lylah Clare and Kiss Me, Stupid.

The history of Russian economic ideas from the sixteenth century to contemporary times is a fascinating, tumultuous yet neglected topic among Western scholars. Whilst over the last 15 years increasing amounts of work has been done on the subject, co-operation between Russian and Western researchers in this field leaves much to be desired. In order to improve this situation, this volume unites Russian and non-Russian researchers together to provide an overview of the current state of the topic and to give a stimulus for further research. Bringing together scholars from the UK, Germany, Japan, Australia, Finland and Russia, the collection puts forward differing, yet complimentary, perspectives on the long-term history of Russian economic ideas. Offering a broad collection of articles covering the period from the seventeenth to the twentieth centuries, authors have approached the subject from diverse theoretical angles. Contributions in the tradition of Blaug and Schumpeter focusing on economic analysis in a narrower sense, and contributions that - in line with authors like Pribram or Perlman/McCann - deal with economic thought in the context of history and culture, are all represented. In terms of content, the editors have encouraged approaches that represent different economic traditions in order to encourage a diversity of opinions on the national development of Russian economics. As such the volume offers a broad and very relevant assessment of the subject for both historians and economists alike.

The authors often had little control over how the film adaptations were made, despite their legal ownership of the copyright of the original stories. A quantitative analysis of ten popular British genre authors' publications, and the film adaptations that were made from them between the wars, helps to provide some wider historical context for Elinor Glyn's own adaptations. Within the US film industry, Cari Beauchamp observed that: With few taking moviemaking seriously as a business, the doors were wide open to women. The futuristic inventions that Glyn included in the original story, such as a micro-parachute and a mini-submarine, were also left out of the film. Glyn's books were very successful commercially. In the quarter century following the first publication of Three Weeks in 1907, the publishers claimed that over five million copies of all the various editions were sold worldwide. The 1924 film version of Three Weeks has the same storyline as the novel and the play.

One of the first concrete results of Glyn's enthusiasm for assisting the development of the British film industry was the creation of Elinor Glyn Productions Ltd, which was officially incorporated as a British company on 5 February 1930. On her return from America in 1930, Glyn wrote that she had tried hard to obtain some idea of the prevailing opinion in England with regard to films generally & talkies in particular & especially to discover in what direction public taste is bending. The right material for Glyn combined incident with location, escapist storylines with aspirational characters. Glyn accepted the necessity of moving the location of her stories, changing the endings, and even transposing the main characters in order to meet the essentials of popular appeal in Hollywood, and she would do the same for her own films in Britain.