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The story of what happens when a serious writer goes to Hollywood has become a cliché: the writer is paid well but underappreciated, treated like a factory worker, and forced to write bad, formulaic movies. Most fail, become cynical, drink to excess, and at some point write a bitter novel that attacks the film industry in the name of high art. Like many too familiar stories, this one neither holds up to the facts nor helps us understand Hollywood novels. Instead, Chip Rhodes argues, these novels tell us a great deal about the ways that Hollywood has shaped both the American political landscape and American definitions of romance and desire.Rhodes considers how novels about the film industry changed between the studio era of the 1930s and 1940s and the era of deregulated film making that has existed since the 1960s. He asserts that Americans are now driven by cultural, rather than class, differences and that our mainstream notion of love has gone from repressed desire to \"abnormal desire\" to, finally, strictly business.Politics, Desire, and the Hollywood Novelpays close attention to six authors-Nathanael West, Raymond Chandler, Budd Schulberg, Joan Didion, Bruce Wagner, and Elmore Leonard-who have toiled in the film industry and written to tell about it. More specifically, Rhodes considers both screenplays and novels with an eye toward the different formulations of sexuality, art, and ultimately political action that exist in these two kinds of storytelling.

Both men were cooperative witnesses at the early 1950s hearings of the House Committee on Un-American Activities, and it was the huge success of their On the Waterfront (1954) that facilitated Kazan’s move to independent production, and the discussion of a new project drawing on their recollections of Huey Long in the 1930s, of radio figures Will Rogers and Arthur Godfrey, and of the role of television in Senator Joseph McCarthy’s rise and fall. In his notes for the project, Kazan insists that De Palma, Rhodes’s self-appointed New York agent and later President of Lonesome Rhodes Enterprises, “is NOT A HEAVY!!”[7] His “dance” with Rhodes, two alpha males excited by future opportunities, works both as satire and psychologically. A recent New York Times story recorded the president as making a desperate appeal for “Suburban women, will you please like me?”[9] President Barack Obama noted last week (on the stump for Joe Biden): “This is not a reality show. Nora Sayre, “A 1957 Film Speaks of Watergate”, New York Times, 8 September 1974; “A Face in the Crowd”, Blu-Ray Edition, The Criterion Collection, 2019.

Special events were presented by his alma mater, the University of Michigan, and the Arthur Miller Foundation staged a celebrity-filled fund-raiser on Broadway in support of arts education in the New York City public schools, which Miller himself had attended in his youth. All of this was perhaps capped by the Royal Shakespeare Company's London production of Death of a Salesman, a nod in his centennial year to Miller's significance for world literature in the same season in which the RSC commemorated the four hundredth anniversary of Shakespeare's death. Working together with other American drama societies, such as the Eugene O'Neill Society, the American Society for Theatre Research, and the American Theatre and Drama Society, I hope we can organize a series of four to six panels for this MLA convention that will bring together scholars and theater professionals to explore many aspects of American drama and its role in our culture.

The Black Power movement turned us into weapons of mass revelations, atomic bombs of thought blew up negative stereotypes, which still are the prison walls that the harrowing experience of chattel slavery erected around the black psyche. Two decades after the run of the Watts Writers Workshop, Kamau collaborated with the master drummer Billy Higgins to found the World Stage in Leimert Park, a hip joint where black culture is supported and displayed; many great jazz musicians and poets have graced the stage there.

No detailed description available for \"The Border and the Line\".

From the eclipsed icons of silent film to the stars of Bollywood, from the set of a breakout, made-for-TV movie to how the publicity game is played, from Walt Disney's Snow White to Akira Kurosawa's Rashömon, we have tried to provide an insightful glimpse at how screenwriters, illustrators, actors, stunt persons, producers, directors, and crews bring words and images to life on the silver screen. In addition to behind-the-scenes photo essays on Bollywood and stunt doubles, this issue presents two California dreamers - modernist architect John Lautner and visionary artist Leonard Knight - through exquisite photographs of their iconoclastic creations. In a significant artistic departure for him, novelist Bret Lott tries his hand for the first time as a biographer, introducing us to Frank Price, former chairman of Columbia Pictures, in impressionistic scenes from Price's Depression-era boyhood, his rise as a television writer, and big wins at the Academy Awards.

[...]Kazan's films also become a useful lens through which to view US culture and society during that same period. While I would like to have seen more on his Oscar-winning film Gentleman's Agreement (1948), especially its importance in broaching the subject of US anti-Semitism after the Second World War, the brief treatment here is understandable given that it has already been the focus of much attention. [...]I was surprised to see so little mention of Arthur Miller's View from the Bridge (1955), written in direct response to On the Waterfront (1954) and, as its title suggests, purporting to take a more dispassionate view of the subject of informing than Kazan did.