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Death of the Mogulsis a detailed assessment of the last days of the \"rulers of film.\" Wheeler Winston Dixon examines the careers of such moguls as Harry Cohn at Columbia, Louis B. Mayer at MGM, Jack L. Warner at Warner Brothers, Adolph Zukor at Paramount, and Herbert J. Yates at Republic in the dying days of their once-mighty empires. He asserts that the sheer force of personality and business acumen displayed by these moguls made the studios successful; their deaths or departures hastened the studios' collapse. Almost none had a plan for leadership succession; they simply couldn't imagine a world in which they didn't reign supreme. Covering 20th Century-Fox, Selznick International Pictures, Metro-Goldwyn-Mayer, Paramount Pictures, RKO Radio Pictures, Warner Brothers, Universal Pictures, Republic Pictures, Monogram Pictures and Columbia Pictures, Dixon briefly introduces the studios and their respective bosses in the late 1940s, just before the collapse, then chronicles the last productions from the studios and their eventual demise in the late 1950s and early 1960s. He details such game-changing factors as the de Havilland decision, which made actors free agents; the Consent Decree, which forced the studios to get rid of their theaters; how the moguls dealt with their collapsing empires in the television era; and the end of the conventional studio assembly line, where producers had rosters of directors, writers, and actors under their command.Complemented by rare, behind-the-scenes stills,Death of the Mogulsis a compelling narrative of the end of the studio system at each of the Hollywood majors as television, the de Havilland decision, and the Consent Decree forced studios to slash payrolls, make the shift to color, 3D, and CinemaScope in desperate last-ditch efforts to save their kingdoms. The aftermath for some was the final switch to television production and, in some cases, the distribution of independent film.

This chapter contains sections titled: Shifting Currents Art and Entertainment America and Selznick International Hitchcock and Bernstein Paramount and Beyond Notes Works Cited

This chapter contains sections titled: From V‐Day to the Atomic Age to Vietnam The Postwar War Novel The Atomic Age, American Anxiety, and Noir Existentialism Sex and the Suburban Reader Resistance Through Black Humor: A Cynical America Emerges The World Beyond Black and White: New Voices in American Literature The Literature of Letting Go: Postmodernism and Contemporary Literature References and Further Reading

This chapter contains sections titled: Maximization and optimization in sport JDM history The development of JDM research in sport Rationale and structure of this book

This chapter contains sections titled: Religion and Religious Studies Before the 1930s The 1930s and 1940s Postwar: The Late 1940s and 1950s The 1960s The 1970s The 1980s Ethnography The 1990s Documentary Film and Video American Religious Studies in the New Millennium Popular Culture Visual Culture The Internet E pluribus unum? Coda References

Shortly before his execution on the death row in San Quentin, amateur sleuth and baby photographer Ronnie Jackson tells reporters how he got there.

Western legends Pat Garrett, Doc Holliday and Billy the Kid are played against each other over the law and the attentions of vivacious country vixen Rio McDonald.

In 1854, Jeb Stuart, George Custer and other graduates from West Point are posted to Kansas to help pacify the territory before railroad construction to Santa Fe can resume.

With good reason, a wide array of scholars tend to view Sean O’Faoláin as the overarching figure of the first generation of Irish writers coming to maturity in the wake of the Irish Civil War and the establishment of the Irish Free State. Whether as editor of theBell, animating force within Yeats’s Irish Academy of Letters, or irrepressible commentator and polemicist on a wide range of Irish cultural, literary, and political affairs, O’Faoláin serves as a social, professional, or intellectual nexus for a staggering array of Irish writers and thinkers in the early decades of Irish postcoloniality, from Bowen