<?xml version="1.0" encoding="UTF-8"?><rss xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title><![CDATA[subject results for "Motion picture industry — California — Los Angeles — History — 20th century."]]></title><description><![CDATA[subject results for "Motion picture industry — California — Los Angeles — History — 20th century."]]></description><link>https://gateway.bibliocommons.com/v2/libraries/seattle/rss/search?query=%22Motion%20picture%20industry%20%E2%80%94%20California%20%E2%80%94%20Los%20Angeles%20%E2%80%94%20History%20%E2%80%94%2020th%20century.%22&amp;searchType=subject&amp;origin=core-catalog-explore&amp;view=grouped</link><generator>RSS for Node</generator><lastBuildDate>Wed, 07 Oct 2026 22:44:08 GMT</lastBuildDate><item><title><![CDATA[Camera Man]]></title><description><![CDATA["As one of the most famous faces of silent cinema, Buster Keaton was and continues to be revered for his stoic expressions, clever visual gags, and acrobatic physicality in classics such as Sherlock Jr., The General, and The Cameraman. In this spirited biography, every aspect of Buster Keaton's astonishing life is explored, from his humble beginnings in vaudeville with his parents to his meteoric rise to Hollywood stardom during the silent era. Based on vigorous research of both Keaton and the film industry, it also delves into the dark sides of fame, such as Keaton's ill-advised businesses deals and alcoholism, to his unexpected resurgence in the 1940s as his contributions as both an actor and director were finally celebrated. This is a fascinating and uniquely astounding look at both the classic era of Hollywood and one of its most beloved stars"-- Provided by publisher]]></description><link>https://seattle.bibliocommons.com/v2/record/S246C1049726</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C1049726</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Stevens, Dana]]></dc:creator><pubDate>Mon, 31 Jan 2022 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/1049726246</comments><format>BK</format><subtitle>Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9781501134197/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Camera Man]]></title><link>https://seattle.bibliocommons.com/v2/record/S246C1044218</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C1044218</guid><category><![CDATA[EBOOK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Stevens, Dana]]></dc:creator><pubDate>Mon, 31 Jan 2022 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/1044218246</comments><format>EBOOK</format><subtitle>Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9781501134210/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Hollywood and the Movies of the Fifties]]></title><description><![CDATA["A comprehensive study of the changing attitudes of America in the 1950s as reflected by the films of that decade"-- Provided by publisher.]]></description><link>https://seattle.bibliocommons.com/v2/record/S246C1139338</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C1139338</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Hirsch, Foster]]></dc:creator><pubDate>Tue, 31 Jan 2023 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/1139338246</comments><format>BK</format><subtitle>The Collapse of the Studio System, the Thrill of Cinerama, and the Invasion of the Ultimate Body Snatcher--television</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780307958921/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Mary C. McCall Jr]]></title><description><![CDATA["Mary C. McCall Jr. was, according to studio head and frequent negotiating counterpart, Jack Warner, the "meanest woman in town." She was also the first woman elected president of the Screen Writers Guild, friends with Bette Davis and Humphrey Bogart, enemies with RKO's Howard Hughes, and a victim of the Hollywood's anti-communist blacklist. During the and 1940s and early 1950s, McCall reigned as one of the most powerful figures in Hollywood and secured the first contract for the Screen Writers Guild, guaranteeing screenwriters a minimum wage, credit protection, and pay raises. Her work changed labor relations in Hollywood and throughout her career, she she built a network of strong, if not always like-minded Hollywood feminists who, for twenty years, fought for recognition and power in Hollywood. J. E. Smyth's biography tells the story of McCall's extraordinary life and her crucial but under-recognized impact on Hollywood. In addition to her work as President of the Screen Writers Guild, McCall was also a successful screenwriter, who specialized in films about women. Most notably, she wrote Maisie, which focused on a working-class woman and eventually became a successful franchise. Her tenure as president of the Screen Writers Guild came to an end when Hollywood producers destroyed her career after she stood up against Howard Hughes and RKO Pictues once the studio denied a suspected Communist writer credit on a film he wrote. McCall's colorful and compelling life and work offers a powerful reminder and model for how women shaped one of the most powerful cultural industries of the past century"-- Provided by publisher.]]></description><link>https://seattle.bibliocommons.com/v2/record/S246C1230319</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C1230319</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Smyth, J. E.]]></dc:creator><pubDate>Wed, 31 Jan 2024 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/1230319246</comments><format>BK</format><subtitle>The Rise and Fall of Hollywood&apos;s Most Powerful Screenwriter</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780231215275/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Not your China Doll]]></title><description><![CDATA["Set against the glittering backdrop of Los Angeles during the gin-soaked Jazz Age and the rise of Hollywood, this debut book celebrates Anna May Wong, the first Asian American movie star, to bring an unsung heroine to light and reclaim her place in cinema history"-- Provided by publisher.]]></description><link>https://seattle.bibliocommons.com/v2/record/S246C1181270</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C1181270</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Salisbury, Katie Gee]]></dc:creator><pubDate>Wed, 31 Jan 2024 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/1181270246</comments><format>BK</format><subtitle>The Wild and Shimmering Life of Anna May Wong</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780593183984/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Not your China Doll]]></title><description><![CDATA["Enlightening, nuanced, and honest."--Lisa SeeSet against the glittering backdrop of Los Angeles during the gin-soaked Jazz Age and the rise of Hollywood, this debut book celebrates Anna May Wong, the first Asian American movie star, to bring an unsung heroine to light and reclaim her place in cinema history.One of Autostraddle's Most Anticipated Queer Books for Spring 2024 Before Constance Wu, Sandra Oh, Awkwafina, or Lucy Liu, there was Anna May Wong. In her time, she was a legendary beauty, witty conversationalist, and fashion icon. Plucked from her family's laundry business in Los Angeles, Anna May Wong rose to stardom in Douglas Fairbanks's blockbuster The Thief of Bagdad. Fans and the press clamored to see more of this unlikely actress, but when Hollywood repeatedly cast her in stereotypical roles, she headed abroad in protest. Anna May starred in acclaimed films in Berlin, Paris, and London. She dazzled royalty and heads of state across several nations, leaving trails of suitors in her wake. She returned to challenge Hollywood at its own game by speaking out about the industry's blatant racism. She used her new stature to move away from her typecasting as the China doll or dragon lady, and worked to reshape Asian American representation in film. Filled with stories of capricious directors and admiring costars, glamorous parties and far-flung love affairs, Not Your China Doll showcases the vibrant, radical life of a groundbreaking artist.]]></description><link>https://seattle.bibliocommons.com/v2/record/S246C1181562</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C1181562</guid><category><![CDATA[EAUDIOBOOK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Salisbury, Katie Gee]]></dc:creator><pubDate>Wed, 31 Jan 2024 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/1181562246</comments><format>EAUDIOBOOK</format><subtitle>The Wild and Shimmering Life of Anna May Wong</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780593827499/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Mary C. McCall Jr]]></title><description><![CDATA["Mary C. McCall Jr. was, according to studio head and frequent negotiating counterpart, Jack Warner, the "meanest woman in town." She was also the first woman elected president of the Screen Writers Guild, friends with Bette Davis and Humphrey Bogart, enemies with RKO's Howard Hughes, and a victim of the Hollywood's anti-communist blacklist. During the and 1940s and early 1950s, McCall reigned as one of the most powerful figures in Hollywood and secured the first contract for the Screen Writers Guild, guaranteeing screenwriters a minimum wage, credit protection, and pay raises. Her work changed labor relations in Hollywood and throughout her career, she she built a network of strong, if not always like-minded Hollywood feminists who, for twenty years, fought for recognition and power in Hollywood. J. E. Smyth's biography tells the story of McCall's extraordinary life and her crucial but under-recognized impact on Hollywood. In addition to her work as President of the Screen Writers Guild, McCall was also a successful screenwriter, who specialized in films about women. Most notably, she wrote Maisie, which focused on a working-class woman and eventually became a successful franchise. Her tenure as president of the Screen Writers Guild came to an end when Hollywood producers destroyed her career after she stood up against Howard Hughes and RKO Pictues once the studio denied a suspected Communist writer credit on a film he wrote. McCall's colorful and compelling life and work offers a powerful reminder and model for how women shaped one of the most powerful cultural industries of the past century"-- Provided by publisher.]]></description><link>https://seattle.bibliocommons.com/v2/record/S246C1262905</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C1262905</guid><category><![CDATA[EBOOK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Smyth, J. E.]]></dc:creator><pubDate>Wed, 31 Jan 2024 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/1262905246</comments><format>EBOOK</format><subtitle>The Rise and Fall of Hollywood&apos;s Most Powerful Screenwriter</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780231560719/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Not your China Doll]]></title><description><![CDATA["Set against the glittering backdrop of Los Angeles during the gin-soaked Jazz Age and the rise of Hollywood, this debut book celebrates Anna May Wong, the first Asian American movie star, to bring an unsung heroine to light and reclaim her place in cinema history"-- Provided by publisher.]]></description><link>https://seattle.bibliocommons.com/v2/record/S246C1181757</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C1181757</guid><category><![CDATA[EBOOK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Salisbury, Katie Gee]]></dc:creator><pubDate>Wed, 31 Jan 2024 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/1181757246</comments><format>EBOOK</format><subtitle>The Wild and Shimmering Life of Anna May Wong</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780593183991/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Cleopatra and the Undoing of Hollywood]]></title><description><![CDATA["On the 60th anniversary of the film, this book explores the extraordinary story of the making of Cleopatra, the film that changed the face of Hollywood. Cleopatra has its place as one of the most fabled films of all time. While others have won more Oscars, attracted better reviews and taken more money at the box office, the 1963 film starring Elizabeth Taylor and Richard Burton stands alone in cinema legend. What began in 1958 as a remake of the 1917 Theda Bara film, which starred Joan Collins and was projected to cost $2 million, would open five years later, having cost nearly twenty times as much. The budget had skyrocketed enormously as the production went through extravagant sets in two different countries, two directors and six leading men--and this was on top of Elizabeth Taylor's $1 million fee. But it was the off-screen romance between the two on-screen leads that really cemented Cleopatra's place in cinema history. Within weeks of Richard Burton's arrival in Italy, he and Taylor embarked on a tumultuous and passionate love affair that kept the Cuban Missile Crisis off the front pages and was denounced by the Vatican. Cleopatra and the undoing of Hollywood is a story of lust, excess and hubris--and how one film nearly brought Hollywood to its knees."--Publisher's description.]]></description><link>https://seattle.bibliocommons.com/v2/record/S246C1196881</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C1196881</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Humphries, Patrick]]></dc:creator><pubDate>Tue, 31 Jan 2023 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/1196881246</comments><format>BK</format><subtitle>How One Film Almost Sunk the Studios</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9781803990187/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Hollywood and the Movies of the Fifties]]></title><description><![CDATA[A fascinating look at Hollywood's most turbulent decade and the demise of the studio system--set against the boom of the post-World War II years, the Cold War, and the atomic age--and the movies that reflected the seismic shiftsHollywood in the 1950s was a period when the film industry both set conventions and broke norms and traditions--from Cinerama, CinemaScope, and VistaVision to the epic film and lavish musical. It was a decade that saw the rise of the anti-hero; the smoldering, the hidden, and the unspoken; teenagers gone wild in the streets; the sacred and the profane; the revolution of the Method; the socially conscious; the implosion of the studios; the end of the production code; and the invasion of the ultimate body snatcher: the "small screen" television.Here is Eisenhower's America--seemingly complacent, conformity-ridden revealed in Vincente Minnelli's Father of the Bride, Walt Disney's Cinderella, and Brigadoon, among others.And here is its darkening, resonant landscape, beset by conflict, discontent, and anxiety (The Man Who Knew Too Much, The Asphalt Jungle, A Place in the Sun, Touch of Evil, It Came From Outer Space) . . . an America on the verge of cultural, political and sexual revolt, busting up and breaking out (East of Eden, From Here to Eternity, On the Waterfront, Sweet Smell of Success, The Wild One, A Streetcar Named Desire, and Jailhouse Rock).An important, riveting look at our nation at its peak as a world power and at the political, cultural, sexual upheavals it endured, reflected and explored in the quintessential American art form.]]></description><link>https://seattle.bibliocommons.com/v2/record/S246C1155588</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C1155588</guid><category><![CDATA[EAUDIOBOOK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Hirsch, Foster]]></dc:creator><pubDate>Tue, 31 Jan 2023 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/1155588246</comments><format>EAUDIOBOOK</format><subtitle>The Collapse of the Studio System, the Thrill of Cinerama, and the Invasion of the Ultimate Body Snatcher--television</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780593788196/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Camera Man]]></title><description><![CDATA[Dana Stevens explores every aspect of Buster Keaton's life, from his humble beginnings in vaudeville with his parents to his meteoric rise to Hollywood stardom during the silent era. Based on vigorous research of both Keaton and the film industry, it also delves into the dark sides of fame, such as Keaton's ill-advised businesses deals and alcoholism, to his unexpected resurgence in the 1940s as his contributions as both an actor and director were finally celebrated.]]></description><link>https://seattle.bibliocommons.com/v2/record/S246C1059134</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C1059134</guid><category><![CDATA[BOOK_CD]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Stevens, Dana]]></dc:creator><pubDate>Mon, 31 Jan 2022 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/1059134246</comments><format>BOOK_CD</format><subtitle>Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9781797139982/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Camera Man]]></title><description><![CDATA[In this genre-defying work of cultural history, the chief film critic of Slate places comedy legend and acclaimed filmmaker Buster Keaton's unique creative genius in the context of his time. Born the same year as the film industry in 1895, Buster Keaton began his career as the child star of a family slapstick act reputed to be the most violent in vaudeville. Beginning in his early twenties, he enjoyed a decade-long stretch as the director, star, stuntman, editor, and all-around mastermind of some of the greatest silent comedies ever made, including Sherlock Jr., The General, and The Cameraman. Even through his dark middle years as a severely depressed alcoholic finding work on the margins of show business, Keaton's life had a way of reflecting the changes going on in the world around him. He found success in three different mediums at their creative peak: first vaudeville, then silent film, and finally the experimental early years of television. Over the course of his action-packed seventy years on earth, his life trajectory intersected with those of such influential figures as the escape artist Harry Houdini, the pioneering Black stage comedian Bert Williams, the television legend Lucille Ball, and literary innovators like F. Scott Fitzgerald and Samuel Beckett. In Camera Man, film critic Dana Stevens pulls the lens out from Keaton's life and work to look at concurrent developments in entertainment, journalism, law, technology, the political and social status of women, and the popular understanding of addiction. With erudition and sparkling humor, Stevens hopscotches among disciplines to bring us up to the present day, when Keaton's breathtaking (and sometimes life-threatening) stunts remain more popular than ever as they circulate on the internet in the form of viral gifs. Far more than a biography or a work of film history, Camera Man is a wide-ranging meditation on modernity that paints a complex portrait of a one-of-a-kind artist.]]></description><link>https://seattle.bibliocommons.com/v2/record/S246C1044103</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C1044103</guid><category><![CDATA[EAUDIOBOOK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Stevens, Dana]]></dc:creator><pubDate>Mon, 31 Jan 2022 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/1044103246</comments><format>EAUDIOBOOK</format><subtitle>Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9781797139975/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Hollywood Double Agent]]></title><description><![CDATA["The Cold War and the Golden Age of Hollywood meet in this story of the remarkable career of Boris Morros, film producer and Russian double agent. Boris Morros was a major figure in the 1930s and '40s. The head of music at Paramount, nominated for Academy Awards, he then went on to produce his own films with Laurel and Hardy, Fred Astaire, Henry Fonda, and others. But as J. Edgar Hoover would discover, these successes were a cover for one of the most incredible espionage tales in the history of the Cold War-Boris Morros also worked for Russian intelligence. Morros's assignments took him to the White House, the Vatican, and deep behind the iron curtain. The high-level intel he provided the KGB included military secrets and compromising information on prominent Americans: his friends. But in 1947, Morros flipped. At the height of the McCarthy era, he played a leading role in a deadly tale. Jonathan Gill's 'Hollywood Double Agent' is an extraordinary story about Russian spies at the heart of American culture and politics, and one man caught in the middle of the Cold War"-- Provided by publisher.]]></description><link>https://seattle.bibliocommons.com/v2/record/S246C894528</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C894528</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Gill, Jonathan]]></dc:creator><pubDate>Fri, 31 Jan 2020 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/894528246</comments><format>BK</format><subtitle>The True Tale of Boris Morros, Film Producer Turned Cold War Spy</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9781419740091/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Seduction]]></title><link>https://seattle.bibliocommons.com/v2/record/S246C823922</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C823922</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Longworth, Karina]]></dc:creator><pubDate>Wed, 31 Jan 2018 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/823922246</comments><format>BK</format><subtitle>Sex, Lies, and Stardom in Howard Hughes&apos;s Hollywood</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780062440518/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Seduction]]></title><link>https://seattle.bibliocommons.com/v2/record/S246C824017</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C824017</guid><category><![CDATA[EBOOK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Longworth, Karina]]></dc:creator><pubDate>Wed, 31 Jan 2018 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/824017246</comments><format>EBOOK</format><subtitle>Sex, Lies, and Stardom in Howard Hughes&apos;s Hollywood</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780062440532/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Seduction]]></title><description><![CDATA[In this riveting popular history, the creator of You Must Remember This probes the inner workings of Hollywood's glamorous golden age through the stories of some of the dozens of actresses pursued by Howard Hughes, to reveal how the millionaire mogul's obsessions with sex, power and publicity trapped, abused, or benefitted women who dreamt of screen stardom. In recent months, the media has reported on scores of entertainment figures who used their power and money in Hollywood to sexually harass and coerce some of the most talented women in cinema and television. But as Karina Longworth reminds us, long before the Harvey Weinsteins there was Howard Hughes--the Texas millionaire, pilot, and filmmaker whose reputation as a cinematic provocateur was matched only by that as a prolific womanizer. His supposed conquests between his first divorce in the late 1920s and his marriage to actress Jean Peters in 1957 included many of Hollywood's most famous actresses, among them Billie Dove, Katharine Hepburn, Ava Gardner, and Lana Turner. From promoting bombshells like Jean Harlow and Jane Russell to his contentious battles with the censors, Hughes--perhaps more than any other filmmaker of his era--commoditized male desire as he objectified and sexualized women. Yet there were also numerous women pulled into Hughes's grasp who never made it to the screen, sometimes virtually imprisoned by an increasingly paranoid and disturbed Hughes, who retained multitudes of private investigators, security personnel, and informers to make certain these actresses would not escape his clutches. Vivid, perceptive, timely, and ridiculously entertaining, The Seducer is a landmark work that examines women, sex, and male power in Hollywood during its golden age--a legacy that endures nearly a century later.]]></description><link>https://seattle.bibliocommons.com/v2/record/S246C823954</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C823954</guid><category><![CDATA[EAUDIOBOOK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Longworth, Karina]]></dc:creator><pubDate>Wed, 31 Jan 2018 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/823954246</comments><format>EAUDIOBOOK</format><subtitle>Sex, Lies, and Stardom in Howard Hughes&apos;s Hollywood</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780062866509/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Hollywood's Spies]]></title><description><![CDATA["Tells the remarkable story of the Jewish moguls in Hollywood who established the first anti-Nazi Jewish resistance organization in the country in the 1930s. In April 1939, Warner Brothers studios released the first Hollywood film to confront the Nazi threat in the United States. Confessions of a Nazi Spy, starring Edward G. Robinson, told the story of German agents in New York City working to overthrow the U.S. government. The film alerted Americans to the dangers of Nazism at home and encouraged them to defend against it. Confessions of a Nazi Spy may have been the first cinematic shot fired by Hollywood against Nazis in America, but it by no means marked the political awakening of the film industry's Jewish executives to the problem. Hollywood's Spies tells the remarkable story of the Jewish moguls in Hollywood who paid private investigators to infiltrate Nazi groups operating in Los Angeles, establishing the first anti-Nazi Jewish resistance organization in the country--the Los Angeles Jewish Community Committee (LAJCC). Drawing on more than 15,000 pages of archival documents, Laura B. Rosenzweig offers a compelling narrative illuminating the role that Jewish Americans played in combating insurgent Nazism in the United States in the 1930s. Forced undercover by the anti-Semitic climate of the decade, the LAJCC partnered with organizations whose Americanism was unimpeachable, such as the American Legion, to channel information regarding seditious Nazi plots to Congress, the Justice Department, the FBI and the Los Angeles Police Department. Hollywood's Spies corrects the decades-long belief that American Jews lacked the political organization and leadership to assert their political interests during this period in our history and reveals that the LAJCC was one of many covert 'fact finding' operations funded by Jewish Americans designed to root out Nazism in the United States"--Publisher description.]]></description><link>https://seattle.bibliocommons.com/v2/record/S246C738725</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C738725</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Rosenzweig, Laura B.]]></dc:creator><pubDate>Tue, 31 Jan 2017 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/738725246</comments><format>BK</format><subtitle>The Undercover Surveillance of Nazis in Los Angeles</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9781479855179/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Moneywood]]></title><description><![CDATA["From Top Gun to Howard the Duck, Hollywood was never more excessive than it was in the 1980s. In the Moneywood era, the purse strings were not controlled by adults, but by pop culture cowboys who couldn't balance their own checkbooks but could fast talk the talent, snowball the Japanese, and explain their way out of Dodge when the grosses came in. Their know-nothing raging narcissistic personalities make Sam Goldwyn look professorial and some of the biggest flops the industry has ever seen (Days of Heaven, Howard the Duck) were released on their watch. They were the producers. Out to line their pockets, trash each other, and never forget to look out for #1, the Moneywood cast of characters includes: Don Simpson, the Flashdance and Top Gun producer whose big-swinging-dick swagger and bigger drug habit only made him more desirable in studio boardrooms Ronald Betts, the Silver Screen Partners founder and former frat-mate of George W. Bush at Yale who milked that connection for all it was worth (and with Ronald Reagan in the White House it was worth a lot) David Begelman, the embezzler and womanizer who was president of MGM Ray Stark, Jon Peters, Peter Guber, Michael Eisner, Mike Ovitz, Jeffrey Katzenberg, and the other careerists who bent the industry, and their enemies, to their wills This is a meaty exposé of the real hit men of Hollywood's last go-go decade"--Provided by publisher.]]></description><link>https://seattle.bibliocommons.com/v2/record/S246C538404</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C538404</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Stadiem, William]]></dc:creator><pubDate>Thu, 31 Jan 2013 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/538404246</comments><format>BK</format><subtitle>Hollywood in Its Last Age of Excess</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780312656898/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Death of the Moguls]]></title><link>https://seattle.bibliocommons.com/v2/record/S246C575491</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C575491</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Dixon, Wheeler W.]]></dc:creator><pubDate>Tue, 31 Jan 2012 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/575491246</comments><format>BK</format><subtitle>The End of Classical Hollywood</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780813553771/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Nobody's Girl Friday]]></title><description><![CDATA["Disillusioned with what the American film industry had become by the 1970s, Bette Davis remembered a time when "women owned Hollywood." This book is their story. Historian J.E. Smyth challenges the belief, reinforced in too many histories and public comments, that feminism died between 1930 and 1950, that women were not important within the Hollywood studio system, that male directors called all the shots, and that the most important Hollywood writer you should know about is Dalton Trumbo"-- Provided by publisher.]]></description><link>https://seattle.bibliocommons.com/v2/record/S246C793544</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C793544</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Smyth, J. E.]]></dc:creator><pubDate>Wed, 31 Jan 2018 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/793544246</comments><format>BK</format><subtitle>The Women Who Ran Hollywood</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780190840822/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Only the Dead Know Burbank]]></title><description><![CDATA["The original set of the 1925 production of The Phantom of the Opera still sits on the Universal lot in Hollywood. As legend has it, every time a crew has attempted to break it down, they've been met with freak accidents--as if some spirit still lingers in the old plywood and fading paint. Some say this spirit has manifested as a little girl that roams the lot after dark. She is waiting to tell the true ghost story behind the ones recorded on celluloid. It's a story that begins one hundred years ago--before Bela Lugosi and Boris Karloff--with a German artist, his muse and the secret behind the birth of American horror. A young Maddie Ulm and her mother, cast out of their small German village due to her mother's dabbling in the occult, do their best to eke out a living. When Maddie is struck with the spanish flu, it's her mother's rituals that bring her back from death, but changed. Frozen at her young age and unable to die, Maddy fights for her place in the world. She starts to use her gifts as a sideshow attraction, dying and returning to life in increasingly elaborate ways. She quickly learns the value of her unique relationship with death, as she becomes involved in the nascent German film industry. Her talents are recognized, and she is invited to Hollywood, where she works with such greats as Lon Cheney and Boris Karloff, putting her mark on American Horror's foundational cinema, though her condition keeps her from achieving the credit and power she desires"-- Provided by publisher.]]></description><link>https://seattle.bibliocommons.com/v2/record/S246C692361</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C692361</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Tatum, Bradford]]></dc:creator><pubDate>Sun, 31 Jan 2016 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/692361246</comments><format>BK</format><subtitle>A Novel</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780062428752/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Only the Dead Know Burbank]]></title><description><![CDATA["The original set of the 1925 production of The Phantom of the Opera still sits on the Universal lot in Hollywood. As legend has it, every time a crew has attempted to break it down, they've been met with freak accidents-as if some spirit still lingers in the old plywood and fading paint. Some say this spirit has manifested as a little girl that roams the lot after dark. She is waiting to tell the true ghost story behind the ones recorded on celluloid. It's a story that begins one hundred years ago-before Bela Lugosi and Boris Karloff-with a German artist, his muse and the secret behind the birth of American horror. A young Maddie Ulm and her mother, cast out of their small German village due to her mother's dabbling in the occult, do their best to eke out a living. When Maddie is struck with the spanish flu, it's her mother's rituals that bring her back from death, but changed. Frozen at her young age and unable to die, Maddy fights for her place in the world. She starts to use her gifts as a sideshow attraction, dying and returning to life in increasingly elaborate ways. She quickly learns the value of her unique relationship with death, as she becomes involved in the nascent german film industry. Her talents are recognized, and she is invited to Hollywood, where she works with such greats as Lon Cheney and Boris Karloff, putting her mark on American Horror's foundational cinema, though her condition keeps her from achieving the credit and power she desires"-- Provided by publisher.]]></description><link>https://seattle.bibliocommons.com/v2/record/S246C708300</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C708300</guid><category><![CDATA[EBOOK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Tatum, Bradford]]></dc:creator><pubDate>Sun, 31 Jan 2016 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/708300246</comments><format>EBOOK</format><subtitle>A Novel</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780062428769/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item><item><title><![CDATA[Without Lying Down]]></title><link>https://seattle.bibliocommons.com/v2/record/S246C217146</link><guid isPermaLink="true">https://seattle.bibliocommons.com/v2/record/S246C217146</guid><category><![CDATA[BK]]></category><category><![CDATA[eng]]></category><dc:creator><![CDATA[Beauchamp, Cari]]></dc:creator><pubDate>Fri, 31 Jan 1997 00:00:00 GMT</pubDate><comments>https://seattle.bibliocommons.com/item/comment/217146246</comments><format>BK</format><subtitle>Frances Marion and the Powerful Women of Early Hollywood</subtitle><language>eng</language><image_url>https://secure.syndetics.com/index.aspx?isbn=9780684802138/MC.GIF&amp;client=sepup&amp;type=xw12&amp;oclc=</image_url></item></channel></rss>