Book Description
At twenty-five, Orson Welles (1915-1985) directed, co-wrote, and starred in Citizen Kane, widely considered the best film ever made. But Welles was such a revolutionary filmmaker that he found himself at odds with the Hollywood studio system. His work was so far ahead of its time that he never regained the wide popular following he had once enjoyed as a young actor-director on the radio.
Frustrated by Hollywood and falling victim to the postwar blacklist, Welles departed for a long European exile. But he kept making films, functioning with the creative freedom of an independent filmmaker before that term became common and eventually preserving his independence by funding virtually all his own projects. Because he worked defiantly outside the system, Welles has often been maligned as an errant genius who squandered his early promise.
Film critic Joseph McBride, who acted in Welles's legendary unfinished film The Other Side of the Wind, provocatively challenges conventional wisdom about Welles's supposed creative decline. McBride is the first author to provide a comprehensive examination of the films of Welles's artistically rich yet little-known later period. During the 1970s and '80s, Welles was breaking new aesthetic ground, experimenting as adventurously as he had throughout his career.
McBride's friendship and collaboration with Welles and his interviews with those who knew and worked with the director make What Ever Happened to Orson Welles? a portrait of rare intimacy and insight. Reassessing Welles's final period in the context of his entire life and work, McBride's revealing portrait of this great film artist will change the terms of how Orson Welles is regarded.
Customer Reviews:
Orson Welles Book.......2007-07-01
I have always been a fan of Orson Welles on radio and television. Having collected a ton of radio broadcasts on CD and audio cassette and having watched most of his movies, I appreciate the genius of his work. I picked up a copy of this book recently and am amazed at the amount of research put into it. An aspect of Welles rarely discussed is his magic career. At the Mid-Atlantic Nostalgia Convention this September in Aberdeen, Maryland, I plan to attend the presentation about Orson Welles and his magic career so I can watch rare footage and films with Welles, and get an even deeper insight to his trickery. Book comes recommended.
Fascinating and informative.......2007-03-06
While I might be biased because a many parts of this book included stories about my father, Gary Graver, this is not something you want to miss out on if you have any interest in Orson Welles or the inner workings of the Hollywood movie industry. I knew Orson when I was a young boy and teenager during the time my father worked with him, but my memories are nothing compared to the vivid details and thoroughness of Joe's writings.
This book taught me a lot about a man whom I admired and feared. He was rather scary from the perspective of a ten year old, but he often took time to have me sit with him while he taught me card tricks. I am so grateful that these stories are now available for everyone to read. Thank you Joe for your commitment in documenting what no one else ever has and sharing these wonderful stories.
Its value thus is twofold: as a biography for Welles fans, and as a history of film industry operations and politics........2006-12-11
Mention the name Orson Welles and his most famous involvement - with the radio scare 'War of the Worlds' - immediately comes to mind; but for a deeper understanding of Welles' life and career you need What Ever Happened to Orson Welles?: A Portrait of an Independent Career. His later projects were largely self-financed and erratically distributed, but film critic and biographer Joseph McBride has a personal familiarity with Welles from previous projects worked on with him and here shows how the Hollywood studio system forced Welles out of the industry. Its value thus is twofold: as a biography for Welles fans, and as a history of film industry operations and politics.
Diane C. Donovan
California Bookwatch
A Great Director's Independent Years.......2006-11-06
Everyone knows that Orson Welles made _Citizen Kane_, possibly the most audacious and most analyzed movie to come out of Hollywood. And then what happened? He had been called a "boy genius", having made the movie (co-written, directed, and starred) when he was but twenty-five years old, but within a decade the term was used with sarcasm, and Walter Kerr wrote that Welles had become "an international joke, and possibly the youngest living has-been." Welles had been knocked down, and in the view of many, he never got up. Certainly, he never made anything like a _Kane_ again, but that isn't really fair: no one has. It is true that he never produced the sorts of films that were Hollywood-popular, but he did not at all disappear. Joseph McBride, a film historian who knew Welles, has answered the title question in his book _What Ever Happened to Orson Welles? A Portrait of an Independent Career_ (The University Press of Kentucky). The answer, quite simply, is that Welles worked and worked for decades in film, writing scripts, making movies, and (perhaps because few would bankroll him) doing things his own way. It's a sad story, in many ways. No one could doubt Welles's genius, and there are so many "if only" episodes in this book that it is often a depressing account. But Welles was not a tragic figure; he reflected years later that he might have made a mistake in staying in films (rather than, say, returning to the theater in which he had previously made his mark). But he would not have had it any other way: "I'm just in love with making movies," he said, and indeed, it was only death that stopped him.
McBride necessarily describes the problems that beset Welles immediately after _Kane_, when Welles could no longer get anything close to the full control of a film which he had practiced on his first movie. Still wanting to make movies, he left Hollywood to continue in Europe. McBride makes the case that contributing to Welles's decision for self-exile was his fear that he would be called to testify in the Communist witch-hunts. Welles loved shooting films and he especially loved editing them (as anyone who has seen _Kane_ can tell). There are plenty of pictures Welles worked on whose footage has been lost, but many others have the footage saved by fans or by creditors, and they frequently propose bringing out a finished version, hiring someone to pull the scenes together into a finished movie even so long after Welles's death in 1985. One producer mentioned she'd like to see a particular film screened not as an unfinished work by Welles, but as a film the way he might have finished it; but she says, "Finished by whom? Who can you substitute for Orson Welles?"
McBride does not go deeply into Welles's inability to finish things. Certainly it was attributable in a large part to Welles's way of skin-of-his-teeth filmmaking, whether or not it was some deep-set psychological disability. Welles could have written a magnificent autobiography, but when he got advances for such a work, he always returned them to the publishers. McBride writes, "Welles was deeply ambivalent about reminiscing, perhaps because he would have had to address issues he usually found too painful or delicate, such as his sexuality, his family life and some of his more traumatic experiences in Hollywood." Some of the stories of incompletion here, however, are extraordinary. His finished negative of _The Merchant of Venice_ was simply stolen from Welles's production office in Rome. The Iranians held funding for his meditation on filmmaking in the sixties, _The Other Side of the Wind_, and then the Shah was overthrown. "It's hard to imagine a movie career more littered with sensational catastrophes than mine," Welles admitted. He seldom admitted that he was the source of the less sensational catastrophes; a cameraman who worked with Welles late in his career said that Don Quixote was never completed because Welles "moved around too much, stuff got lost." For sensational and unsensational reasons, the losses recounted here are staggering. Nonetheless, McBride shows that they cannot be blamed, as some critics say, on Welles's being lazy or dilatory. The decades were filled with work for him, and he was pounding out a manuscript for a brand-new project on the night he died. As an independent filmmaker, Welles may have never fully lived up to his potential, but with a record of films that includes _Touch of Evil_ or the supremely weird _Lady from Shanghai_, his pattern of incompletion must be a minor sin. Much of McBride's personal account comes from his being an actor in _The Other Side of the Wind_ (of course, never finished) as were such droppable names as John Huston and Dennis Hopper. McBride's story won't re-make Welles's post-1950 career, but it isn't just a story of loss and lost opportunities; it is one of real movie history and at least some genuine artistic success.
The Real Story behind a Misunderstood Talent........2006-10-07
This book's title aptly describes its critical task in taking issue with the misleading images perpetuated by certain critics and journalists concerning the significance of Orson Welles as a major cinematic talent who developed, rather than declined, after making CITIZEN KANE. The author had the benfit several years of contact with the director before he died as well as the opportunity to appear before the camera in the still unreleased THE OTHER SIDE OF THE WIND.
McBride has been engaged in Welles's scholarship since his early 1970s monograph dealing with the director and is in a good position to promote the case that Welles was more of what we would describe as an independent film director rather than a Hollywood figure. This book covers similar territory to the first two volumes of Simon Callow's biographical project but has the advantage of extending beyond the final chapter of HELLO AMERICANS to document Welles work in Europe and his return to Hollywood up to his eventual death. It is also a much more balanced work than either of Callow's two volumes by avoiding tendencies towards cheap character assassination (mercifully limited in Callow's second volume but still present in certain instances) to document a person who was both a genius and a difficult person.
The key argument of this book is that the director was more sinned against than anything else. His Hollywood career was deliberately sabotaged by studion executives and he was under surveillance by the FBI for some 15 years. Despite that, Welles never gave in but directed several fascinating films and worked on others that still remain to be completed up to the very moment of his life. Welles was a fascinating character, a product of the New Deal Cultural Front, and a cinematic innovator in many ways. He left a legacy of completed American and European films as well as other works that challenged the boundaries of mainstream cinema. McBride delivers this argument in an eloquent manner and documents his sources meticulously.
This is one of the best biographies that has appeared so far on the subject. It aims to reveal the truth concerning Welles's real creative challenge to the establishment which several notorious treatments have attempted to deny. McBride writes in a very engaging manner and makes a strong case for the reassessment of the legacy of Orson Welles as one of America's major talents of the twentieth century. It is a really important work demanding wide readership and respect for its very valuable achievement.
The University of Kentucky Press also deserves congratulations for publishing this work along with the recent books on Cecil B. De Mille, Thomas Dixon and Peter Lorre which are all instrumental in rewriting film history and refuting so-called standard interpretations.
Book Description
This digital document is an article from The Weekly Standard, published by Thomson Gale on January 22, 2007. The length of the article is 1498 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Make No Whine; The older Orson Welles was productive, not tragic.(What Ever Happened to Orson Welles?: A Portrait of an Independent Career)(Book review)
Author: Sonny Bunch
Publication:
The Weekly Standard (Magazine/Journal)
Date: January 22, 2007
Publisher: Thomson Gale
Volume: 12
Issue: 18
Page: NA
Article Type: Book review
Distributed by Thomson Gale
Amazon.com
Intellectuals are often accused of viewing mass entertainment with contempt, fear, or condescension. The rise of cultural-studies programs in prestigious universities, however, reveals that this perception couldn't be further from the truth. In American Culture, American Tastes, Pulitzer Prize-winning historian Michael G. Kammen explores the origins and implications of this new way that academics and critics celebrate, rather than condemn, popular tastes.
In principle, Kammen supports recent scholarly forays into the effects of mass production and consumerism on Americans' leisure time. He is concerned, however, that the audience's relationship to contemporary media is greatly underappreciated. In attempting to distinguish "popular" from "mass" culture, Kammen argues that with films, music, radio, and popular fiction, certain "highbrow, middlebrow, and lowbrow" levels emerged, targeting specific social classes or communities. These levels were quite permeable, however, and certain works, such as Shakespeare's plays and Charlie Chaplin's slapstick comedies, allowed audiences to transcend rigid categories of taste. In the television era, Kammen believes, leisure has become more passive and homogenized, however, and the era of democratic consumption that many modern intellectuals champion may be near an end.
To combat this trend, Kammen, like Russell Jacoby, longs to resurrect "public intellectuals," such as H.L. Mencken and Dwight Macdonald, who pointedly combined a learned appreciation of popular culture with a genuine concern for preserving the vivacity of public life. In a field dominated by Marxists and feminists, this call for liberal cultural "authority" will raise some hackles in academe, but praise among general audiences. --John M. Anderson
Book Description
In American Culture, American Tastes, Michael Kammen leads us on an entertaining, thought-provoking tour of America's changing tastes, uses of leisure, and the shifting perceptions that have accompanied them throughout our nation's history. Starting at the point in time that late-nineteenth-century popular culture began to evolve into post-WWII mass culture, Kammen charts the influence of advertising and opinion polling; the development of standardized products, shopping centers, and mass marketing; the separation of youth and adult culture; the relationship between "high" and "low" art; the commercialization of organized entertainment; and the ways in which television has shaped mass culture and consumerism has reconfigured it. In doing so, he draws from sources as varied and rich as the work of esteemed cultural theorists, "The Simpsons," jigsaw puzzles, Walter Winchell's gossip columns, Whitman's poetry, Warhol's art, "Sesame Street," and the Book-of-the-Month Club.
With wit and ingenuity Kammen traces the emergence of American mass culture and the contested meanings of leisure, taste, consumer culture, and social divisions that it has spawned.
Customer Reviews:
If you enjoyed this book, try Also "From Lowbrow to Nobrow".......2007-05-18
If you enjoyed this book, try also a recent hit, "From Lowbrow to Nobrow," which provides a state of the art and revolutionary analysis of popular fiction (sort of a la Herbert Gans), and does it in an engaging, colourful and witty way. Peter Swirski, the author, is a literature specialist but his also ranges into sociology, leisure studies, aesthetics, economics, and many other aspects of the socio-cultural function of popular fiction, as well as a new socio-aesthetic category which he dubs "nobrow."
An excellent read!.......2000-09-03
I picked this book up on a whim, and found it an interesting mix; a somewhat anti-academic treatise written by a flourishing academic, filled with tremendous flashes of genuine insight into the perennial American ethos as it sifts out in our culture. Written in an engaging style, Kammen is clearly devoted to his own intellectual gifts but not overcome by them. His dissection of the impact of television on modern culture is particularly adept, if only the creators of TV programming possessed this much understanding of the medium in which they work! The pace of the book is invitingly brisk, and while it is thick going in a few places, it's mostly quite readable and makes its arguments in a manner that is concise, cogent, and to-the-point. Despite the somewhat dry title (although the Reginald Marsh painting on the cover really cinched my purchase of the book!), this is a penetrating and important look at the direction of American culture. Kammen's take on multi-culturalism in America seems somewhat bleached, and his occasional ruminations on cultural life played out vis-a-vis the increasingly virulent class war that rumbles just under the surface of American life seem conservative and not always informed, perhaps closeted a bit by his academic background. One other thing- the illustrations in the book are beautifully chosen, including Rockwell, Benton, and a positively magical drawing of Warhol by Jamie Wyeth. I'd never seen it before and it alone is worth the price of the book!
Well-Researched Look At American Leisure Preferences.......2000-08-16
Historian/author Michael Kammen's "American Culture, American Taste" exhaustively, deliberately examines 120 years of American leisure preferences: their classification, exploration, homogonization, and finally, exploitation. He recalls, charts, and deconstructs lines of "high," "low," and "middlebrow" taste (defined over time by everything from furniture choice to favorite "Simpsons" character). He also strengthens the divide between "popular" culture (often regional and participatory) over "mass" culture (homogoneous and sedentary), criticizing their interchangability in American society.
Kammen doesn't adhere to timeline (although he includes one to start the book) prefering to make points era to era, country to city, weaving critical opinions often 50 years apart. He cites the years 1880-1930 as when popular culture gained its footing (with increased leisure time) and inspired some of its finest (often bristling) national conversation from journalists such as Walter Lippmann. He finds unique angles in cultural hegemony (sports equipment and rule books, Walt Disney's and Charlie Chaplin's films, radio's "Amos n'Andy", and syndicated newspaper features all preceding television's ultimate conquest). Then again, Kammen also includes Timothy O'Leary's dimbulb quote that the Nintendo phenomenon is "about equal to that of the Gutenberg printing press." Uh huh.
Kammen reveals, then bemoans, the gradual shift from active to passive, social to private amusement, from reliance on cultural leadership ("tastemakers") to public opinion easily manipulated by advertising and slavishly served by mass media. Kammen also praises disparate artists like Andy Warhol and Ken Burns for their fresh, interpretive approaches to popular art, history, and their ultimate meld, acknowledging criticism of Burns in a chapter among the book's best.
Kammen writes like a professor: dryly, relying on self-reference and prepositional pile-up (ending Chapter 8, for example, with a huge excerpt from social critic Morag Shiach followed by his own terse, "I concur." Yet the sheer weight of his research, opinion collected and examples rendered make "American Culture" a fine companion piece to studying American fad, fashion, and leisure preference, a part of daily American life few scholars have seriously studied. Recommended.
Another Kammen Hit!.......2000-05-18
Kammen once again delivers the goods in this well-researched and timely discussion of how American popular culture has changed over the past century into mass culture. Popular and mass culture are terms often mis-used, so he starts with a discussion of their differences and how their meaning has changed. Kammen's range is broad and his commentary sharp. Enjoy! (I've read the library's copy, now I'm buying something I can mark on.)
Customer Reviews:
Pretty Good, but not perfect.......2000-05-19
Overall I like them, The fact that you can photocopy them legally is a plus. The sheets themselves are pretty good. They come with space for pretty much anything you could want to record. So what's wrong with them? They're incredibly hard to remove from the book without ripping somthing, I've managd to do this a few times, but it's still a pain in the neck. It would be nice if they had detachable pages.
Hooha for those stuck in the rules.......2000-03-21
Ever since I started playing AD&D I have found the character sheets to be too small, restrictive, and limited to the rules of the book. If you need any kind of flexibility then the best idea is to get some free character sheets and then to design your own. Don't waste your money on this stuff unless you really have no intention of branching off the Basic AD&D rules
Hooha for those stuck in the rules.......2000-03-21
Ever since I started playing AD&D I have found the character sheets to be too small, restrictive, and limited to the rules of the book. If you need any kind of flexibility then the best idea is to get some free character sheets and then to design your own. Don't waste your money on this stuff unless you really have no intention of branching off the Basic AD&D rules
A must to play.......2000-03-17
A MUST have! This book contains almost everything you need to play. Sure, you can get character sheets, but you can make your own sheets, and this book helps. If there is only one book you want to have for AD&D this is it. Definatley a must have to play.
Very Useful........1999-12-05
These sheets are very handy for recording basically anything about the player characters in your game. Blanks are included for all aspects of the characters, and there is plenty of room for any miscelaneous information.
Although there are many other equally good ( and, furthermore, free) character record sheets on the nets, buy this if you like company-sanctioned materials or just want a bit more reliability.
Book Description
Star Wars has forever changed the way generations of game lovers imagine the future. Now the Star Wars roleplaying game provides the chance to create new adventures in the Star Wars universe, and Star Wars Character Record Sheets are the ultimate reference source. These forms provide an easy way for players to keep track of their characters as they grow in skill and power. With the Star Wars Character Record Sheets, fans can play and organize their favourite characters from the movies.
Customer Reviews:
Available online for free.......2001-11-16
This is product is nothing more than a way to squeeze a little more money from the pockets of die-hard Star Wars RPG fans. The character sheet is already available in PDF format for FREE from Wizards.com, (which could have easily been done with the vehicle sheet).
Bottom line. Don't waste your money. Download the PDF and print free copies.
Don't bother no matter how much you love the game.......2001-10-18
I enjoy the new version of Star Wars and play it frequently, but I made a mistake buying these sheets. An option is to instead photocopy the one given to you in the core rules ten times. If you do that, you pretty much have this supplement.
There is a vehicle/starship sheet in here, but let's be honest, you don't like the vehicle/starship rules anyways, and are anxiously awaiting the update this December to see if they address it in any reasonable fashion.
.
Is this it?.......2001-04-06
The sheets for droids, starships and vehicles are nice, but 10 copies of the SAME character sheet?! C'mon!! Why do we need multiple copies if permission is given to photocopy? I think WotC could have spent a little more time on this and produced a separate character sheet for each class (like with D&D 3E).
character classes???.......2001-03-29
Yeah, the sheets allowed me to not have to try to copy the page out of the core rulebook, but how about some variation with sheets made specifically for each character class. At about a dollar a page, that's pretty stiff just for copies. The vehicle/starship sheets are nice, but certainly not worth the money.
Great Product.......2000-12-21
These Character sheets are very crisp and have amazing detail. They are great for groups of RPGers and allow for easy photocoyping. The sheets are the same in the Core Book, but this provides the Gamer the chance to make several characters and to experiment with them without having to make many copies. They are a great buy and I recommend for serious gamers to buy more than one.
Average customer rating:
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Character Record Sheets (d20) (FAF2300) (D20)
Manufacturer: Fast Forward
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Product Description
The Best Character Record Sheet Ever.... This set of d20 Character Record Sheets includes individualized character record sheets for each of the 11 core character classes, as well as specialized record sheets for multi-class characters, significant NPCs, character spellbooks and more. These sheets balance look with functionality, giving players something they can actually use in a game, but still look good. A simple but extremely useful addition to every players library. Fast Forward Entertainment has taken the best ideas from over three years of Dungeons & Dragons 3rd Edition rules, over 100 accumulated years of role-playing, collected them with all the reviews, comments, critiques, and generally good ideas about character record sheets that we've found, and put together the best set of CRS's that money can buy!
Book Description
The standard platform for enterprise application development has been EJB but the difficulties of working with it caused it to become unpopular. They also gave rise to lightweight technologies such as Hibernate, Spring, JDO, iBATIS and others, all of which allow the developer to work directly with the simpler POJOs. Now EJB version 3 solves the problems that gave EJB 2 a black eye-it too works with POJOs. POJOs in Action describes the new, easier ways to develop enterprise Java applications. It describes how to make key design decisions when developing business logic using POJOs, including how to organize and encapsulate the business logic, access the database, manage transactions, and handle database concurrency. This book is a new-generation Java applications guide: it enables readers to successfully build lightweight applications that are easier to develop, test, and maintain.
Customer Reviews:
Perfect.......2007-04-15
Got the book alle the way up to ice-cold Norway in no time. The packing was a bit ripped up; probably due to ice-bear attack.
Excellent Book.......2007-02-22
I won't repeat what other reviewers already said.
The book is explains very good how to build enterprise apps using the pojo frameworks like spring, hibernate, jdo. It shows very nicely how to integrate these technologies. The code of the book is also awesome. It has a lot of examples.
Before reading this book I knew only hibernate. I saw the hard way that hibernate was not enough for building a complex project. So this made me to read this book. Reading this book I was forced to learn Spring too. When I tried to run the examples I saw that the examples project are built with Maven. I liked how simple and elegant the project was structured using Maven, so I learned Maven too(the book's code is an excellent example of Maven usage too).
I also saw that handling the concurrency in an (web) app is not an easy thing to do. The book has a good explanation of this topic in the last chapters. Chris is implementing some of the Fowler's patterns and that made me to get some more details about that so this is how I bought and read Fowler's book:Patterns of Enterprise Application Architecture which is by the way a excellent book too.
I highly recommend this book!
Good job Chris!
PS: too bad that I didn't have this book 2 years ago.
Must have book.......2007-01-23
POJOs in Action describes how POJOs and lightweight frameworks such as Spring, Hibernate, JDO, iBatis make it easier and faster to develop testable and maintainable applications. You will also learn how to apply test-driven development and object design to enterprise Java applications. This book is all about implementing enterprise applications using design patterns and lightweight frameworks.
This book is for developers as well as architects who are experienced in developing enterprise applications in Java using EJB framework and want to know how to use POJOs and lightweight frameworks effectively.
This book consists of four parts. Part 1 which has 2 chapters is an overview of POJOs and lightweight frameworks. Part 2 has 5 chapters in which you will learn about a combination of options to design applications with POJOs and lightweight frameworks. In Part 3 you will learn about other approaches for designing the business and database tiers. Part 4's 3 chapter's looks at some important database-relates issues we normally encounter when developing enterprise Java applications. I should also mention that this book is not a complete reference for any of the frameworks like Spring, Hibernate, iBATIS etc.
Chris Richardson has done an outstanding job; this book deserves 5 out of 5. I wish I could have given more. Once I started reading the book, it was hard for me to put it down. This book teaches you when to use and when not to use each of the frameworks while many other books blindly advocate the use of their favorite frameworks. It is a must have book for every Java developer as well as architect. This is an excellent book, go get it; should be in your library.
Good overview of Spring, EJB, Hibernate.......2007-01-03
Honestly I think this book is a little out of date, since the EJB 3.0 spec has come out. The author did go back and change some of the text to acknowledge that the EJB 3.0 spec is not as heavy weight as the older 2.1 spec, but was still heavier than Spring. I really would have liked to seen a deeper comparison between EJB 3 and Spring, but he seems to really push the Spring model.
That being said I think there are some excellent points the book brings out about the different Persistence layers and how debugging POJO's is so much easier than the alternatives.
it has 560 pages? .......2006-12-13
Computer books today can go beyond 500+ pages way too easily, it's hard to understand what these editors are doing:-), for me most books can be reduced to half without loss any meaningful content. But this book is an exception! It's very practical, cover lots of area in a clean, easy reading style. Every page deserves the paper. really enjoy it. Note you need Marven to build the source code, which I think it's too much for exmaple code.
Books:
- X-Files Film Novel The (The X-Files)
- 3-D Movies: A History and Filmography of Stereoscopic Cinema (McFarland Classics)
- Adobe Premiere Pro 1.5 Studio Techniques
- An Index to Short and Feature Film Reviews in the Moving Picture World: The Early Years, 1907-1915 (Bibliographies and Indexes in the Performing Arts)
- Art et fantasme (L'Or d'Atalante)
- Audio for Single Camera Operation (Media Manuals)
- Balboa Films: A History and Filmography of the Silent Film Studio
- Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company (The Ucla Film and Television Archive Studies in History, Criticism, and Theory)
- Being Rita Hayworth: Labor, Identity, and Hollywood Stardom
- Bernardo Bertolucci's Last tango in Paris;: The screenplay,
Books Index
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