“Tragically Hip: Hollywood and African-American Cinema.” Cineaste 20 (4): ... “
Hollywood Flashback: A Snubbed Spike Lee Trashed Wim Wenders at Cannes
in 1989.” Hollywood Reporter, May 12. www.hollywoodreporter.com. Hirsch, Paul
Author: Maryann Erigha
Publisher: NYU Press
Category: Social Science
The story of racial hierarchy in the American film industry The #OscarsSoWhite campaign, and the content of the leaked Sony emails which revealed, among many other things, that a powerful Hollywood insider didn’t believe that Denzel Washington could “open” a western genre film, provide glaring evidence that the opportunities for people of color in Hollywood are limited. In The Hollywood Jim Crow, Maryann Erigha tells the story of inequality, looking at the practices and biases that limit the production and circulation of movies directed by racial minorities. She examines over 1,300 contemporary films, specifically focusing on directors, to show the key elements at work in maintaining “the Hollywood Jim Crow.” Unlike the Jim Crow era where ideas about innate racial inferiority and superiority were the grounds for segregation, Hollywood’s version tries to use economic and cultural explanations to justify the underrepresentation and stigmatization of Black filmmakers. Erigha exposes the key elements at work in maintaining Hollywood’s racial hierarchy, namely the relationship between genre and race, the ghettoization of Black directors to black films, and how Blackness is perceived by the Hollywood producers and studios who decide what gets made and who gets to make it. Erigha questions the notion that increased representation of African Americans behind the camera is the sole answer to the racial inequality gap. Instead, she suggests focusing on the obstacles to integration for African American film directors. Hollywood movies have an expansive reach and exert tremendous power in the national and global production, distribution, and exhibition of popular culture. The Hollywood Jim Crow fully dissects the racial inequality embedded in this industry, looking at alternative ways for African Americans to find success in Hollywood and suggesting how they can band together to forge their own career paths.
“Olivia de Havilland Sues FX over 'Feud' Portrayal.” Hollywood Reporter, June 30
portrayal-1018306. Dargis, Manohla. 2011. “Hollywood's Own Hollywood
Author: Steven Cohan
Publisher: Oxford University Press, USA
The backstudio picture, or the movie about movie-making, is a staple of Hollywood film production harking back to the silent era and extending to the present day. What gives backstudios their coherence as a distinctive genre, Steven Cohan argues in Hollywood by Hollywood, is their fascination with the mystique of Hollywood as a geographic place, a self-contained industry, and a fantasy of fame, leisure, sexual freedom, and modernity. Yet by the same token, if backstudio pictures have rarely achieved blockbuster box-office success, what accounts for the film industry's interest in continuing to produce them? The backstudio picture has been an enduring genre because, aside from offering a director or writer a chance to settle old scores, in branding filmmaking with the Hollywood mystique, the genre solicits consumers' strong investment in the movies. Whether inspiring the "movie crazy" fan girls of the early teens and twenties or the wannabe filmmakers of this century heading to the West Coast after their college graduations, backstudios have given emotional weight and cultural heft to filmmaking as the quintessential American success story. But more than that, a backstudio picture is concerned with shaping perceptions of how the film industry works, with masking how its product depends upon an industrial labor force, including stardom, and with determining how that work's value accrues from the Hollywood brand stamped onto the product. Cohan supports his well theorized and well researched claims with nuanced discussions of over fifty backstudios, some canonical and well-known, and others obscure and rarely seen. Covering the hundred-year timespan of feature length film production, Hollywood by Hollywood offers an illuminating perspective for considering anew the history of American movies.
Fifty years later, his cumulative output is a virtually untapped lode of gay Hollywood history. Mike Connolly’s life and work are the focus of this book.
Author: Val Holley
Category: Performing Arts
In 1954, Mike Connolly, the gay gossip columnist for the Hollywood Reporter from 1951 to 1966, was described by Newsweek as “probably the most influential columnist inside the movie colony,” the one writer “who gets the pick of trade items, the industry rumors, the policy and casting switches.” He was indeed one of the most talented and influential members of the Hollywood press of his time, and his column, for those who could read between the lines, was a daily chronicle of gay goings-on. Fifty years later, his cumulative output is a virtually untapped lode of gay Hollywood history. Mike Connolly’s life and work are the focus of this book. It considers his formative years, his pre–World War II life at the University of Illinois and in Chicago, and the ways in which the homosexual community in Hollywood lived lives both secretive and open in the forties, fifties and sixties. It also examines the literary merit, power and newsworthiness of Connolly’s “Rambling Reporter” column in the Hollywood Reporter and its significance as a chronicle of gay Hollywood life; the previously unexplored role of Connolly’s column in the Hollywood blacklist and how his anti–Communist crusade was rooted in his earlier campaign to close down the brothels in his college town; and how his life informed his column and his column shaped his life.
... Editor-in Chief/Publisher, The Hollywood Reporter Kevin Edelman, President,
Metalman Media Inc. Arlene Fishbach, President, Arlene Fishbach Enterprises
Michael Giacchino, Composer Bob Goldrich, Editor, SHOOT Miguel Govea Jr.,
In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
Hollywood Reporter, February 18, 2015. https://www .hollywoodreporter.com/
news/oscars-who-came-up-name-774775. Majavu, Anna. “Race Matters:
Hollywood's out of Touch with Audiences, Says Report.” Mail & Guardian, May 28
Author: Frederick Jr Gooding
Publisher: Rowman & Littlefield Publishers
Category: Academy Awards (Motion pictures)
"Frederick W. Gooding, Jr. provides a thorough analysis and overview of black people that were nominated for their Hollywood roles, going decade by decade in highly accessible language. The book shows how the Oscars are a litmus test, ultimately reflecting what degree our society has truly embraced diversity within the hallowed confines of our sacred imaginations"--
Only when a director is determined to spend more money than necessary to make his own movie without interference, as in the case of Oliver Stone in the creation of Platoon or Francis Ford Coppola in Apocalypse Now, is a film released that ...
Author: David L. Robb
Publisher: Prometheus Books
Category: Performing Arts
Foreword by Jonathan Turley, Shapiro Professor of Public Interest Law, George Washington University Law SchoolRobb's book should outrage most Americans and lead to hearings in Congress. Congress has never given the military the authority to use public funds and resources to engage in its own self-serving efforts to shape its public image. In the very least, it is a misuse of public funds. At worst, it is a new variation on censorship, crafted to operate in the shadow of the First Amendment.- From the Foreword by Jonathan Turley[S]ucceeds in uncovering a little-known and disturbingly anti-democratic aspect of the film industry. It is also a very entertaining book that military film enthusiasts especially will enjoy reading.- On Point, The Journal of Army History...illuminating...-Publishers Weekly...a fully documented broadside fit for all public and academic libraries.- Library JournalThrough a series of candid letters, interviews, and anecdotes from Hollywood icons Clint Eastwood, Jerry Bruckheimer, John Wayne, Francis Ford Coppola and others, Robb takes his readers on a tour of the integral workings of Hollywood's deal with the Pentagon. Our rating: A- Rocky Mountain NewsAn indignant, unsettling analysis of the military's influence on the film industry.- Hollywood ReporterThe only thing Hollywood likes more than a good movie is a good deal. For more than fifty years producers and directors of war and action movies have been getting a great deal from America's armed forces by receiving access to billions of dollars worth of military equipment and personnel for little or no cost. Although this arrangement considerably lowers a film's budget, the cost in terms of intellectual freedom can be quite steep. In exchange for access to sophisticated military hardware and expertise, filmmakers must agree to censorship from the Pentagon.As veteran Hollywood journalist David L. Robb shows in this revealing insider's look into Hollywood's dirtiest little secret, the final product that moviegoers see at the theater is often not just what the director intends but also what the powers-that-be in the military want to project about America's armed forces. Sometimes the censor demands removal of just a few words; other times whole scenes must be scrapped or completely revised. What happens if a director refuses the requested changes? Robb quotes a Pentagon spokesman: Well I'm taking my toys and I'm going home. I'm taking my tanks and my troops and my location, and I'm going home. That can be quite a persuasive threat to a filmmaker trying to keep his movie within budget.Robb takes us behind the scenes during the making of many well-known movies. From The Right Stuff to Top Gun and even Lassie, the list of movies in which the Pentagon got its way is very long. Only when a director is determined to spend more money than necessary to make his own movie without interference, as in the case of Oliver Stone in the creation of Platoon or Francis Ford Coppola in Apocalypse Now, is a film released that presents the director's unalloyed vision.For anyone who loves movies and cares about freedom of expression, Operation Hollywood is an engrossing, shocking, and very entertaining book.David Robb (Beverly Hills, CA), an award-winning freelance journalist who has been nominated for the Pulitzer Prize three times, has published articles in the New York Times, Washington Post, Los Angeles Daily News, The Nation, LA Weekly, Salon.com, and Brill's Content. For many years he was a labor and legal reporter for The Hollywood Reporter and Daily Variety.
Billy's son, William R. Wilkerson III, has done tremendous research on his father, interviewing over decades everyone who knew him best, and portrays him beautifully—and damningly—in this book.
Author: W. R. Wilkerson
Publisher: Chicago Review Press
Category: Biography & Autobiography
This is the definitive biography of the most powerful man in Hollywood during the 1930s, '40s and '50s, the man who founded the Hollywood Reporter and the most storied nightspots of the Sunset Strip, introduced Clark Gable and Lana Turner to the world, invented Las Vegas, brought the Mafia to Hollywood, engineered the shakedown of Hollywood studios by Willie Bioff and his mob-run unions, was possibly involved in the murder of Bugsy Siegel, started the Hollywood blacklist, and helped destroy the studio system. Perhaps nobody in Hollywood history has ever ruined so many careers and done so much damage to the industry as Billy Wilkerson. Yet there has never been a solid biography of the man. Billy's son, William R. Wilkerson III, has done tremendous research on his father, interviewing over decades everyone who knew him best, and portrays him beautifully (and damningly) in this book.