Early Poverty Row Studios Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of Early Poverty Row Studios book. This book definitely worth reading, it is an incredibly well-written.
Early Poverty Row Studios by E.J. Stephens,Marc Wanamaker Pdf
The history of Hollywood is often seen only through the lens of the major studios, forgetting that many of Tinseltowns early creations came from micro-studios stretched along Sunset Boulevard in an area disparagingly known as Poverty Row. Here, the first wave of West Coast moviemakers migrated to the tiny village of Hollywood, where alcohol was illegal, actors were unwelcome, and cattle were herded down the unpaved streets. Most Poverty Row producers survived from film to film, their fortunes tied to the previous weeks take from hundreds of nickelodeon tills. They would routinely script movies around an event or disaster, often creating scenarios using sets from more established productions, when the bosses werent looking, of course. Poverty Row quickly became a generic term for other fly-by-night studios throughout the Los Angeles area. Their struggles to hang on in Hollywood were often more intriguing than the serialized cliffhangers they produced.
Poverty Row Studios, 1929-1940 by Michael R. Pitts Pdf
From the beginning of the sound era until the end of the 1930s, independent movie-making thrived. Many of the independent studios were headquartered in a section of Hollywood called "Poverty Row." Here the independents made movies on the cheap, usually at rented facilities where shooting was limited to only a few days. From Allied Pictures Corporation to Willis Kent Production, 55 Poverty Row Studios are given histories in this book. Some of the studios, such as Diversion Pictures and Cresent Pictures, came into existence for the sole purpose of releasing movies by established stars. Others, for example J.D. Kendis, were early exploitation filmmakers under the guise of sex education. The histories include critical commentary on the studio's output and a filmography of all titles released from 1929 through 1940.
Early Poverty Row Studios by E.J. Stephens and Marc Wanamaker Pdf
The history of Hollywood is often seen only through the lens of the major studios, forgetting that many of Tinseltown's early creations came from micro-studios stretched along Sunset Boulevard in an area disparagingly known as Poverty Row. Here, the first wave of West Coast moviemakers migrated to the tiny village of Hollywood, where alcohol was illegal, actors were unwelcome, and cattle were herded down the unpaved streets. Most Poverty Row producers survived from film to film, their fortunes tied to the previous week's take from hundreds of nickelodeon tills. They would routinely script movies around an event or disaster, often creating scenarios using sets from more established productions, when the bosses weren't looking, of course. Poverty Row quickly became a generic term for other fly-by-night studios throughout the Los Angeles area. Their struggles to hang on in Hollywood were often more intriguing than the serialized cliffhangers they produced.
Republic Studios: Between Poverty Row and the Majors documents the influence and significance of this major B studio. Originally published in 1979, this book provides a brief overview of the studio's economic structure and charts its output. Hurst examines the various genres represented by the studio and addresses the non-series B films Republic produced, as well as rare A films such as Wake of the Red Witch, Sands of Iwo Jima, and John Ford's The Quiet Man, all of which starred John Wayne.
Early Warner Bros. Studios by E.J. Stephens,Marc Wanamaker Pdf
Since 1928, Warner Bros. has produced thousands of beloved films and television shows at the studio’s magical 110-acre film factory in Burbank. This collection of evocative images concentrates on the Warner Bros. legacy from the 1920s to the 1950s, when timeless classics such as Casablanca, The Maltese Falcon, and East of Eden came to life. It also looks at WB’s earlier homes along Hollywood’s “Poverty Row,” the birthplace of Looney Tunes, and the site of WB’s pioneering marriage between film and sound in the 1920s. Early Warner Bros. Studios also tells the tale of four brothers—Harry, Albert, Sam, and Jack Warner—scions of a Polish Jewish immigrant family who rose from the humblest of origins to become Hollywood moguls of enormous and lasting influence.
Early Paramount Studios by E.J. Stephens,Michael Christaldi,Marc Wanamaker Pdf
For over 100 years, Paramount Pictures has been captivating movie and television audiences worldwide with its alluring imagery and compelling stories. Arising from the collective genius of Adolph Zukor, Jesse L. Lasky, and Cecil B. DeMille during the 1910s, Paramount Pictures is home to such enduring classics as Wings, Sunset Boulevard, The Ten Commandments, Love Story, The Godfather, the Indiana Jones series, Chinatown, Forrest Gump, Braveheart, Titanic, and Star Trek. Early Paramount Studios chronicles Paramounts origins, culminating in the creation and expansion of the lot at 5555 Melrose Avenue, the last major motion picture studio still in Hollywood.
Poverty Row Studios, 1929-1940 by Michael R. Pitts Pdf
From the beginning of the sound era until the end of the 1930s, independent movie-making thrived. Many of the independent studios were headquartered in a section of Hollywood called Poverty Row. Here the independents made movies on the cheap, usually at rented facilities where shooting was limited to only a few days. From Allied Pictures Corporation to Willis Kent Production, 55 Poverty Row Studios are given histories in this book. Some of the studios, such Diversion Pictures and Cresent Pictures, came into existence for the sole purpose of releasing movies by established stars; others, for example J.D. Kendis, were early exploitation filmmakers under the guise of sex education. The histories include critical commentary on the studio's output and a filmography of all titles released from 1929 through 1939.
Poverty row horror films were usually inexpensively (some would say cheaply) produced with writing that ranged from bad to atrocious. Yet these movies with their all-star horror casts (Carradine, Lugosi, Karloff, et al.) and their ape men, mad monsters, devil bats and white zombies still have a loyal audience 50 years after their release. Essays contain full filmographic data on the 31 horror chillers made by the three studios from 1940 through 1946 and are arranged by year of release. Each entry includes the date of release, length, production credits, cast credits, interview quotes, and a plot synopsis with critical commentary. Filmographies for prominent horror actors and actresses, from John Abbott to George Zucco, are provided in the appendices.
American Independent Cinema by Yannis Tzioumakis Pdf
This introduction to American Independent Cinema offers both a comprehensive industrial and economic history of the sector from the early twentieth century to the present and a study of key individual films, filmmakers and film companies. Readers will develop an understanding of the complex dynamic relations between independent and mainstream American cinema.The main argument revolves around the idea that independent American cinema has developed alongside mainstream Hollywood cinema with institutional, industrial and economic changes in the latter shaping and informing the former. Consequently the term ‘independent’ has acquired different meanings at different points in the history of Hollywood cinema, evolving according to the impact of changing conditions in the American film industry. These various meanings are examined in the course of the book.The book is ordered chronologically, beginning with Independent Filmmaking in the Studio Era (examining both top-rank and low-end independent film production), moving to the 1950s and 1960s (discussing both the adoption of independent filmmaking as the main method of production as well as exploitation filmmaking) and finishing with contemporary American Independent cinema (exploring areas such as the New Hollywood, the rise of mini-major and major independent companies and the institutionalisation of independent cinema in the 1990s). Each chapter includes case studies which focus on specific films and/or filmmakers, while independent production and distribution companies are also discussed in the text.Films, filmmakers and film companies examined include:*Cagney Productions and Johnny Come Lately, Blood on the Sunand The Time of Your Life*The Charlie Chan series*Lomitas Productions, Stanley Kramer and The Defiant Ones, On the Beachand Inherit the Wind*Sam Katzman and Rock Around the Clock*Roger Corman and The Wild Angels*John Cassavetes and
Way before Rodeo Drive and the "pink palace" of the Beverly Hills Hotel were built, way before the namesake hillbillies, its zip code, and Eddie Murphy's detective techniques reaffirmed its place in popular culture, and way before its 1,001 mansions, Beverly Hills was comprised of wild canyons and ranchlands. Burton Green, one of the three original land developers of the Rancho Rodeo de las Aguas, named this place of severe terrain after Beverly Farms, Massachusetts, a 19th-century spa. Since its establishment in 1907, Beverly Hills, California, has been a crossroads for the great movers and shakers of the entertainment industry as well as the tycoons, world leaders, and flotsam and jetsam magnetized by the limelight. The vintage photographs in this provocative volume illustrate Beverly Hills's early transition from cow pastures to Hollywood's extremely illustrious bedroom community.
Theatres in Los Angeles by Suzanne Tarbell Cooper,Amy Ronnebeck Hall,Marc Wanamaker Pdf
Los Angeles and the movies grew up together, and a natural extension of the picture business was the premium presentation of the product--the biggest, best, and brightest theatres imaginable. The magnificent movie palaces along Broadway in downtown Los Angeles still represent the highest concentration of vintage theatres in the world. With Hollywood and the movies practically synonymous, the theatres in the studios' neighborhood were state-of-the-art for showbiz, whether they were designed for film, vaudeville, or stage productions. From the elegant Orpheum and the exotic Grauman's Chinese to the modest El Rey, this volume celebrates the architecture and social history of Los Angeles's unique collection of historic theatres past and present. The common threads that connect them all, from the grandest movie palace to the smallest neighborhood theatre, are stories and the ghosts of audiences past waiting in the dark for the show to begin.
Movie Studios of Culver City by Julie Lugo Cerra,Marc Wanamaker Pdf
After watching pioneer filmmaker Thomas Ince film one of his famous Westerns on Ballona Creek, city founder Harry Culver saw the economic base for his city. Culver announced plans for the city in 1913 and attracted three major movie studios to Culver City, along with smaller production companies. "The Heart of Screenland" is fittingly etched across the Culver City seal. These vintage images are a tour through the storied past of this company town on the legendary movie lots bearing the names of Thomas Ince, Hal Roach, Goldwyn, Metro-Goldwyn-Mayer, Lorimar, MGM-UA, Columbia, Sony Pictures, DeMille, RKO-Pathe, Selznick, Desilu, Culver City Studios, Laird International, the Culver Studios, and such nearly forgotten mini-factories as the Willat Studios. On these premises, Gone With the Wind, The Wizard of Oz, Citizen Kane, E.T: The Extra-Terrestrial, and other classics were filmed, along with tens of thousands of television shows and commercials featuring Elvis Presley, the Beatles, Michael Jackson, and many others.
Established by real estate developers Tracy E. Shoults and S. H. Woodruff in 1923, Hollywoodland was one of the first hillside developments built in Hollywood. Touting its class and sophistication, the neighborhood promoted a European influence, featuring such unique elements as stone retaining walls and stairways, along with elegant Spanish, Mediterranean, French Normandy, and English Tudor-styled homes thoughtfully placed onto the hillsides. The community contains one of the world's most recognizable landmarks, the Hollywood sign, originally constructed as a giant billboard for the development and reading "Hollywoodland." The book illustrates the development of the upper section of Beachwood Canyon known as Hollywoodland with historical photographs from Hollywood Heritage's S. H. Woodruff Collection as well as from other archives, institutions, and individuals.
Finalist for the Los Angeles Times Book Prize (Biography) A Hollywood love story, a Hollywood memoir, a dual biography of two of Hollywood’s most famous figures, whose golden lives were lived at the center of Hollywood’s golden age, written by their daughter, an acclaimed writer and producer. Fay Wray was most famous as the woman—the blonde in a diaphanous gown—who captured the heart of the mighty King Kong, the twenty-five-foot, sixty-ton gorilla, as he placed her, nestled in his eight-foot hand, on the ledge of the 102-story Empire State Building, putting Wray at the height of New York’s skyline and cinematic immortality. Wray starred in more than 120 pictures opposite Hollywood's biggest stars—Spencer Tracy, Gary Cooper (The Legion of the Condemned, The First Kiss, The Texan, One Sunday Afternoon), Clark Gable, William Powell, and Charles Boyer; from cowboy stars Hoot Gibson and Art Accord to Ronald Colman (The Unholy Garden), Claude Rains, Ralph Richardson, and Melvyn Douglas. She was directed by the masters of the age, from Fred Niblo, Erich von Stroheim (The Wedding March), and Mauritz Stiller (The Street of Sin) to Leo McCarey, William Wyler, Gregory La Cava, “Wild Bill” William Wellman, Merian C. Cooper (The Four Feathers, King Kong), Josef von Sternberg (Thunderbolt), Dorothy Arzner (Behind the Make-Up), Frank Capra (Dirigible), Michael Curtiz (Doctor X), Raoul Walsh (The Bowery), and Vincente Minnelli. The book’s—and Wray’s—counterpart: Robert Riskin, considered one of the greatest screenwriters of all time. Academy Award–winning writer (nominated for five), producer, ten-year-long collaborator with Frank Capra on such pictures as American Madness, It Happened One Night, Mr. Deeds Goes to Town, Lost Horizon, and Meet John Doe, hailed by many, among them F. Scott Fitzgerald, as “among the best screenwriters in the business.” Riskin wrote women characters who were smart, ornery, sexy, always resilient, as he perfected what took full shape in It Happened One Night, the Riskin character, male or female—breezy, self-made, streetwise, optimistic, with a sense of humor that is subtle and sure. Fay Wray and Robert Riskin lived large lives, finding each other after establishing their artistic selves and after each had had many romantic attachments—Wray, an eleven-year-long difficult marriage and a fraught affair with Clifford Odets, and Riskin, a series of romances with, among others, Carole Lombard, Glenda Farrell, and Loretta Young. Here are Wray’s and Riskin’s lives, their work, their fairy-tale marriage that ended so tragically. Here are their dual, quintessential American lives, ultimately and blissfully intertwined.
