It covers over 60 scandals including: The Roscoe 'Fatty' Arbuckle Scandal; Clark Gable's Baby Scandals; The Rape of Patricia Douglas; The Life and Death of Jean Harlow; The Sudden Death of James Dean; Marilyn Monroe's Mysterious Death; John Belushi Dies at the Chateau Marmont; Madonna's Hollywood Stalker; Hugh Grant's Hollywood Scandal; Winona Ryder Is Arrested For Shoplifting; The Brad Pitt, Jennifer Aniston and Angelina Jolie Love Triangle; The Tragic Life and Death of Anna Nicole Smith; The Life and Death of Michael Jackson; Arnold Schwarzenegger's Love Child; The Very Public Melt-Down of Charlie Sheen; The Rise and Fall of Whitney Houston; The Marriage of Tom Cruise and Katie Holmes and many, many more.

    More Than Night discusses such pictures. It also shows that the central term is more complex & paradoxical than realized. Film noir refers both to an important cinematic legacy & to an idea projected onto the past. This wide-ranging cultural history offers an original approach to the subject, as well as new production information & commentary on scores of films, including Double Indemnity, The Third Man, & Out of the Past, & such neo-noirs as Chinatown, Pulp Fiction & Devil in a Blue Dress. Naremore discusses film noir as a term in criticism; as an expression of artistic modernism; as a symptom of Hollywood censorship & politics in the 40s; as a market strategy; as an evolving style; as a cinema about race & nationality & as an idea that circulates across all information technologies. This interdisciplinary book has valuable things to say not only about film & tv, but also about modern literature, the fine arts & popular culture in general. In a field where much of what's published is superficial & derivative, this work is certain to be received as a definitive treatment.

    She is the last of the great ones: a celebrated actress, a brilliant personality, an original.Barbara Leaming has discovered thousands of never-before-seen documents that finally illuminate the mystery of this enigmatic, fascinating woman. Based on letters by Hepburn, her friends, and her family, as well as interviews with Hepburn herself, Leaming's book is a family story that brings alive three generations of fearless women, personal and political crusaders who shaped the history of women in our century.

    *Includes Lucille Ball's own quotes about her life and career. *Includes a Bibliography for further reading.*Includes a Table of Contents.Lucille Ball, one of the most famous and versatile stars in American history, is above all defined by her charisma. She did not possess the overwhelming beauty of her contemporaries in the entertainment industry, yet her infectious enthusiasm continues to endear her to the American public even decades following her death. Indeed, at the time that I Love Lucy (1951-1957) ended, the show still remained the most-watched show in America. Ball possessed an intangible quality that captivated audiences, who were transfixed by even the most banal plot sequences in her sitcoms. That Ball was able to withhold her popularity even after the ending of I Love Lucy testifies to the fact that she was always the star attraction on the famous sitcom. Indeed, even after separating from Arnaz, Ball continued to achieve high ratings on her subsequent programs, most notably The Lucy Show (1962-1968) and Here’s Lucy (1968-1974). Without doubt, Ball’s longevity and the magnitude of her popularity make her the most cherished comedienne in American history. Given Ball’s immense fame, it is easy to strip her career out of its original context and assume that she would have risen to fame regardless of the medium. However, it is important to remember that I Love Lucy actually began when Ball was already 40 years of age, a relatively advanced age for someone in the entertainment industry. In fact, from 1933 through the end of the 1940s, Ball appeared in over 80 films (with very minor roles in almost all of these) while serving as a contract player for the MGM and RKO film studios. There is thus a massive discrepancy between the fame she achieved in the television medium and her lack of success in cinema. To this end, Ball’s career reflects the evolutions that occurred throughout the mid-1950s with regard to the entertainment industry, mass culture, and the ways in which the American public consumed popular culture. Where Ball was unable to rise to prominence in cinema, she represented the ideal actress for the television medium, and in this regard she introduced a new model for media celebrity, one that was more accessible if less physically dazzling. This biography explores the entirety of Ball’s life and career, with attention paid to her both her childhood and her pre-television and television periods. In so doing, this study provides as complete a picture as possible of the enormity of Ball’s rise to fame and how she was able to capture the favor of the American public. American Legends: The Life of Lucille Ball profiles the life and career of one of America’s most iconic actresses.

    In this cultural examination of American film noir, poet and novelist Nicholas Christopher contrasts the nightmare world of the genre with the sunny unreality of American popular culture, presenting a fresh view of its meaning for our time.

    Betsy rejected the Hollywood pattern (no swimming pool or fancy car) and writes of being drawn to the Communist Party, of the coming of the blacklist that brought an end to the optimism of the thirties and forties, and of the terrifying moment when she found her own name on the list.And she makes us understand why she ultimately burst out of the cocoon of her idyllic marriage -- moving to Europe and coming into her own as an actress, winning the Golden Palm at Cannes for Marty, and falling in love with and marrying the director Karel Reisz.

    He draws on a wide range of sources, including the films in which each star appeared, to illustrate how each star's persona was constructed, and goes on to examine each within the context of particular issues in fan culture and stardom. Students of film and cultural studies will find this an invaluable part of there course reading.

    The book traces Gable's life from its humble, hard-scrabble beginnings in Ohio, to his hard-work and determined efforts to achieve success on Broadway, to his meteoric rise to stardom in Hollywood, his time spent in the Army Air Force in Europe, and his many loves, including Carole Lombard who was tragically killed in an airplane crash in 1942. The King paints an intimate, contemporary portrait of Clark Gable the man, both on and off camera, and ends with Gable's work on his last film, The Misfits, and his subsequent decline in health and his death on November 16, 1960, at age 59.

    What sets her iconic beauty apart now, for us, more than a decade after she quit the stage of this life, is that her physicality is oddly secondary. Her extraordinary good looks merely halo a still-living smile.Movie Icons is a series of photo books that feature the most famous personalities in the history of cinema. These 192-page books are visual biographies of the stars. For each title, series editor Paul Duncan has painstakingly selected approximately 150 high quality enigmatic and sumptuous portraits, colorful posters and lobby cards, rare film stills, and previously unpublished candid photos showing the stars as they really are. These images are accompanied by concise introductory essays by leading film writers; each book also includes a chronology, a filmography, and a bibliography, and is peppered with apposite quotes from the movies and from life..

    Her autobiography, the story of a pioneering woman make-up artist, whose career spanned the entire length of Hollywood’s Golden Era from silent movies to the great films of the 1930s, 1940s, and 1950s, puts a new foundation on the stars. Sinners and saints without greasepaint make for memorable close-ups. Enjoy Dottie’s confidential revelations about Judy Garland, Marlene Dietrich, Mae West, Carole Lombard, Clark Gable, Gary Cooper, Joan Blondell, Paulette Goddard, Barbara Stanwyck, and others. “No stranger is going to pat this puss,” Mae West once declared. Mae, and Dottie’s other clients, often demanded her services, but tomcats and contracts seldom blended. Dottie constantly fought all-male make-up departments at the studios to get the recognition she deserved. Amazing challenges facing a woman at the top of her craft play poignantly against her straight-talking, heartwarming, hilarious encounters with famous faces. Dottie Ponedel. The designer with eye liner.

    It has been celebrated for its beauty and mystery, its realistic depiction of space travel and dazzling display of visual effects, the breathtaking scope of its story, which reaches across millions of years, and the thought-provoking depth of its meditation on evolution, technology and humanity's encounters with the unknown. 2001 has been described as the most expensive avant-garde movie ever made and as a psychedelic trip, a unique expression of the spirit of the 1960s and as a timeless masterpiece. Peter Krämer's insightful study explores the complex origins of the film, the unique shape it took and the extraordinary impact it made on contemporary audiences. Drawing on new research in the Stanley Kubrick Archive at the University of the Arts London, Krämer challenges many of the widely-held assumptions about the film. He argues that 2001 was Kubrick's attempt to counter the deep pessimism of his previous film, Dr Strangelove (1964), which culminates in the explosion of a nuclear 'doomsday' device, with a more hopeful vision of humanity's future, facilitated by the intervention of mysterious extra-terrestrial artifacts. This study traces the project's development from the first letter Kubrick wrote to his future collaborator Arthur C. Clarke in March 1964 all the way to the dramatic changes Kubrick made to the film shortly before its release by MGM in April 1968. Krämer shows that, despite – or, perhaps, because of – Kubrick's daring last-minute decision to turn the film itself into a mysterious artifact, 2001 was an instant success with both critics and general audiences, and has exerted enormous influence over Hollywood's output of science fiction movies ever since. The book argues that 2001 invites us to enjoy and contemplate its sounds and images over and over again, and, if we are so inclined, to take away from it an important message of hope.

    With a worldly generosity, LaGuardia knowingly and sensitively explores a famous man haunted by same-sexuality. His writing fearlessly penetrates the dark areas of the human psyche. (Many unpublished photographs).

    Yet despite dazzling success with the public, it never received its fair share of praise from the critics. Gene Kelly's genius as a performer is there for all to see. What is less acknowledged is his innovatory contribution as director. Peter Wollen has finally done justice to this landmark film. In a brilliant shot-by-shot analysis of the famous title number, illustrated by specially produced frame stills, he shows how skillfully Kelly binds the dance and musical elements into the narrative, and how he successfully combines two distinctive traditions within American Dance, tap and ballet.Scriptwriters Betty Comden and Adolph Green, and indeed Kelly himself, were all under threat from the McCarthyism which menaced Hollywood at this time. The ethos in which the film was conceived could not long survive in the era of blacklisting. Wollen argues convincingly that "Singin' in the Rain" was the high point in the careers of those who worked on it.

    In a brief period of time she made twenty-six pictures, became one of the country's top box-office attractions, and then disappeared. After twenty years of rumors, the same girl made headlines when she was "rediscovered" as a waitress in a New York restaurant. Now she makes perhaps the boldest headlines of all with this book--for these are the uninhibited reminiscences of Constance Ockleman, who was made by Hollywood into Veronica Lake.

    It is full of glamorous moments, heart-warming episodes, and exciting personalities.