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Room 1219
Part biography, part true-crime narrative, this painstakingly researched book chronicles the improbable rise and stunning fall of Roscoe “Fatty” Arbuckle from his early big screen success to his involvement in actress Virginia Rappe’s death, and the resulting irreparable damage to his career. It describes how during the course of a rowdy party hosted by the comedian in a San Francisco hotel, Rappe became fatally ill, and Arbuckle was subsequently charged with manslaughter. Ultimately acquitted after three trials, neither his career nor his reputation ever recovered from this devastating incident. Relying on a careful examination of documents, the book finally reveals what most likely occurred that Labor Day weekend in 1921 in that fateful hotel room. In addition, it covers the evolution of the film industry—from the first silent experiments to the connection between Arbuckle’s scandal and the implementation of industry-wide censorship that altered the course of Hollywood filmmaking for five decades.
Major Nanny
"Agent Harlan McClain has his target in sight. But he's not pulling the trigger. Instead his assignment is providing Stacy Giordano--the governor's aide--with security. An easy job for a former marine sniper. And yet, the guarded single mother's beauty and devotion to her exceptional child soon have Harlan reshuffling his priorities. In the dead of night, in her bed, he promises to keep her and her son from harm. But when an unexpected crisis arises, Harlan is suddenly torn between keeping his word, and taking out a killer"--Publisher.
Midland
Included in Midland: The Way We Were are photographs that span the first 100 years of the city. Midland, Michigan began life as The Forks, where the Tittabwassee and Chippewa Rivers met. By 1858, The Forks became the Village of Midland, and in 1869 it was incorporated and named the Village of Midland City. Lumbering and farmland attracted the first settlers, and in 1897 a brash young man named Herbert Henry Dow persuaded 57 investors to start a new business there named the Dow Chemical Company. Midland, by then a city, was forever changed. Included in Midland: The Way We Were are photographs that span the first 100 years of the city. From Main Street landmarks such as the Frolic Theater, to the churches and schools where Midland's residents worshiped and learned-here are over 200 images detailing Midland's history.
Midland, the Way We Were
Midland, Michigan began life as The Forks, where the Tittabwassee and Chippewa Rivers met. By 1858, The Forks became the Village of Midland, and in 1869 it was incorporated and named the Village of Midland City. Lumbering and farmland attracted the first settlers, and in 1897 a brash young man named Herbert Henry Dow persuaded 57 investors to start a new business there named the Dow Chemical Company. Midland, by then a city, was forever changed. Included in Midland: The Way We Were are photographs that span the first 100 years of the city. From Main Street landmarks such as the Frolic Theater, to the churches and schools where Midland's residents worshiped and learned-here are over 200 images detailing Midland's history.
Film Production
The fastest-growing segment of the film business is the production and distribution of small, independently-financed films. This book provides the reader with real-world facts and advice on producing independent movies.
Defense
None
Edgar G. Ulmer
Edgar G. Ulmer: Detour on Poverty Row examines the full scope of the career of this often overlooked film auteur, with essays exploring individual films, groups of films (such as his important work in film noir), repetitive themes appearing across the spectrum of his work, and a case study of three essays analyzing The Black Cat (1934).
Celluloid Mavericks
Celluloid Mavericks: A History of American Independent Filmmaking documents this rich history, showing what it meant to be "independent" in the 1930s and what it means today. Author Greg Merritt distinguishes between indie and semi-indie productions, explores the genres represented under the independent umbrella, and addresses the question of what makes a movie independent -- its "spirit" or the budget backing the production. From one-reel flicks at the turn of the century to the blockbusters of the ‘90s, Celluloid Mavericks takes readers on a fascinating tour of the industry.
