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Alton's Paradox
Alton's Paradox builds upon extensive archival and primary research, but uses a single text as its point of departure—a 1934 article by the Hungarian American cinematographer John Alton in the Hollywood-published International Photographer. Writing from Argentina, Alton paradoxically argues of cine nacional, "The possibilities are enormous, but not until foreign technicians will take the matter in their hands and with foreign organization will there be local industry." Nicolas Poppe argues that Alton succinctly articulates a line of thought commonly held across Latin America during the early sound period but little explored by scholars: that foreign labor was pivotal to the rise of national film industries. In tracking this paradox from Hollywood to Mexico to Argentina and beyond, Poppe reconsiders a series of notions inextricably tied to traditional film historiography, including authorship, (dis)continuation, intermediality, labor, National Cinema, and transnationalism. Wide-angled views of national film industries complement close-up analyses of the work of José Mojica, Alex Phillips, Juan Orol, Ángel Mentasti, and Tito Davison.
Professionals in Western Film and Fiction
In American Westerns, the main characters are most often gunfighters, lawmen, ranchers and dancehall girls. Civil professionals such as doctors, engineers and journalists have been given far less representation, usually appearing as background characters in most films and fiction. In Westerns about the 1910 Mexican Revolution, however, civil professionals also feature prominently in the narrative, often as members of the intelligentsia--an important force in Mexican politics. This book compares the roles of civil professionals in most American Westerns to those in films on the 1910 Mexican Revolution. Included are studies on the Santiago Toole novels by Richard Wheeler, Strange Lady in Town with Greer Garson and La sombra del Caudillo by Martin Luis Guzman.
In the Studio
Studios are, at once, material environments and symbolic forms, sites of artistic creation and physical labor, and nodes in networks of resource circulation. They are architectural places that generate virtual spaces—worlds built to build worlds. Yet, despite being icons of corporate identity, studios have faded into the background of critical discourse and into the margins of film and media history. In response, In the Studio demonstrates that when we foreground these worlds, we gain new insights into moving-image culture and the dynamics that quietly mark the worlds on our screens. Spanning the twentieth century and moving globally, this unique collection tells new stories about studio icons—Pinewood, Cinecittà, Churubusco, and CBS—as well as about the experimental workplaces of filmmakers and artists from Aleksandr Medvedkin to Charles and Ray Eames and Hollis Frampton.
The Rise of Spanish-Language Filmmaking
Silent film was universally understood and could be exported anywhere. But when “talkies” arrived, the industry began experimenting with dubbing, subtitling, and dual track productions in more than one language. Where language fractured the European film market, for Spanish-speaking countries and communities, it created new opportunities. In The Rise of Spanish-Language Filmmaking, Lisa Jarvinen focuses specifically on how Hollywood lost ground in the lucrative international Spanish-speaking audience between 1929 and 1939. Hollywood studios initially trained cadres of Spanish-speaking film professionals, created networks among them, and demonstrated the viability of a broadly conceived, ...
Latino Los Angeles in Film and Fiction
Los Angeles has long been a place where cultures clash and reshape. The city has a growing number of Latina/o authors and filmmakers who are remapping and reclaiming it through ongoing symbolic appropriation. In this illuminating book, Ignacio L—pez-Calvo foregrounds the emotional experiences of authors, implicit authors, narrators, characters, and readers in order to demonstrate that the evolution of the imaging of Los Angeles in Latino cultural production is closely related to the politics of spatial location. This spatial-temporal approach, he writes, reveals significant social anxieties, repressed rage, and deep racial guilt. Latino Los Angeles in Film and Fiction sets out to reconfigu...
Mexico on Main Street
In the early decades of the twentieth-century, Main Street was the heart of Los Angeles’s Mexican immigrant community. It was also the hub for an extensive, largely forgotten film culture that thrived in L.A. during the early days of Hollywood. Drawing from rare archives, including the city’s Spanish-language newspapers, Colin Gunckel vividly demonstrates how this immigrant community pioneered a practice of transnational media convergence, consuming films from Hollywood and Mexico, while also producing fan publications, fiction, criticism, music, and live theatrical events. Mexico on Main Street locates this film culture at the center of a series of key debates concerning national identi...
Eric Ambler’s Novels
Eric Ambler's first six novels released between 1936 and 1940 quickly established his reputation as a master craftsman of intrigue and espionage narratives. Far less often discussed are the twelve Cold War novels he published, after an eleven-year hiatus as a screenwriter, between 1951 and 1981. This study argues that his entire corpus manifests late modernism's impulse toward a broadly social, political, and cultural critique of the times. Ambler's fiction from the mid-1950s onward is also remarkable for its ludic turn as he assesses the self-deceptions of an increasingly bureaucratized and media-focused world blind to its own follies. In these later works can be seen elements of what has come to be known as postmodernism, though in his commitment to chronicling the juggernaut of modernity he remains a uniquely independent witness of what is now being called the long twentieth century.
L.A. Bitch III
The Third in the infamous "Bitch" series! This continues like a runaway train with more foul, wicked, and insanely delicious tales about Los Angeles as seen through my blood-shot eyes!
San Francisco in Fiction
"In the beginning there was the bay, the land, the forty-three hills, the coastline down to Monterey, the strip of mountains, the quiet valley behind, the vast ocean, the hidden faults." And with the landscape came the stories, as Paul Skenazy and David Fine note in their introduction to this new anthology of essays. San Francisco is as much a place in the mind as on the map; if the terrain set the stage for the stories, the stories have helped remake our perceptions of the space. These twelve essays explore the relationship between place and prose--between San Francisco the city and San Francisco the territory of fiction. From the Gold Rush times of Mark Twain and Bret Harte, through the Pr...
