American Cinema/American Culture

Book Description

Ideal for Introduction to American Cinema courses, American Film History courses, and Introductory Film Appreciation courses focused on American Film, this text offers a cultural examination of the American movie-making industry, with particular attention paid to the economic and aesthetic institution of Hollywood.

Customer Reviews:

Excellent as a Historical Text Book.......2007-03-24

So, I expected this book to be a bit more fun. Unfortunately, the fun element is missing. However, in fairness, the book serves as a thorough textbook for the history of American Cinema and its techniques and various genres. I did enjoy reading about the early studio system and the vast amount of control this oligopoly held. There were some very good critiques and studies of specific films, and a bit about specific actors and actresses. Even a bit about directors. Though packed with information, the book just lacks an entertainment value that it could and should have pulled off based on the subject matter.

The different genres studied include:

Westerns
War Movies
Silent Films
Film Noire
Screwball Comedies

As well as an overall dissertation on Classical Hollywood Style and its various techniques.

Not very good..........2005-03-05

I got this book for a class on the history of cinema. Unfortunately, as the title implies, it only deals with American Cinema. If this is a book for school, check out the class to see if foreign films and film history will be discussed. This book is, again, as the title implies--one-sided. Most of the movies it discusses, gives away crucial plot-points and endings. Some movies that I've been dying to see were ruined in just one or two sentences. This book is also very puffed-up and biased (I don't know any other way of explaining it). Many times throughout the book, Belton seems like James Lipton of "Inside the Actor's Studio", and goes on and on about the greatness of Hollywood, actors, director's, and films with nothing negative to say. It's not at all critical of anything and the author frequently inserts his own interpretation of films into the general text, which I found a little pompous. The book does offer up some interesting facts about the early history and the birth of cinema, but there's something about the way this book was written that makes it hard to stay interested. I think the chapters about film genres exaggerate the importance of some of them, and neglects other genres completely, ie. Horror, Thriller, Mystery, Sci-fi, Animation, Epics, etc. Again, question the instructor and/or look at the class syllabus before siging up if this is the only book for this class. I don't believe this is a comprehensive and unbiased view of cinema and it's history.

A very useful beginners guide to American film........2003-01-08

Years ago I took an intro-level film class at a community college. This was the text for the class. It was accompanied (at least in my class) by a PBS video series that combined film clips with interviews and historical information. Going into the class I had little more than a passing interest in film and film history. But after taking that class, my passion for film has grown exponentially with each year. But back to the book, I really liked this book and highlighted my way from the front cover to the back cover. There are of course limitations to this book. Firstly, it deals only with American films. Secondly, this book barely breaks the 300-page mark - hardly a comprehensive volume. You aren't going to get any information on John Cassavetes here or anything. Now if you have a chance to use this book in conjunction with the PBS films, I think you'll do much better (in fact I think the vids even give a nod to Cassavetes), but even then please note that this material is for an INTRO-level film class, and won't be much good for someone who already knows a fair amount about American film. But with that in mind, the book still has a lot to offer someone looking to introduce themselves to film history.

The first third of the book starts with the birth of film, moves quickly on to the Hollywood studio system, and walks us through the basics of film style (camerawork, lighting, editing, etc.). The second third covers the basics of film genre; there is a chapter about film noir, one on comedies, one on war films, and one on westerns. This second section was particularly useful to me. I could read each chapter, jot down a list of promising titles, hit my local video store, and I was good to go. The third section covers American film after World War II. In this section things seem a little compressed. 110 pages for 50 years of film? A lot is lost on the cutting room floor. But there's lots to dig into all the same. There's a chapter on Hollywood during the McCarthy years (yikes!), one on film's evolution during the emergence of television, a chapter on 1960s counterculture films, one on the film school directors of the 1970s and 1980s, and finally a pretty weak chapter on film in the 1990s. Oh yeah, and at the end of the book there's a handy glossary (in case you're ever stuck on what point-of-view editing is) and a pretty thorough index.

Again, not a book for someone who already has a good feel for film history. But definitely a great resource for someone new to film studies, or for someone who has trouble finding a movie at Blockbuster on Fridays. It did a great job getting me excited about movies, and I imagine its done the same for others.... A good companion to this text (or possibly an all-out replacement of it) is Scorsese's VHS/DVD, "A Personal Journey With Martin Scorsese Through American Movies."

Movie spoiler.......2002-10-08

This would be a great book to read if you have no intention of watching the films discussed within, or if you've already seen them. On quite a few films, it tells the whole plot, in detail, from opening to end credits.

I also don't like the prose of the author, as he excessively uses sentences "in quotations". The writing structure is very formulaic and boring. The "5 paragraph essay" format is good for high school students learning to write, but imagine an entire book written that way. I can only read it for 15 minutes before losing interest.

The book does, however, provide plenty of examples from a variety of films.

Book Description

Recorded history is a finely-woven magic fabric of intricate lies about events predating the sixteenth century. There is not a single piece of evidence that can be reliably and independently traced back earlier than the eleventh century. This book details events that are substantiated by hard facts and logic, and validated by new astronomical research and statistical analysis of ancient sources.

Customer Reviews:

Calculations are only as good as your numbers.......2007-08-03

Yes, we can all agree that mainstream history is nearly 100% BS due to politics, economics, ego, problems with dating techniques, and various conspiracies. Agreed. But, I've been researching the distinct possibility that human history (in terms of civilizations) are much more ancient than we've been told, so coming across this book was very interesting to me. I wondered how Fomenko could be wrong (if at all) because he is very persuasive in his presentations. Then it dawned on me. If at previous times in prehistory, due to the various catastrophies that are well documented (comets, asteroids, planetary disruptions, plasma discharge, pole reversals, etc) the Earth was in a different position in relation to the sun, different tilt on its axis, different orbit, different rotation (in terms of velocity and DIRECTION), and the continents were in different positions, then would this not cause the ancients to see the sky (constellations) differently? In other words, is Fomenko making erronious assumptions about the physics of the Earth in pre-history, which then corrupt his data with regards to dating the relevant astrology? The last event to seriously disrupt our planet occured roughly 3500 years ago, according to other good researchers, so is it possible Fomenko has been confused by this? The vastly different physics of our planet in the not so distant past may explain this confusion, which is not to say the "mainstream" version of history is correct; on the contrary. I am not an expert in these fields, but wanted to see if this idea could spark discussion.

Pants on fire?.......2007-07-19

Will people ever read before spamming? Yes, Jesuits could not rewrite world history alone, they had help. Anyway, Dr Prof Acad A.Fomenko does not point to jesuits as the driving force of world wide history manipulation in published volumes 1,2,3;, actually he barely mentions the poor devils. Check it with 'Search inside' feature, please. China is rarely mentioned either, in fact, Dr Fomenko is completely eurocentric. Right, his theory contradicts all mainstream schools of history, because in their actual state they are all built on blatantly erroneus chronology. You don't need a mysterious cabal (conspiracy) to falsify history, the falsification is its modus operandi. It is inherent to history(ians) to falsify (distort) events, as it is inherent to humans to boast as it is inherent to power (authority) to legimize itself by referrring to glorious past made to its own order. Dr Prof Fomenko and team have identified scores of instances of such manipulation in Russian, European, etc.. history, and delivered valid statistical proof thereof. His own 'reconstruction' is completely another story. Forget c14 as a valid method of dating. W.Libby has initially discovered a brilliant method of INDEPENDENT dating. Too bad, c14 method has become a joke after a forced marrige with dendrochronology with consensual chronological scale inbuilt. Radiocarbon method can't stand blind tests, but is so very productive as a rubberstamp.

Accepted History & Chronology Must Be Changed. .......2007-04-09

There is no doubt that history as most know it is a sham, & institution's version of History both University & Church is fradulent & inaccurate. Everything was established with an agenda, The real "Dark Ages" are now when we have access to incredible amounts of information past authorities & more important 'common folk' didn't have but our institutions & educators are slow to evolve because of what has ignorantly & arrogantly been taught for too long. This is on many subjects not just Chronology.

For anyone to question "Why would a Mathematician have anything credible to say of History?" The answer is from Dr. Fomenko's preface in the book: "It would be worthwhile to remind the reader that in the XVI-XVII century Chronology was considered to be a subdivision of Mathematics." These volumes could possibly be some of the most important works to date & should be read by everyone with an interest in History, especially professors & educators who have a duty to the public. I have read both books & must say that 'Chronology 1' has some very eye opening & revolutionary information. Even if these volumes are part true the implications are profound & opens the doors to further investigations & questions which must be done. I speak several different lanquages & must say the logic Dr. Fomenko uses with "inflection" of words & words being read from left to right in one region & right to left in another then written backwards, the removal of vowels & get down to basics of words, or different cities & locations having the same name etc. is correct. Vowel usage has always been optional & varied, actually complicating linquistics & study. The first thing one has to understand is that words never had a fixed spelling in history like we do now, the spelling of words was mutable & regional, as well as names & titles of people were vast, varied & changed, NOTHING WAS FIXED or understood linear. Matters of Life & Death as well as financial profiteering yesterday & today were & are made with ignorant, illogical & conspiratorial views of history & reality, it's time people get closer to the Truth & society collectively grow up.

Very Interesting.......2007-03-07

It is a good proposal and I believe it will mature into something even better in the future. I think it deserves to be read.

History as Science Fiction.......2007-01-10

Anatoly Fomenko has written a very intriguing book, full of pictures, charts, and computer 'proof' of his thesis: backwards of AD900 we don't really know what happened or when. Between AD900 and AD1600 there is more certainty, but there is still a lot of fuzzy ground, and things don't get reliable until we get past the 1600's where the printing press made it very difficult for the perpetrators of this timeline manipulation to change anything that had been committed to print. The Dark Ages did not happen. Books were burned for a reason. One organization has doubled the actual length of its existence by expanding the real chronology. Read why.

I had always wondered why Christ died about AD33 and yet men waited until the 11th century to form the Knights Templar, the Cathars, etc and go after the Holy Land by force. Why the 1000 year gap? Turns out there wasn't more than a 10-12 year gap and he proves it using astronomy. This also implies that the planet is not as old as we have been told, and current Christian and other creationist scientists are already championing that idea without being aware of Fomenko's book. The two groups, creationist scientists and the Russian mathematical analysts corroborate each other. Fascinating.

Of course, all this flies in the face of what we have been told traditionally is the 'proper' chronology of western civilization, and most readers will experience 'cognitive dissonance' in reading this book. It means that our history going backwards from AD1600 becomes progressively more incorrect and unreliable until it cannot be trusted at all... in the space of 700-800 years.

Naturally, the curious, open-minded reader will want to know WHO did this, WHY, and did any of the events we think of as really ancient ever happen?
Dr. Fomenko is a respected scientist/mathematician at Moscow State University who has already answered these questions to the satisfaction of his initially skeptical colleagues. Most of them are now believers, a few still refuse to believe (the usual diehards), and of course the western press has ignored Fomenko's work -- for obvious reasons when you read the book. The ones who perpetrated this chronology ruse have a lot to answer for. They are still with us. That's why this book is a well-kept secret.

I gave the book a 4-star rating because I was unable to check out some of his claims; those I checked were as he said. But if even 1/3 of his claims are true, this punches a big hole in what we think is our history, the meaning of western civilization, our educational process (for repeating the ruse as gospel), and the trustworthiness of the organization that perpetrated this ruse, well-intentioned or not.

This book relates to current research into a Young Earth paradigm, to John Keel's discoveries about our planet, and Fr Malachi Martin's insights (in his now out-of-print books). We are indeed sheep who are manipulated and kept ignorant -- for a reason. While knowing what these men have to say may be the "booby prize" (as in: 'what can you do with this knowledge?'), it will provide interesting reading. Didn't someone say: "...and the Truth will set you free."?? For you to judge if this book contains the truth.

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A worthy contribution to history free of myth and full of facts
Two Shortcuts To Becoming A Lone-Assassin Believer: Watch The 11/22/63 Real-Time Live TV Coverage....And Then Read This Book
Out of the Past
very good press reporting
JOURNALISM CLASSIC AND INSIDE SCOOP

When the News Went Live: Dallas 1963
Bob Huffaker
Manufacturer: Taylor Trade Publishing
ProductGroup: Book
Binding: Hardcover

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ASIN: 1589791398

Book Description

Broadcast journalism came of age in the Kennedy Assassination crisis and helped to hold a mourning nation together. Four reporters on the scene relate their experiences.

Customer Reviews:

A worthy contribution to history free of myth and full of facts.......2007-04-03

There are so very few books that convey a sense of "being there" when it comes to the Kennedy assassination. This outstanding book takes the reader back to that fateful weekend of November 22nd 1963 in Dallas, Texas and does so in an open, honest and compelling manner.

"When the News Went Live" is written by four journalists who were in Dallas on that day covering the presidential visit. Bob Huffaker and the other three newsmen share many interesting stories that you will not find elsewhere and that have been untold for many years no doubt to all but their personal friends. This is why the book is such a valuable contribution to the historical record. Such first hand observation regarding not just those few seconds in Dealey Plaza, the murder of Officer Tippet and the shooting of Lee Harvey Oswald by Jack Ruby, but how in fact the entire story unfolded, makes fascinating reading.

As an aid to anyone interested in the assassination, this book is a must have. I would emphasize - rarely do you find first hand knowledge like this - much of what is written on this subject is written by people many steps removed from the event where fact and fiction merge into one. Not so here. A fabulous book which is refreshingly free of the conjecture and myth that is so common in the Himalayan pile of work on the Kennedy assassination and is highly recommended.

Two Shortcuts To Becoming A Lone-Assassin Believer: Watch The 11/22/63 Real-Time Live TV Coverage....And Then Read This Book.......2007-01-02

"With three shots from a mail-order rifle, Lee Oswald set off a worldwide tragedy that developed too fast to print. .... Broadcast journalism came of age in that crisis of grief and uncertainty, and as it drew its mourning audience, it helped to hold the nation together." -- Bob Huffaker; From the Preface of "When The News Went Live: Dallas 1963"

----------------------

"When The News Went Live: Dallas 1963", published in 2004, paints a vivid word picture of many of the incredible events that surrounded President John F. Kennedy's assassination in November of 1963, as seen through the eyes of four journalists -- Bob Huffaker, Bill Mercer, George Phenix, and Wes Wise -- who covered those events as they happened for CBS affiliate KRLD-TV and Radio in Dallas.

President Kennedy's shocking and appalling assassination on November 22, 1963, was the very first really big "Watch It Unfold Live On TV" news event of the television era, with four full commercial-free days being devoted to nothing but exclusive assassination-related coverage by all three major TV networks (with KRLD's on-the-scene Dallas reporters frequently feeding CBS-TV headquarters in New York).

And the four reporters whose intriguing stories unfold within this 224-page hardcover volume were right smack in the thick of things during the rapidly-developing events -- from the initial sketchy bulletins that told of the President being shot in Dealey Plaza during a motorcade drive through the city of Dallas -- to the announcement of JFK's death at Parkland Hospital -- to the capture of the accused assassin (Lee Harvey Oswald) in a nearby movie theater -- to Oswald's very own murder on live TV (with Bob Huffaker reporting live from the basement of the Dallas Police Department, where the single gunshot from Jack Ruby's pistol added yet another hard-to-believe chapter to the weekend's nightmarish story).

It was a mesmerizing weekend in American (and television) history, to say the least. And those days are re-lived with clarity in this engaging book by way of the recollections of four men who lived through and reported on those events when they were occurring.

"When The News Went Live" contains several excellent black-and-white photographs, too (some of them I haven't seen published elsewhere).

On a personal level, I have had the pleasure of communicating (via e-mail) with Bob Huffaker several times. He has been very cordial and gracious whenever answering the questions that I had for him. His personal insights into the events revolving around JFK's death are fascinating glimpses into the past, and are insights that I have enjoyed reading immensely.

A sample e-mail excerpt from Mr. Huffaker:

----------------------

"David, you're right about the presidential visit and motorcade being the main attraction that all Dallas media were covering, of course. But all our stations had limited capabilities for doing mobile TV, which then demanded either cables or microwave dishes--as well as a receiving dish within line-of-sight beaming or bouncing.

Hence the pool TV arrangements, limited to three planned locations. The local TV stations did live TV from the FTW {Fort Worth} breakfast, Love Field, and the Trade Mart. But this was, indeed, the day the news went live on television, unplanned.

WBAP-TV in Fort Worth had a non-running TV van, which they had towed all the way from Cowtown to Dallas Police headquarters, and we sent both of our KRLD-TV vans into duty--the Bread Truck at DPD and the Blue Goose on the 24th to the county jail, etc.

This was the first time in TV history when on-the-spot news suddenly demanded to go live from the scene. Before that, radio news on-the-spot descriptions such as ours that day were common (like the Hindenburg broadcast--radio only), and live TV was usually reserved for major speeches, sports, etc.

Bob" -- E-mail to this writer; May 30, 2006

----------------------

Relating to the subject of "WHEN THE NEWS WENT LIVE", I'd like to offer up the following observations as an extension of this book review.....

To those JFK conspiracy theorists who seem to favor the Oliver Stone-like or Robert Groden-promoted assassination scenarios (that feature a minimum of three gunmen and anywhere from 6 to 10 gunshots being fired at President Kennedy in Dallas' Dealey Plaza on November 22, 1963) -- I always suggest to them that they ought to dig up some of the originally-aired "As It Is Happening" live TV or radio broadcasts from that dark Friday in American history.

After performing that exercise of watching a few hours of the November 22 television coverage of the assassination (in real time), or listening to some of the radio broadcasts in real time (which works just as well) -- I challenge anyone to then arrive at the same conclusion that was slapped up on the big theater screen in 1991 via Director Oliver Stone's blockbuster, conspiracy-laden motion picture "JFK".

Watching the day's events unfold "live" in front of you (or listening to them unfold on the radio as it was happening) should, in my opinion, provide everyone with a good general idea of how utterly impossible a task it would have been to have "faked" so much stuff that was being IMMEDIATELY reported to the world on live television and radio within minutes and hours of the President's assassination (and within a very short space of time following Police Officer J.D. Tippit's murder as well).

Via those original live TV/Radio broadcasts, you're not going to hear a SINGLE report that resembles anything close to the Oliver Stone/Jim Garrison-endorsed nonsense of:

"Three gunmen fired six shots at President Kennedy's motorcade today here in Dallas!!"

What you will hear, instead, is live coverage, as it happened, of a ONE-GUNMAN assassination taking place from where the majority of witnesses said it took place (the Texas School Book Depository Building), with no more than three shots having been fired by the SINGLE SHOOTER, which is a shot count that over 91% of the witnesses concur with -- including the small percentage of witnesses who heard only one or two shots, who are witnesses that certainly don't do Mr. Stone's "6-shot ambush" theory any favors.

Upon evaluating virtually all of the TV networks' live assassination footage from November 22nd, 1963, there is no possible way that a reasonable person could arrive at a conclusion that JFK was shot by three assassins, firing from both front and rear. Let alone arriving at an even more-cockeyed "8-to-10-shot" shooting scenario, as purported by Mr. Groden and some other CTers, which is an outlandish conspiracy-flavored scenario that has John Kennedy and John Connally being shot by way more than just the two Warren Commission-backed Mannlicher-Carcano bullets from Lee Harvey Oswald's rifle.*

* = And Mr. Groden's theory (that sports from 8 to 10 gunshots) also features an additional hunk of lunacy, in that Groden thinks it's very likely that NONE of these eight to ten shots came from the "Oswald window" in the Book Depository! (I'm not making this crazy stuff up here. I promise. Anyone who owns a copy of Robert Groden's 1993 book "The Killing Of A President" can check out Groden's preposterous theory for themselves, on pages 20-40.)

The bottom line is -- Very nearly all of the information being reported on TV and radio that November day favored a "Lone Assassin" shooting scenario (including the info concerning the Tippit murder in Oak Cliff), with very little evidence and information being broadcast that would support any type of a "conspiracy" whatsoever; and certainly no "conspiratorial" evidence that has ever panned out and "proved" that a multi-gun plot ended JFK's life in Dallas.

This is quite a telling "One Killer" fact. Because, in my view, if a vast conspiracy and subsequent "cover-up" had been in place on November 22nd (given the immense amount of TV and radio coverage, with reporters scrutinizing everything coming across their desks and digging hard for any type of case-solving clues during those first hours and days after JFK and J.D. Tippit were killed), I think that at least SOME pieces of the conspiracy would have leaked through to the sweeping television and radio coverage surrounding the two Dallas murders.

And I'm guessing that every reporter and newsman in the country (including Messrs. Huffaker, Mercer, Phenix, and Wise) would have loved to dig up some "conspiracy"-proving angle during that weekend in November of '63. Being the person who uncovered such a huge story would certainly be a feather in that reporter's cap, to be sure. But, as it turned out, nothing of that nature occurred....and has yet to occur all these many years later.

To think (as many theorists do) that these conspirators were so smart and so quick to have had the capabilities to immediately eliminate virtually every last scrap of information leading to a conspiracy plot of some kind, making sure that none of the "multi-gunmen shooting event" details seeped through to the media (multiplied by TWO separate murders as well, counting Tippit's!), is to think that any such evil-doers had powers similar to "Superman".

For example -- Almost every one of the initial reports concerning the number of gunshots heard by witnesses stated "3 shots". And while it's true that the very first report of the shooting from UPI's Merriman Smith (which was broadcast over all the television networks) stated "Three shots were fired...", it's also worth noting that Smith's initial bulletin was not the ONLY "three shots" account that was reported during those early hours just after the shooting.

For instance, Jay Watson of ABC affiliate WFAA-TV in Dallas (who happened to be in Dealey Plaza during the shooting and nervously reported the first bulletins to the unaware Dallas TV audience) is heard multiple times on November 22nd saying he heard "3 shots" fired.

Plus, several other members of the media are also on record stating their own PERSONAL beliefs that exactly three shots were fired by the assassin, including Robert MacNeil, Jack Bell, Bob Clark, Jerry Haynes, and Pierce Allman, among still others.

Some of the other "Three Shot" witnesses who were riding right in the Presidential motorcade itself include -- Photographers Tom Dillard, Robert Jackson, Mal Couch, and James Underwood. Plus, both John and Nellie Connally, who were riding in the same car with President Kennedy.

In addition, Presidential aides Ken O'Donnell and David Powers, who were both riding in the Secret Service follow-up car directly behind JFK's limousine, can also be added to the lengthy list of witnesses who heard precisely three gunshots.

And then there's also amateur filmmaker Abraham Zapruder, who took the most famous 26-second home movie in history when he captured the entire assassination with his 8mm Bell & Howell movie camera -- Zapruder showed up on live TV about 90 minutes after the President's murder took place and gave a graphic account of the horrifying event that had taken place in front of his very eyes.

Mr. Zapruder told the WFAA-TV viewing audience that he had heard two or three shots (but definitely no more than three), and he also demonstrated on live television where on the President's head he had seen the effects of the fatal gunshot. Zapruder puts his hand over the right-frontal portion of his own head to demonstrate where he saw the blood coming from JFK's head.

That's pretty amazing "LIVE" stuff from Mr. Zapruder's own lips (within approx. an hour-and-a-half of the assassination). And it's especially incredible and amazing if there had actually been many more than just two or three shots fired at the President, and if the fatal shot had actually (as many CTers believe) caused a huge hole in the BACK of John Kennedy's head, instead of the location where Zapruder placed it on live television -- i.e., the RIGHT SIDE AND FRONT portion of the head.

How could the so-called "conspirators" have possibly gotten THAT lucky with respect to Abraham Zapruder's live "on-the-air" WFAA-TV statements and head-wound "demonstration"? How?

And -- Could these ultra-clever conspirators have somehow managed to "manipulate" several reporters who were relaying the news live to the world immediately after the event, and have them ALL report on hearing just "three shots" (or, in a few cases, hearing only TWO shots, which is a number that certainly does not favor a "Multi-Shooter Conspiracy Plot")?

Or did the plotters just happen to get really, really LUCKY (again) when virtually all of the news reports favored the "Three Shots Fired" conclusion? With this 3-shot scenario matching the precise number of bullet shells that were found on the 6th Floor of the Book Depository after the shooting; and also perfectly matching the exact number of shots heard by TSBD witness Harold Norman, and also perfectly matching the precise number of bullet shells (3) that Norman heard hitting the plywood floor directly above his 5th-Floor location within the Depository.

Which, per Oliver Stone's movie, would mean that a full 50% of the ACTUAL number of gunshots were somehow inaudible to the enormous majority (91%+) of the earwitnesses! And, remember, Oliver has NONE of the shots within his movie's six-shot assassination ambush being "synchronized" in order to merge together with the sound of some of the other shots.

And yet, per Mr. Stone, we're supposed to actually believe that approximately 9 out of every 10 witnesses somehow missed hearing HALF of the gunshots fired that day! A reasonable thing to believe....or not? I ask you.

Were these so-called conspiratorial shooters so good that they could make 4 to 10 shots sound like only three to the vast majority of witnesses scattered all throughout Dealey Plaza? Highly doubtful, to say the least.

Again -- I'd advise all conspiracy theorists to sit down and watch the live TV footage....or listen to some of the surviving 11/22/63 radio tapes....and then try to find a "Multi-Gunmen Conspiracy" lurking within ANY of those original broadcasts. If anybody finds proof of a conspiracy via those means, please let me know. And let the world know too.

David Von Pein
December 2006
January 2007

Out of the Past.......2006-04-04

We have become accustomed (yea, verily, some would say desensitized)to horror unfolding before our eyes in our very own living rooms. Bob Huffaker's book brings us back to a time before the desensitization, when we could scarcely believe what our eyes were telling us. I recommend this book highly to those who were there, watching as I was, and even more so to those who were not there. The young, raised in an era of suicide bombers, need to understand that it was not always thus.

very good press reporting.......2005-07-30

1963 nov 22 brought to life again but with more professionalism.some very interesting facts that confirmed my own thoughts .

JOURNALISM CLASSIC AND INSIDE SCOOP.......2005-05-07

I stayed up all night reading when my copy of When The News Went Live, Dallas 1963 arrived. This book is a classic and should be included in the curriculum of every journalism and political science classroom in America.

Huffaker, Mercer, Phenix and Wise have written the Texas story of the Kennedy assassination, the inside scoop on Oswald's murder and the history of the evolution of modern journalism. These four men were Dallas television reporters, on the scene and on their own, in the middle of the news story of the century.

It is a salute to their training and their integrity as newsmen that their coverage under duress stands today as a compelling rendering of those fateful moments. I am glad they were the early ones on the scene, for they were the ones who broke the news to me in my elementary classroom. The story gives their perspectives more fully; all these years later, this book helps me understand the events and how they affected Texas and the nation.

Bob, Bill, George and Wes were there in Dallas with their Southern sensibilities. They weren't easily pushed around or manipulated that dark day and still aren't. They were taught to tell the truth as objectively as possible, and they reverted to that training and their good common sense when placed in positions lesser men might have blown or exploited. These four men cared about truth and justice and fairness and still do. I hope all young journalists will read this and learn about balanced reporting.

America on Film: Representing Race, Class, Gender, and Sexuality at the Movies

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America on Film: Representing Race, Class, Gender, and Sexuality at the Movies
Harry M. Benshoff , and Sean Griffin
Manufacturer: Blackwell Publishing Limited
ProductGroup: Book
Binding: Paperback

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ASIN: 0631225838

Book Description

America on Film: Representing Race, Class, Gender, and Sexuality in the Movies is a lively introduction to issues of diversity as represented within the American cinema. The first synthetic and historical text of its kind, America on Film provides a comprehensive overview of the industrial, socio-cultural, and aesthetic factors that contribute to cinematic representations of race, class, gender, and sexuality. The volume chronicles the cinematic history of various cultural groups, examines forces and institutions of bias, and stimulates discussion about the relationship between film and American national culture.Accessible and user-friendly, America on Film features 101 illustrations, a glossary of key terms, questions for discussion, and lists for further reading and further viewing. The book is organized within a broad historical framework, with specific theoretical concepts - including film genre, auteurism, cultural studies, Orientalism, the "male gaze, " feminism, and queer theory - integrated throughout. Each individual chapter features a concise overview of the topic at hand, a discussion of representative films, figures, and movements, and an in-depth analysis of a single film, including The Lion King, The Jazz Singer, Smoke Signals, The Grapes of Wrath, and The Celluloid Closet.

Route 66: The Mother Road 75th Anniversary Edition

Average customer rating:

Take the trip!
Route 66
A Class Act!
Tulsa Author Does Good!!
Excellent front to back historical coverage of Rt. 66.

Route 66: The Mother Road 75th Anniversary Edition
Michael Wallis
Manufacturer: St. Martin's Griffin
ProductGroup: Book
Binding: Paperback

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ASIN: 0312281617

Book Description

The bestselling Route 66: The Mother Road sparked an unprecendented revival of the forgotten towns, diners, and motels along Route 66, transforming the road from a distant memory into a vibrant, internationally recognized destination in its own right. In this 75th anniversary edition, filled with colour and b/w photos, Wallis revisits the people and places that make Route 66 what it is.

Customer Reviews:

Take the trip!.......2007-09-22

Everything you would like to know about Route 66. This book and it's author served as the main source of infromation & inspiration for the Disney/Pixar classic animated movie "Cars". A must have for the motoring history buff.

Route 66.......2007-08-09

As we get older we appreciate memories from our youth more and more. I can remember riding in my parents car on trips along Route 66. This book is full of memories and interesting information about this historic road. We plan to take the Lincoln Highway from California to New York and come home on Route 66. We bought this book as our travel guide home and plan to visit many of the places listed in its pages. We also bought The Lincoln Highway: Coast to Coast for our guide book east. Both books are a must for the adventure we are planning; a cross country trip in our 1941 Oldsmobile street rod.

A Class Act!.......2007-07-19

My Ex & I traveled on 66 in the mid to late 80's. Met a lot of the Roadies, took a ton of 66 Pix(mostly ruins at the time). Went
"from Chicago to L.A." 2 full times & actually MET Michael & Suz when we were in OK. In fact, we are on page 41 of the Original book! We began a trend as, when we stopped at a 66 biz, we had the owners autograph the book! We LOVE Ramona/Angel/Bob Waldmire & are sad at the loss of Jerry Richard, Juan D. Bobby T. & other lost legends. It was a fun time in my life & I have many great memories & Road Stories.

Tulsa Author Does Good!!.......2007-05-17

Michael Wallis is an excellent writer, one to be emulated by any aspiring writer.

Excellent front to back historical coverage of Rt. 66........2007-03-12

This is a great book for just kicking back and taking a virtual ride on Rt. 66. I, myself, have never been down the road as I am an East Coaster and never yet made the western trek to California. However, I always dreamed of doing such in a RV and now I know for sure what road to take.

While I have heard of Rt. 66 before, I (never prior to reading this book) knew much about the road. What got me started on Rt. 66. was the fairly recent Disney movie "Cars" (of which I highly recommend seeing). The movie touched upon what Rt. 66 means to America and it's past and also the effects of the Interstate system and I-40 on Rt. 66.

The author of the book, Michael Wallis, has a cameo in "Cars" as the voice of the police car. So it was quite obvious to me that if Mr. Wallis' knowledge is good enough for Disney...Well, this made my decision very clear on what Rt. 66 book to purchase.

Wallis's knowledge of the road is fantastic and expansive. He takes you from the road's beginnings both literally and historically. You go through each state and further to each town along the route, explaining in detail how the roads beginnings were to how they are today. After reaching California, Wallis then has a dedicated chapter on how a recent movement is presently undergoing to restore Rt. 66. highlighting those business's that remain and new and old attractions to visit.

As other reviews pointed out, this book does create a very vivid image in one's mind that does allow you to virtually go down Rt. 66. It is a great 'primer' for those who want to brush up on thier Rt.66 history and also gives you a good idea of places to visit once you plan a trip on the historic road.

Created in sections by state, you can either choose to go through the book front to back as I have or choose to reach each state in more detail. Everything is here.

The only gripe I would have with the book is that while it is an excellent historical document on Rt. 66, I was hoping that key places would be easier to find and laid out more like a reference book. This way I could easily look up attractions in each state and see how they were and how they are now. I am assuming I would get this wish by buying Russ Olsen's "Route 66: Then and Now" book.

As for traveling, I know I would want a quick reference. If you are traveling Route 66, using this book as a reference will have you fumbling through pages. So this book is best read BEFORE one takes on the trip. For the road trip itself I was recommended "Route 66 Adventure Handbook" by Drew Knowles and also the "EZ66 guide for travlers" by Jerry McClanahan. (I have still yet to read these). From what I gathered by other reviewers these two books supplemented with Wallis's book would give anyone everything they would need to know about Rt. 66.

So bottom line, for overall history and just about everything you need to know about Rt 66. while taking a virtual tour of the road, well, this is it. This is where this book shines. A fantastic book best read from cover to cover.

However for a quick reference to take on an actual Rt. 66 road trip, that is where this book falls short. There are probably better sources for that task.

Overall a great buy for the price and it would make a great addition to anyone's American history library and it would also make a great coffee table book (especially if they made a hardcover edition).

The Archive and the Repertoire: Performing Cultural Memory in the Americas (A John Hope Franklin Center Book)

Average customer rating:

A Vital Intervention
Read This Important New Book

The Archive and the Repertoire: Performing Cultural Memory in the Americas (A John Hope Franklin Center Book)
Diana Taylor
Manufacturer: Duke University Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0822331233

Book Description

In The Archive and the Repertoire preeminent performance studies scholar Diana Taylor provides a new understanding of the vital role of performance in the Americas. From plays to official events to grassroots protests, performance, she argues, must be taken seriously as a means of storing and transmitting knowledge. Taylor reveals how the repertoire of embodied memory—conveyed in gestures, the spoken word, movement, dance, song, and other performances—offers alternative perspectives to those derived from the written archive and is particularly useful to a reconsideration of historical processes of transnational contact. The Archive and the Repertoire invites a remapping of the Americas based on traditions of embodied practice.

Examining various genres of performance including demonstrations by the children of the disappeared in Argentina, the Peruvian theatre group Yuyachkani, and televised astrological readings by Univision personality Walter Mercado, Taylor explores how the archive and the repertoire work together to make political claims, transmit traumatic memory, and forge a new sense of cultural identity. Through her consideration of performances such as Coco Fusco and Guillermo Gómez-Peña’s show Two Undiscovered Amerindians Visit . . . , Taylor illuminates how scenarios of discovery and conquest haunt the Americas, trapping even those who attempt to dismantle them. Meditating on events like those of September 11, 2001 and media representations of them, she examines both the crucial role of performance in contemporary culture and her own role as witness to and participant in hemispheric dramas. The Archive and the Repertoire is a compelling demonstration of the many ways that the study of performance enables a deeper understanding of the past and present, of ourselves and others.

Customer Reviews:

A Vital Intervention.......2006-02-15

Taylor's "The Archive and the Repertoire" is an absolute must-read for all scholars and students in performance studies, cultural studies, Latin American studies, and the social sciences in general.

Drawing on a diverse range of case studies from a Peruvian community theatre troupe to Univision astrologist Walter Mercado to her own firsthand account of witnessing 9/11, Taylor creates a new vocabulary for describing how cultures remember and re-enact with the body.

Although her insights are crucial for the future of performance studies and useful to senior scholars in the field, she writes with a clarity and personality that will engage undergraduate students as well.

VERY highly recommended.

Read This Important New Book.......2003-12-16

In her wonderful new book, Diana Taylor, a distinguished professor of both Spanish and performance studies, brings her areas of expertise into "conversation." Performances, she argues, are vital "acts of transfer" that transmit social knowledge, memory and a sense of identity in Latin/o American (and by extension other) cultures.
She writes, "I am not suggesting that we merely extend our analytic practice to other `Non-Western' areas. Rather, what I propose here is a real engagement between two fields that helps us rethink both." By working from the points of disconnection between area and performance studies Taylor creates a new framework for approaching performance as embodied social practice.

Shifting focus to "the live" requires new methodologies and Taylor creates exciting new theoretical tools to further this discussion. Since, in her view, much performance writing betrays the "embodiedness" it seeks to describe; Taylor coins terms that do not derive from literary sources. The repertoire of her title is her term for a "non-archival system of transfer" that can capture the ephemeral trace of performance. By providing her reader with a kind of archive of affect, Taylor makes the body central. She argues that the repertoire "allows for an alternative perspective on historical processes...by following traditions of embodied practice" instead of literary rhetoric. As an alternative to "narrative" she offers scenario, a term with a theatrical genealogy, meaning an open-ended " sketch or outline" as a way to connote colonial encounters. For example, Taylor wittily names the scenario in which we are encouraged to "overlook the displacement and disappearance of native peoples" at the root of the popular show Survivor, "Fantasy Island." Taylor expands on this theme in her second chapter, Scenarios of Discovery: Reflections on Performance and Ethnography. She writes, "Using scenario as a paradigm for understanding social structures and behaviors might allow us to draw from the repertoire as well as the archive."

Using these terms as "portable frameworks" and moving in and out of first person experience, Taylor explores a range of hemispheric performances. Chapters on the Mexican mestizaje, campy Latino American psychic Walter Mercado, and the ways that minority populations mourned Princess Diana, explore the hybrid spaces between perception and embodied culture. Taylor revisits the Argentinean "Dirty War"
(the topic of her book Disappearing Acts) in her chapter on H.I.J.O.S. -the children of the disappeared- and the "DNA of performance" that links them with their absent parents. Chapters on Brazilian performance artist Denise Stoklos, witnessing 9/11 and a 1998 Central Park performance of Rumba musicians interrupted by the NYPD, investigate the complex relations between hegemonic power and the anarchic spirit of live performance against a background of historic violence.

Book Description

From Barbie to the Internet, the Simpsons to the malls, this engaging book on pop culture can help readers develop writing skills while reading and thinking about subjects they find inherently interesting. It contains essays addressing pop culture topics along with suggestions for further reading. Topics covered in the essays include advertising, television, popular music, cyberculture, sports, and movies. Because of its several comprehensive indices, this book is an excellent reference work for writers and analysts of popular culture.

Customer Reviews:

Good for Freshman Composition.......2007-03-02

I'm using it with my students this semester and it appears to be a hit. Of course, some students who are loathe to engage in critical thinking will find this book useless, but for those who enjoy thinking, analyzing, and questioning, this book serves as a good segueway into deeper critical analyses. This book features readings on pop culture ranging from relatively easy-to-read articles to selections from academic articles from scholarly journals. As a result, many students are faced with difficult and complex readings, often for the first time. By focusing on critical analysis, with this text in the guise of questioning the function of pop culture, students develop their analytical skills and refrain from being passive. Thus, they're encouraged to be active and engaged with their environment. I much prefer a reader in the composition classroom instead of the boring, "how-to" compositions. For the actual writing, I make my own handouts and assignments (individual, small group, and large group), and conduct in-class writing conferences. If a professor isn't willing to do the extra work needed in order to show and model solid collegiate writing, then this book, perhaps, isn't for him or her. But if a professor likes depth to the composition classroom and likes to encourage critical thinking in the students, then this book may be for him or her.

English??.......2002-02-12

I had to have this book for an english class. its just a bunch of articles that were selected, yet we didn't use them. I think that there are better ways to do something like this

wide ranging and entertaining.......2001-05-24

it's good to find perceptive analyses of aspects of culture we otherwise take for granted treated with both the humor and curiosity they deserve. the scope of this book will help dispel any jaded stare your eyes might have acquired in seeing life grow increasingly routine. as anthropologists are finding westernization leaving scarcer indigenous pickings, we can be happy cultural studies questioning some of the modes becoming more "common".

Hollywood Babylon: The Legendary Underground Classic of Hollywood's Darkest and Best Kept Secrets

Average customer rating:

a very interesting book to page through
Thumbs down on the (myth-ridden) text, thumbs up on (some of) the pictures
Juicy delicious!
great book and wonderful gossip
VERY ENTERTAINING

Hollywood Babylon: The Legendary Underground Classic of Hollywood's Darkest and Best Kept Secrets
Kenneth Anger
Manufacturer: Dell
ProductGroup: Book
Binding: Mass Market Paperback

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ASIN: 0440153255
Release Date: 1981-11-15

Customer Reviews:

a very interesting book to page through.......2007-07-18

Kenneth Anger's hollywood babylon is the kind of book you can pick up and put down at any time.. I find it interesting to page through before or after I watch one of the older movies of hollywood's golden age.. I can't get enough of this sort of look into the dumpster of tinseltown.. the scandals and episodes that have been brushed under the carpet or just are no longer known about.. The list of characters that populate these pages are as colorful as they were glamorous.. and also at times hideous..
This is not very heavy reading but it is endlessly fascinating..

Thumbs down on the (myth-ridden) text, thumbs up on (some of) the pictures.......2007-07-12

What saves the sensationalistic - not to say trashy and in many places inaccurate - _Hollywood Babylon_ from being a total failure is the huge number of pictures, many shocking and some downright grisly (as in the picture of poor Thelma Todd lying done to death in her car), but mostly fascinating if sometimes nauseating (I'll talk about one of the worst offenders shortly). Which is a good thing, because frankly I want to take a bath every time I read the text to wash off the grime. We all know that Hollywood in its "Golden Age" was a long way removed from the image of saintly morality painted by its self-appointed guardians, the studio moguls - very many of whom had guilty secrets among them - chief among them, but Kenneth Anger seems to take a little too much delight in the sordidity and scandal for my own taste. What makes it worse is that he passes on a number of urban legends rather than do the boring work of get at the truth.

One of the most objectionable myths he fosters in this book, in my view, is the story that Jayne Mansfield was decapitated in the auto accident that took her life in 1967. This is simply not true. There is a ghastly photo in circulation on the web - I won't link to it but those who really want to know can Google for it - that makes it clear that her injuries, while fatal, did not result in the removal of her head. What you see on the car's crumpled hood in that photo (that Anger claims was Mansfield's noggin) is actually her wig. (And did we really need to see that photo of her dead Chihuahua? Ugh.)

If people want a really good book on Hollywood scandals, I strongly suggest they go find James Robert Parish's well-researched, evenhanded, brightly-written _The Hollywood Book of Scandal_ instead. (And that book doesn't contain any photos likely to make you lose your lunch, either!)

Juicy delicious!.......2007-05-19

If you think today's stars are misbehaved, wait til you read this! I couldn't put it down and read it in few days. Anger's style of writing is witty, sarcastic, and will compltely put you back into another era. The book focuses mainly on early, pre-code Hollywood up until Jayne Mansfield's death in 1967. There are so many juicy stories and even morbid details in this book, and tons of awesome pictures. (Although be warned- picture of Jayne Mansfield's car crash and dead dog are depressing and bloody). Includes everyone who was ever anyone- Clara Bow, Carole Landis, Carole Lombard, Marilyn Monroe, Valentino, Novarro, Judy Garland (who died on the toilet), Gary Cooper, William Randolph Hurst, Jayne Mansfield, Charlie Chaplin, etc. etc. etc. All the old legends are in here. Completely worth the price. I just wish there was a newer version.

great book and wonderful gossip.......2007-02-18

if your the type that is intrigued by anna nichole , michael jackson, brittney spears and paris hilton then get this book these people were the real hollywood deal the stars from the 20s 30s and 40s make todays stars seem like cub scouts. this book has it all sex , glamor , drugs all the stuff that will make you not put this book down . you couldnt make this stuff up if you tried .

VERY ENTERTAINING.......2007-01-12

I love reading the trash & gossip about the stars and this book provided it all. It was hard to put down and I was sorry when I finished it.
Great reading!

Inventing the Dream: California through the Progressive Era

Average customer rating:

Read the 'Dream' and weep
Should Be Called a History of Southern California

Inventing the Dream: California through the Progressive Era
Kevin Starr
Manufacturer: Oxford University Press, USA
ProductGroup: Book
Binding: Paperback

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ASIN: 0195042344

Amazon.com

California seems to have been the source of almost every cultural trend that defines modern America--often in contradictory ways. Consider the waves of conservative and progressive politics, self-love and selflessness, sushi and Big Macs, great literature, and banal films. Inventing the Dream traces this extraordinary state through the early years of the 20th century, when Americans began to flock westward and Los Angeles grew from a town of 50,000 to a large city of 320,000 in justa couple of decades. By 1926, Starr writes, Hollywood was the United States' fifth-largest industry, grossing $1.5 billion a year and accounting for 90 percent of the world's films--and, of course, changing the values of whole cultures. This is a fine work of historical reconstruction, joining Starr's other well-regarded works of Californiana.

Book Description

This second volume in Kevin Starr's passionate and ambitious cultural history of the Golden State focuses on the turn-of-the-century years and the emergence of Southern California as a regional culture in its own right. "How hauntingly beautiful, how replete with lost possibilities, seems that Southern California of two and three generations ago, now that a dramatically diferent society has emerged in its place," writes Starr. As he recreates the "lost California," Starr examines the rich variety of elements that figured in the growth of the Southern California way of life: the Spanish/Mexican roots, the fertile land, the Mediterranean-like climate, the special styles in architecture, the rise of Hollywood. He gives us a broad array of engaging (and often eccentric) characters: from Harrision Gray Otis to Helen Hunt Jackson to Cecil B. DeMille. Whether discussing the growth of winemaking or the burgeoning of reform movements, Starr keeps his central theme in sharp focus: how Californians defined their identity to themselves and to the nation.

Customer Reviews:

Read the 'Dream' and weep.......2006-07-24

I read this book 20 years ago. It has held up remarkably well. California is the victim of its own utopian dreams.

Should Be Called a History of Southern California.......2004-02-18

... Not that I have a problem with that. This is the second volume in Starr's definitive six volume history of California. Starr writes history that combines straight forward "who, what, when" facts with digressions into literary criticism and pyschologlogical speculation. This is a blend that is quite apt for California, and I have found volume one and two to be rewarding.

Starr (who is also the state librarian for California) also includes excellent essays on his sources for each chapter, which makes further reading a snap! For example, after reading his first volume "Americans and the Californian Dream", I read "The Octopus" by Frank Norris and "Two Years Before the Mast" by Dana.

This book covers roughly the same time period as the first volume, and there is some overlap. After all, there wasn't THAT much going on in California from 1850 to 1900. However, while the first volume focuses almost totally on Northern California, this volume focuses almost totally on Southern California.

And by Southern California, I mean Los Angeles, with a little bit of Riverside thrown in. As a native of San Francisco and a current resident of San Diego, I simply couldn't believe at how little San Diego county came in for mention. Again, I'm hesitant to label this as a criticism, since I did love the book, but I just wonder what San Diego did (or didn't do) to get left out.

Starr spends ample time covering pre-American Southern California history. He charts the development of California agriculture, talks about the "Craftsman" movement and, as his wont, spends entire chapters talking about the artists and boosters of the time. Personally, after reading this book I have resolved to read at least one book of Mary Austin.

Towards the end of this volume Starr dishes out a hefty dose of the history of the Progressive movement in California. His essay on sourcing for this chapter reveals a penchant for the works of more traditional political history writers, and I felt like this chapter was kind of "eh."

His final chapter is on the growth of Hollywood. I don't feel like he adds anything to the voluminous literature on this subject, but hey, this is a survey of California history, and I suppose he had to include it.

Overall, I highly recommend this book. If you are more interested in Southern then Northern California, you may want to skip the first volume and proceed directly to this one.

Average customer rating:

A glorious look at the wonderful movie of "The Wizard of Oz"

Oz-some book!

A Look Back At a Movie Classic!

A Look Back At a Movie Classic!

Pictorial History That Still Works For The 63rd Anniversary

The Wizard of Oz: The Official 50th Anniversary Pictorial History
John Fricke , Jay Scarfone , and William Stillman
Manufacturer: Warner Books
ProductGroup: Book
Binding: Hardcover

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The Wizardry of Oz: The Artistry And Magic of The 1939 MGM Classic - Revised and Expanded

100 Years of Oz: A Century of Classic Images

The Munchkins of Oz

The Wonderful Wizard of Oz Coloring Book (Colour Books)

Memories of a Munchkin: An Illustrated Walk Down the Yellow Brick Road

ASIN: 0446514462

Book Description

FOLLOW THE YELLOW BRICK ROAD...All the excitement of the world's most beloved film unfolds in three-dimensional splendor as you join Dorothy, the Scarecrow, the Tin Man, the Cowardly Lion---and Toto, too---on their journey to Oz. Over 50 photos from the classic movie are engineered into unforgettable scenes like the Twister, Munchkinland, the Haunted Forest and Emerald City. And the CD includes favorite songs from the original soundtrack, so you can click your heels to the beat while getting swept up in the amazing detail of this collectible book!

Customer Reviews:

A glorious look at the wonderful movie of "The Wizard of Oz".......2005-08-14

Since this is "The Wizard of Oz: The Official 50th Anniversary Pictorial History" of the beloved 1939 film, it is not surprising that John Fricke, Jay Scarfone, and William Stillman have put together the book that tops the "must have" list for fans of the film (after, of course, L. Frank Baum's original novel, which just had its centennial edition come out in 1903. After an introduction by Jack Haley, Jr., the volume's prologue, "The Marvelous Land of Oz," begins with the story of how Baum came up with the name for Oz and looks at the history of his stories prior to the movie. Also included in this prologue are stills from some of the vaudeville and silent movie versions (the 1925 film had Oliver Hardy as the Tin Woodman), the original book covers for the 42 Oz stories, and Technicolor test shots of the movie cast, which includes Judy Garland wearing a blond wig as Dorothy. By the time you finish this prologue you will know that this book is going to be everything that you would want as the table of contents indicates:

Part One - The Oz Diary: Creating a Classic: (1) Acquisition and Casting contrasts the signing of the cast with W.W. Denslow's first pictures of the characters; (2) Scripts, Songs, and Staff focuses on early drafts of the scripts and ideas for song more so than what actually ended up in the movie; (3) Wardrobe and Markup details the evolution of the look of each character with corresponding photographs; (4) The Thorpe "Era" is about Richard Thorpe's short tenure as the film's director, when Gale Sondergaard is the Wicked Witch and Dorothy is a blond; (5) There'll Be Some Changes Made is short but sweet and is about the changes George Cukor made as a stop gap under Victor Fleming was signed to direct the film; (6) "The Wizard" Comes to Life is a lengthy chapter covering the making of the film with its various legendary stories; and (7) Post-Production and Previews, which details what was cut (including "Over the Rainbow" at one point), when and why.

Part Two - The Oz Diary Continued: Promotion and Reception: (8) The Oz Campaign contains everything from Judy Garland telling Frank Morgan "Anybody can be a wizard at Jelly-Making" for a newspaper ad for Certo (never heard of it either)to a two-page full-color spread in "Life" and a special "Wizard of Oz" ad for the Sunday comics; (9) Hollywood Party is about the movie's gala premier; (10) "Capitol" Times in Manhattan is about the show at Loew's Capitol Theater In New York City that showed the movie along with a life performances by Garland and Mickey Rooney. This chapter also shows some of the first product tie-ins for the movie; and (11) From Coast to Coast is a brief look at promotion of the film across the nation and includes what might be the first editorial cartoon that used the Oz characters to comment on a real situation (Hitler is the Wicked Witch of the West and Mussolini is a winged monkey, while Dorothy is European civilization, the Scarecrow is Poland, the Lion is Britain, and the Tin Woodman is France).

Part Three - Raves and Accolades looks at (12) The Reviews, which includes a look at foreign books and domestic record versions; and (13) The Twelfth Annual Academy Awards, where the film won Best Song for "Over the Rainbow," Best Original Score for Herbert Stothart's underscoring and adaptation of the Arlen/Harburg songs, and Garland for best performance of a juvenile during the past year.

Part Four - Oz and Ends, includes brief looks at (14) Original Ozzy Merchandising; (15) Oz Abroad; and (16) Theatrical Reissue.

Part Five - Television Perennial covers how most of us first saw the movie, including (17) Guest Hosts on CBS (I always liked Dick Van Dyke); and (18) NBC Interlude/CBS Comeback.

Part Six - The Legend is another set of brief chapters on (19) Reunions and Reminiscences; (20) Merchandising; and (21) Icon, which ends the book on a perfect grade note with editorial cartoons on the death of Garland in 1959, Jack Haley in 1979, Margaret Hamilton in 1985, and Ray Bolger in 1987.

This volume includes more than 400 illustrations, half in color and many never before published, including over seventy makeup and costume portraits, behind-the-scenes and production photos, and not only stills but script pages from the musical numbers and segments that were filmed but cut from the release print (including "The Jitterbug," Bolger's extended solo dance to "If I Only Had a Brain," and the "triumphal return" sequence). The photographs of all the movie posters, toys, and other items associated with "The Wizard of Oz" can be found throughout the book instead of being collected all at the end of the book corresponding with when the movie came out. The last three parts could essentially be individual chapters to avoid the sense that you are racing through the end of the volume, but that is a minor complaint all things considered.

Oz-some book!.......2005-07-21

If you only buy 1 Oz book for your collection, make it this one! In Oz circles, this book is known as "The Green Book" and it is a virtual encyclopedia of Oz information. The research and work that went into the writing of this book is truly astounding!

The rare photographs will amaze you (including Judy Garland in her blond wig and Buddy Ebsen as the Tin Man).

This book is full of little-known trivia. After reading this book, you can wow your friends with your new-found Oz knowledge!

A Look Back At a Movie Classic!.......2003-03-18

There have been a few books that have given us all a look into the making of MGM's movie version of "The Wizard Of Oz!"? But The John Fricke,Jay Scarfone manuscript surpasses all of the other books.Because it's filled with wonderful photos and info that takes us beyound the making of the film and gives us a look into the continuing popularity of the Oz characters.Using rare photos,extensive research and interviews from the people.Who were involved with the project.Messers Scarfone And Fricke.Show us the early stages of the making of the film.From the many drafts of the script..to the problems with the changes in cast,storylines,music,mishaps with props and special effects.To the promotions of the film on radio(NBC Radio's "MaxwellHouse Coffeetime")and at stage shows to the many other interpretations of the story that appeared on tv,in the movies,on radio, in the theater and at parades and theme parks.The book even gives some more biographical info about the cast and crew and some more insight into the man.Who created this legendary tale:Mr.Lyman Frank Baum.For the fans of this classic story.Who want to know the full extent of it's geniss? This is the one book to have.Kevin S.Butler.

A Look Back At a Movie Classic!.......2003-03-18

There have been a few books that have given us all a look into the making of MGM's movie version of "The Wizard Of Oz!"? But The Jay Scarfone,John Fricke manuscript surpasses all of the other books.Because it's filled with wonderful photos and info that takes us beyound the making of the film and gives us a look into the continuing popularity of the Oz characters.Using rare photos,extensive research and interviews from the people.Who were involved with the project.Messers Scarfone And Fricke.Show us the early stages of the making of the film.From the many drafts of the script..to the problems with the changes in cast,storylines,music,mishaps with props and special effects.To the promotions of the film on radio(NBC Radio's "MaxwellHouse Coffeetime")and at stage shows to the many other interpretations of the story that appeared on tv,in the movies,on radio, in the theater and at parades and theme parks.The book even gives some more biographical info about the cast and crew and some more insight into the man.Who created this legendary tale:Mr.Lyman Frank Baum.For the fans of this classic story.Who want to know the full extent of it's geniss? This is the one book to have.Kevin S.Butler.

Pictorial History That Still Works For The 63rd Anniversary.......2002-12-06

There are many, many books out there about the making of everyone's favorite film, "The Wizard of Oz". There aren't any I've seen that I wouldn't recommend, but if you are looking for pictures, pictures, and more pictures, this beautiful coffee table size book is a great place to start. Pictures, both in color and black and white, of every aspect of the making of the movie fill this attractive volume from cover to cover, and the text, by Oz authority John Fricke is all-encompassing. Although released for the 50th Anniversary of the film's 1939 release, it is still relevant 13 years later, and a great book for the collector or casual researcher. It has yet to be topped.

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