Bøger af Anthony Slide

Cultural Historian Anthony Slide, who has been described by the Los Angeles Times as a one-man publishing phenomenon, strikes again with a book guaranteed to contain something OFFENSIVE for everyone.Chapters on subjects as varied as CAMP, FASCISM in Hollywood, Hedda Hopper and the PORKY'S movies. The latest topical jokes on Helen Keller, Eleanor Roosevelt and the Challenger disaster.Subjects such as ALCOHOL, DRUG and SPOUSAL ABUSE, COMMUNISM, ETHNICITY, GAYS and LESBIANS and RELIGION. Commentary on leading figures of the era, including Father Coughlin, Kinky Friedman, Tom Lehrer and John Wayne. They are all here in this QUIRKY, OUTRAGEOUS, informative, and above all, ENTERTAINING overview of POLITICAL INCORRECTNESS and BAD TASTE in 20th century popular entertainment, including film, theatre, music, radio, television and vaudeville.

Just a Regular Bloke: The Ted Ray Story is the third in a trilogy of volumes on legends of British comedy, that began with Jimmy Edwards and continued with Arthur Askey. Ted Ray became a star as British Music Hall came to an end, and continued into radio, television and motion pictures. He never stopped performing on stage as Music Hall morphed into Variety, and could always be relied upon to make audiences laugh with his quick wit and rapid-fire humor. It might be said that it was on radio with Ray's a Laugh that he became a star throughout the U.K., but, in reality, he had appeared as a Music Hall comedian in just about every city in the country. Just a Regular Bloke documents Ted Ray's career, and also examines the work of his two sons, Robin and Andrew, who became a star in his own right with his first film, The Mudlark. It is an informative and entertaining volume that should appeal to readers interested not only in British stand-up comedy in the 20th Century but also with the development of British popular culture.

Just a Regular Bloke: The Ted Ray Story is the third in a trilogy of volumes on legends of British comedy, that began with Jimmy Edwards and continued with Arthur Askey. Ted Ray became a star as British Music Hall came to an end, and continued into radio, television and motion pictures. He never stopped performing on stage as Music Hall morphed into Variety, and could always be relied upon to make audiences laugh with his quick wit and rapid-fire humor. It might be said that it was on radio with Ray's a Laugh that he became a star throughout the U.K., but, in reality, he had appeared as a Music Hall comedian in just about every city in the country. Just a Regular Bloke documents Ted Ray's career, and also examines the work of his two sons, Robin and Andrew, who became a star in his own right with his first film, The Mudlark. It is an informative and entertaining volume that should appeal to readers interested not only in British stand-up comedy in the 20th Century but also with the development of British popular culture.

The fan magazine has often been viewed simply as a publicity tool, a fluffy exercise in self-promotion by the film industry. But as an arbiter of good and bad taste, as a source of knowledge, and as a gateway to the fabled land of Hollywood and its stars, the American fan magazine represents a fascinating and indispensable chapter in journalism and popular culture. Anthony Slide's Inside the Hollywood Fan Magazine provides the definitive history of this artifact. It charts the development of the fan magazine from the golden years when Motion Picture Story Magazine and Photoplay first appeared in 1911 to its decline into provocative headlines and titillation in the 1960s and afterward. Slide discusses how the fan magazines dealt with gossip and innuendo, and how they handled nationwide issues such as Hollywood scandals of the 1920s, World War II, the blacklist, and the death of President Kennedy. Fan magazines thrived in the twentieth century, and they presented the history of an industry in a unique, sometimes accurate, and always entertaining style. This major cultural history includes a new interview with 1970s media personality Rona Barrett, as well as original commentary from a dozen editors and writers. Also included is a chapter on contributions to the fan magazines from well-known writers such as Theodore Dreiser and e. e. cummings. The book is enhanced by an appendix documenting some 268 American fan magazines and includes detailed publication histories.

American women who contributed their talents to the silent film industry are still largely unrecognized, in spite of their great influence. This book details the lives and careers of America's first women directors, unveiling the history of those who, with little recognition, helped pave the way for females in the film industry today.

Provides a record of what was once America's pre-eminent form of popular entertainment from the late 1800s through the early 1930s. This title includes entries not only on the entertainers themselves, but also on those who worked behind the scenes, the theatres, genres, and historical terms.

Looks at the way film has dominated the minds and lives of film buffs, film collectors, film academics, and just plain fans of past movies. Based on the author's more than fifty years in the field and his personal, up-front knowledge of the subject, chapters provide unique documentation on film buffs who once created a livelihood from their hobby.

Alice Howell (1886-1961) is slowly gaining recognition and regard as arguably the most important slapstick comedienne of the silent era. This new study, the first book-length appreciation, identifies her place in the comedy hierarchy alongside the best-known of silent comediennes, Mabel Normand. Like Normand, Howell learned her craft with Mack Sennett and Charlie Chaplin. Beginning her screen career in 1914, Howell quickly developed a distinctive style and eccentric attire and mannerisms, successfully hiding her good looks, and was soon identified as the "e;Female Charlie Chaplin."e;Howell became a star of comedy shorts in 1915 and continued her career through 1928 and the advent of sound in film. While she is today recognized as a pioneering female filmmaker, during her career she never expressed much interest in her work, seeing it only as a means to an end, with her income carefully invested in real estate. It has taken many years for her to gain her rightful place in film history, not only as a comedienne, but also as matriarch of a prominent American family that includes son-in-law and director George Stevens and grandson George Stevens Jr., founder of the American Film Institute and the Kennedy Center Honors, who provides a foreword.

"e; Thomas Dixon has a notorious reputation as the writer of the source material for D.W. Griffith's groundbreaking and controversial 1915 feature film The Birth of a Nation. Perhaps unfairly, Dixon has been branded an arch-conservative and a racist obsessed with what he viewed as "e;the Negro problem."e; As American Racist makes clear, however, Dixon was a complex, multitalented individual who, as well as writing some of the most popular novels of the early twentieth century, was involved in the production of some eighteen films. Dixon used the motion picture as a propaganda tool for his often outrageous opinions on race, communism, socialism, and feminism. His most spectacular production, The Fall of a Nation (1916), argues for American preparedness in the face of war and boasts a musical score by Victor Herbert, making it the first American feature film to have an original score by a major composer. Like the majority of Dixon's films, The Fall of a Nation has been lost, but had it survived, it might well have taken its place alongside The Birth of a Nation as a masterwork of silent film. Anthony Slide examines each of Dixon's films and discusses the novels from which they were adapted. Slide chronicles Dixon's transformation from a major supporter of the original Ku Klux Klan in his early novels to an ardent critic of the modern Klan in his last film, Nation Aflame. American Racist is the first book to discuss Dixon's work outside of literature and provide a wide overview of the life and career of this highly controversial twentieth-century southern populist. Anthony Slide is the author of numerous books, including Silent Players: A Biographical and Autobiographical Study of 100 Silent Film Actors and Actresses.

"e; From his unique perspective of friendship with many of the actors and actresses about whom he writes, silent film historian Anthony Slide creates vivid portraits of the careers and often eccentric lives of 100 players from the American silent film industry. He profiles the era's shining stars such as Lillian Gish and Blanche Sweet; leading men including William Bakewell and Robert Harron; gifted leading ladies such as Laura La Plante and Alice Terry; ingenues like Mary Astor and Mary Brian; and even Hollywood's most famous extra, Bess Flowers. Although each original essay is accompanied by significant documentation and an extensive bibliography, Silent Players is not simply a reference book or encyclopedic recitation of facts culled from the pages of fan magazines and trade periodicals. It contains a series of insightful portraits of the characters who symbolize an original and pioneering era in motion history and explores their unique talents and extraordinary private lives. Slide offers a potentially revisionist view of many of the stars he profiles, repudiating the status of some and restoring to fame others who have slipped from view. He personally interviewed many of his subjects and knew several of them intimately, putting him in a distinctive position to tell their true stories.

Now in Paperback! The New Historical Dictionary of the American Film Industry is a unique reference work, a 'what's what' of the history of filmmaking not only in Hollywood but throughout the United States. More than 750 entries document the history of studios, production companies and distributors, and provide complete information on technical innovations, genres, industry terms, and organizations. Included are entries on more than 100 film companies active in the 'teens, as well as all major Hollywood studios, and major technical innovations such as CinemaScope and Dolby Sound. General entries range from 'The Cold War' to 'Westerns' and include film series such as 'Andy Hardy' and 'The Thin Man.' Extensive cross referencing and an index help the reader locate information throughout the text. A completely revised and updated edition of The American Film Industry, this new edition furnishes an informed, experienced look behind the scenes of filmmaking and an invaluable reference source. Paperback edition available 2001.

"Jimmy Edwards was a Great British Entertainer"- Ken Dodd"Not merely a peculiarly British comedian but an authentic English character"- The Times

''¿Jimmy Edwards was a Great British Entertainer¿'' Ken Dodd''¿Not merely a peculiarly British comedian but an authentic English character¿¿'' The TimesComedians in 20th Century Britain might well be divided into two categories: those who gained international fame, particularly in the United States, and those whose comedic style was so resolutely British, so insular that recognition beyond the shores of their native land was as incomprehensible as some, or perhaps much, of their humor. In the former category are those whose fame in the United States far outreached anything that might have been accomplished in the United Kingdom - with the obvious examples being Charlie Chaplin and Stan Laurel, as well, and to a lesser extent, the likes of Terry-Thomas and Norman Wisdom. The resolutely British brigade includes brilliant stand-up comedian Ken Dodd, screwed-up magician Tommy Cooper, the stars of the "Carry On" films, Bud Flanagan, Chesney Allen and the other members of the "Crazy Gang," and those who made an easy transition from British music hall, in its dying days, to radio and/or television, including Tony Hancock, Eric Morecambe and Ernie Wise, Harry Worth, Hylda Baker, Bruce Forsyth, Ted Ray, and, of course, the "star" of this volume, Jimmy Edwards.

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This study looks at the preservation process, the issue of colourisation, and commercial film archives. It also provides detailed histories of the major players in the preservation battle and the museums.

Impressed by the success of The Birth of a Nation, Robert Goldstein, owner of a well-known Los Angeles costume supply house, produced his own epic film drama, The Spirit of ''76 and screened it in Los Angeles shortly after America''s entry into World War I. The film was denounced as anti-British and treasonous. Arrested under the Espionage Act, Goldstein became the first and only American jailed for the crime of producing a patriotic film. Film historian Tony Slide includes an introductory essay, reprints contemporary documentation, and publishes a 1927 manuscript by Goldstein, in which he fully documents the background to the film, its making, his arrest and trial, and his later suffering.

Collects together Knox's writings, published and unpublished, on various performers with whom he worked or was familiar, and on the art and craft of acting.

The autobiography of Joseph Henabery, the director of some of the biggest Hollywood stars of the 1920s including Douglas Fairbanks, Fatty Arbuckle, and Rudolph Valentino.

In Silent Topics, film historian Anthony Slide looks at various under-discussed and generally undocumented areas of silent film. The two lengthiest essays discuss the release of British silent films in the United States and the contribution of gays and lesbians to American silent film.

This guide provides biographical essays, complete with bibliographies, on 100 of the best-known and loved British actors and actresses. Not only are serious dramatic actors and actresses to be found here, but also the great comedy stars, including Benny Hill and John Inman.

In addition, there is a program index, providing the reader with speedy information as to which company or distributor is responsible for which series. The Television Industry will serve as an essential reference tool for any scholar, student, or librarian involved in the study of the television industry.

Making use of the files of the US Production Code Administration, this is a film-by-film study of the way in which British films were censored in the USA between 1933 and 1960.

Complete with appendices providing distributors from the 1920s-1940s and current names and addresses of non-theatrical film sources, this book-length study of the history of this film genre is both important and much needed.

Cultural Historian Anthony Slide, who has been described by the Los Angeles Times as a one-man publishing phenomenon, strikes again with a book guaranteed to contain something OFFENSIVE for everyone.Chapters on subjects as varied as CAMP, FASCISM in Hollywood, Hedda Hopper and the PORKY'S movies. The latest topical jokes on Helen Keller, Eleanor Roosevelt and the Challenger disaster.Subjects such as ALCOHOL, DRUG and SPOUSAL ABUSE, COMMUNISM, ETHNICITY, GAYS and LESBIANS and RELIGION. Commentary on leading figures of the era, including Father Coughlin, Kinky Friedman, Tom Lehrer and John Wayne. They are all here in this QUIRKY, OUTRAGEOUS, informative, and above all, ENTERTAINING overview of POLITICAL INCORRECTNESS and BAD TASTE in 20th century popular entertainment, including film, theatre, music, radio, television and vaudeville.