Dream Factories

The history of postwar German cinema has most often been told as a story of failure, a failure paradoxically epitomized by the remarkable popularity of film throughout the late 1940s and 1950s. Through the analysis of 10 representative films, Hester Baer reassesses this period, looking in particular at how the attempt to 'dismantle the dream factory' of Nazi entertainment cinema resulted in a new cinematic language which developed as a result of the changing audience demographic. In an era when female viewers comprised 70 per cent of cinema audiences a 'women's cinema' emerged, which sought to appeal to female spectators through its genres, star choices, stories and formal conventions. In addition to analyzing the formal language and narrative content of these films, Baer uses a wide array of other sources to reconstruct the original context of their reception, including promotional and publicity materials, film programs, censorship documents, reviews and spreads in fan magazines. This book presents a new take on an essential period, which saw the rebirth of German cinema after its thorough delegitimization under the Nazi regime.

The “good jobs” of the past are almost gone. Today, many university graduates face unemployment while others face underemployment. Ken Coates and Bill Morrison explore the death of the “good job,” and the role that universities have played in the disconnect between career fantasies and realities.

The intersection between film stardom and politics is an understudied phenomenon of Fascist Italy, despite the fact that the Mussolini regime deemed stardom important enough to warrant sustained attention and interference. Focused on the period from the start of sound cinema to the final end of Fascism in 1945, this book examines the development of an Italian star system and evaluates its place in film production and distribution. The performances and careers of several major stars, including Isa Miranda, Vittorio De Sica, Amedeo Nazzari, and Alida Valli, are closely analyzed in terms of their relationships to the political sphere and broader commercial culture, with consideration of their fates in the aftermath of Fascism. A final chapter explores the place of the stars in popular memory and representations of the Fascist film world in postwar cinema.

(Book). This third in a series of hardcover books joins the award-winning titles The Stratocaster Chronicles and The Soul of Tone by author/historian Tom Wheeler. In nearly 600 pages, The Dream Factory features hundreds of full-color photos of incredibly rare, collectible, and limited-edition handcrafted guitars. Learn how the Fender Custom Shop, originally intended to employ just two master craftsmen, grew into the most prolific custom instrument shop in the music industry. Features: * Foreword by Billy F Gibbons * More than 630 images illustrating the first master builders and their humble beginnings through the many changes up to present-day operations. Includes many one-of-a-kind custom guitar masterpieces and reproductions of acclaimed guitarists' instruments, such as Eric Clapton's "Blackie," Jimi Hendrix's Monterey Strat, Stevie Ray Vaughan's No. 1, and many more. A must-have for all guitar enthusiasts! * Unprecedented view inside one of the music industry's most creative custom instrument shops, revealing how playable works of art are created * Fascinating interviews with the shop's founders, most of the first-generation Master Builders, all of the current Master Builders, other key craftspeople, sales representatives, artists' guitar techs, marketers, executives, guitarists, and many of the graphic artists, woodcarvers, jewelers, pinstripers, graffiti artists, pearl-inlay specialists, and others who have partnered with the Master Builders to create art works of stunning beauty

SPECTATOR BOOKS OF THE YEAR 2015 Britain's empire has gone. Our manufacturing base is a shadow of its former self; the Royal Navy has been reduced to a skeleton. In military, diplomatic and economic terms, we no longer matter as we once did. And yet there is still one area in which we can legitimately claim superpower status: our popular culture. It is extraordinary to think that one British writer, J. K. Rowling, has sold more than 400 million books; that Doctor Who is watched in almost every developed country in the world; that James Bond has been the central character in the longest-running film series in history; that The Lord of the Rings is the second best-selling novel ever written (behind only A Tale of Two Cities); that the Beatles are still the best-selling musical group of all time; and that only Shakespeare and the Bible have sold more books than Agatha Christie. To put it simply, no country on earth, relative to its size, has contributed more to the modern imagination. This is a book about the success and the meaning of Britain's modern popular culture, from Bond and the Beatles to heavy metal and Coronation Street, from the Angry Young Men to Harry Potter, from Damien Hirst toThe X Factor.

This is the story of what came to be known as the "packaged house," one of the few architect-inspired attempts to manufacture and market a prefabricated home. The plan began in the 1940s as a major collaborative effort between Walter Gropius, then at the height of his fame, and Konrad Wachsmann, a rising star-both in exile from their native Germany. For both men, this was the culmination of many years of experience in the field of industrialized housing and an unparalleled opportunity to make their long-cherished dream of a factory-made house a reality. How did this venture, which seemed to have everything going for it, turn out to be such a dismal failure? The answers to that question make this one of the most fascinating studies in the annals of modern architecture. Gilbert Herbert's analysis of the bold undertaking has within it not only the elements of personal drama, as far as Gropius and Wachsmann are concerned, but it unfolds consequences of more drastic significance for the development of industrially-produced housing the world over. Both architects represented a formidable combination of ability and experience; both had contributed significantly to the theory and practice of prefabrication, and had devised a system that was technically impeccable. That "only a small number of these immaculately conceived and engineered houses was actually sold" was not only a great disappointment for them, it was a grave shock to the whole movement for industrially-produced housing. The facts of the Gropius-Wachsmann case—now fully disclosed with extensive visual documentation—are instructive in themselves. But the real significance of this book lies in its ability to relate the facts to the history of industrialized housing and to the modern architect's confrontation with technological, economic, and social forces.

When the Disney World character actors go on strike, teens are hired as replacements. Ella is assigned the role of Cinderella simply because the shoes fit. And every afternoon at three o?clock she gets married to Prince Charming. A perfect dream come true?except Ella doesn?t believe in dreams anymore. Meanwhile, Luke is one of the fur characters (Dale, the chipmunk), and his girlfriend, Cassie, plays his counterpart, Chip. Cassie is perfect in every way, so why does Luke want to be with Cinderella? Then Luke and Ella are brought together during a scavenger hunt, and as they uncover the Magic Kingdom?s hidden treasures, they discover an undeniable magic between them. Perhaps dreams really can come true after all?