Inventing Troy Donahue The Making Of A Movie Star

In 1960, Troy Donahue won the Golden Globe Award for Most Promising Male Newcomer. By 1962, he was a top box office star, received 7,000 fan letters a week, and won the Photoplay Magazine Award for the Most Popular Male Star. In 1971, he was penniless, drug-addicted, homeless and living in the bushes in Central Park. This is the story of teen idol/actor Troy Donahue.

Traces how former press agent and talent scout Henry Willson discovered and coordinated career-making publicity events for such stars as Rock Hudson, Robert Wagner, and Troy Donahue.

From its earliest days to the present, the onscreen image of the librarian has remained largely the same. A silent 1921 film set the precedent for two female librarian characters: a dowdy spinster wears glasses and a bun hairstyle, and an attractive young woman is overworked and underpaid. Silent films, however, employed a variety of characteristics for librarians, showed them at work on many different tasks, and featured them in a range of dramatic, romantic, and comedic situations. The sound era (during which librarians appeared in more than 200 films) frequently exaggerated these characteristics and situations, strongly influencing the general image of librarians. This chronologically arranged work analyzes the stereotypical image of librarians, male and female, in primarily American and British motion pictures from the silent era to the 21st century. The work briefly describes each film, offering some critical commentary, and then examines its librarian, considering every aspect of the total character from socio-economic conditions and motivations for leaving or not leaving the library, to personal attributes (such as clothing, hair, and age) and entanglements with the opposite sex, to commonly used props, plot situations and lines (“Shush!”). The work comments on whether librarians and library work are depicted accurately and analyzes the development of the public’s image of a librarian. The accompanying filmography lists librarian characters and notes stereotypes such as buns and eyeglasses. With bibliography and index.

Diane McBain is an American film and television actress who was born in Ohio, and raised in Glendale, California. She reached her peak of popularity as a Warner Bros. contract star during the late 1950s and early 1960s. She is perhaps best known for starring in the 1960-62 hit ABC-TV series, Surfside Six, and appearing opposite Elvis Presley in Spinout. Her more than 25 feature films include Ice Palace, Parrish, Claudelle Inglish, Black Gold, The Caretakers, Mary Mary, A Distant Trumpet, and such cult classics as Maryjane, Thunder Alley, I Sailed to Tahiti With An All Girl Crew, and The Mini-Skirt Mob. She has guest-starred in dozens of television dramas, and numerous situation comedies, including such classics as Maverick, The Wild, Wild West, 77 Sunset Strip, Hawaiian Eye, The Man From U.N.C.L.E. One of her most memorable television guest roles was on the original Batman series, playing "Pinky Pinkston." Miss McBain's personal and professional travels have taken her to Europe, South America and Asia. She supports many charitable causes, and is an outspoken advocate for victims of sexual assault. She received the "Special Service Award" from the USO for her trips to Vietnam to visit American troops in 1966 and 1967.

Although he was a visual stylist who once referred to actors as cattle, Alfred Hitchcock also had a remarkable talent for innovative and creative casting choices. The director launched the careers of several actors and completely changed the trajectory of others, many of whom created some of the most iconic screen performances in history. However, Hitchcock’s ability to fit his leading men and women into just the right parts has been a largely overlooked aspect of his filmmaking skills. In Hitchcock’s Stars: Alfred Hitchcock and the Hollywood Studio System, Lesley L. Coffin looks at how the director made the most of the actors who were at his disposal for several decades. From his first American production in 1940 to his final feature in 1976, Hitchcock’s films were examples of creative casting that strayed far from the norm during the structured Hollywood star system. Rather than examining the cinematic aspects of his work, this book explores the collaboration the director engaged in with some of the most

Raoul Walsh (1887–1980) was known as one of Hollywood’s most adventurous, iconoclastic, and creative directors. He carved out an illustrious career and made films that transformed the Hollywood studio yarn into a thrilling art form. Walsh belonged to that early generation of directors—along with John Ford and Howard Hawks—who worked in the fledgling film industry of the early twentieth century, learning to make movies with shoestring budgets. Walsh’s generation invented a Hollywood that made movies seem bigger than life itself. In the first ever full-length biography of Raoul Walsh, author Marilyn Ann Moss recounts Walsh’s life and achievements in a career that spanned more than half a century and produced upwards of two hundred films, many of them cinema classics. Walsh originally entered the movie business as an actor, playing the role of John Wilkes Booth in D. W. Griffith’s The Birth of a Nation (1915). In the same year, under Griffith’s tutelage, Walsh began to direct on his own. Soon he left Griffith’s company for Fox Pictures, where he stayed for more than twenty years. It was later, at Warner Bros., that he began his golden period of filmmaking. Walsh was known for his romantic flair and playful persona. Involved in a freak auto accident in 1928, Walsh lost his right eye and began wearing an eye patch, which earned him the suitably dashing moniker “the one-eyed bandit.” During his long and illustrious career, he directed such heavyweights as Humphrey Bogart, James Cagney, Errol Flynn, and Marlene Dietrich, and in 1930 he discovered future star John Wayne.

This collection of essays explores the relationship between cinema and theisual arts from the postwar era to the present, featuring filmamkers andrtists such as Alfred hitchcock, Salvador Dali, Jean-Luc Godard,ichelangelo Antonioni, Andy Warhol and Edward Ruscha. It contains essays byilm scholars and art historians, and coincides with an exhibition at Theuseum of Contemporary Arts in Los Angeles.

For the past 35 years, Henry Geldzahler, controversial first curator of the Metropolitan Museum of Art's Department of Twentieth Century Art has been at the centre of America's lively and vital art scene. Written in his disarmingly intimate, inciteful and amusing style, this is his first collection of essays, interviews and talks with some of the most innovative artists of the last thirty years such as Frank Stella, Alice Neel, Louise Bourgeois, Warhol and Hockney to name a few. With a foreword by David Hockney.