Nixon And The Silver Screen

Richard Nixon and the film industry arrived in Southern California in the same year, 1913. In Nixon and the Silver Screen, Mark Feeney offers a new and often revelatory way of thinking about one of our most controversial presidents: by looking not just at Nixon's career—but Hollywood's. Nixon viewed more movies while in office than any other president, and Feeney argues that Nixon’s story, both in politics and in his personal life, is nothing if not quintessentially American. Bearing in mind the events that shaped his presidency from 1969 to 1974, Feeney sees aspects of Nixon’s character—and the nation’s—refracted and reimagined in the more than 500 films Nixon watched during his tenure in the White House. The verdict? Nixon’s legacy, for better or worse, is forever representative of the “Silver Age” in Hollywood, shaping and being shaped by that flickering silver screen.

“People will be arguing over Nixon at the Movies as much as, for more than half a century, the country at large has been arguing about Nixon.”—Greil Marcus Richard Nixon and the film industry arrived in Southern California in the same year, 1913, and they shared a long and complex history. The president screened Patton multiple times before and during the invasion of Cambodia, for example. In this unique blend of political biography, cultural history, and film criticism, Mark Feeney recounts in detail Nixon’s enthusiastic viewing habits during his presidency, and takes a new and often revelatory approach to Nixon’s career and Hollywood’s, seeing aspects of Nixon’s character, and the nation’s, refracted and reimagined in film. Nixon at the Movies is a “virtuosic” examination of a man, a culture, and a country in a time of tumult (Slate). “By Feeney's count, Nixon, an unabashed film buff, watched more than 500 movies during the 67 months of his presidency, all carefully listed in an appendix titled ‘What the President Saw and When He Saw It.’ Nixon concentrated intently on whatever was on the screen; he refused to leave even if the picture was a dud and everyone around him was restless. He was omnivorous, would watch anything, though he did have his preferences…Only rarely did he watch R-rated or foreign films. He liked happy endings. Movies were obviously a means of escape for him, and as the Watergate noose tightened, he spent ever more time in the screening room.”—The New York Times

This chronologically arranged reference work annotates all films and plays that contain portraiture--favorable and unfavorable--of Richard Nixon. From comedy, as in Millhouse, to the biting satire found in Forbidden Hollywood and Saturday Night Live, to documentary record, as in Selling of the Pentagon, and beyond, to the applications of Shakespearean drama with The Tragedy of King Richard and Richard III, this book displays the wide range of form used to explain, scorn and understand Nixon's acts. An analysis of each film or play compares the differences between the production and the original source. Each entry includes production credits, a plot summary, and an overview of critical reactions.

The New York Times best-selling author of Zombie Spaceship Wasteland reveals his addiction to film between 1995 and 1999, during which he absorbed classics and new releases three days a week and applied what he learned in these films to acting, writing, comedy and relationships. 70,000 first printing.

Americans have been almost constantly at war since 1917. In addition to two world wars, the United States has fought proxy wars, propaganda wars, and a “war on terror,” among others. But even with the constant presence of war in American life, much of what Americans remember about those conflicts comes from Hollywood depictions. In War on the Silver Screen Glen Jeansonne and David Luhrssen vividly demonstrate how war movies have burned the images and impressions of those wars onto the American psyche more concretely than has the reality of the wars themselves. That is, our feelings about wars are generated less by what we learn through study and discourse than by powerful cinematic images and dialogue. Films are compressed, intense, and immediate and often a collective experience rather than a solitary one. Actors and drama provide the visceral impact necessary to form perceptions of history that are much more enduring than those generated by other media or experiences. War on the Silver Screen draws on more than a century of films and history, including classics such as All Quiet on the Western Front, Apocalypse Now, and The Hurt Locker, to examine the legacy of American cinema on twentieth- and twenty-first-century attitudes about war.

In the movies, government often finds itself in a variety of roles from villain to supporting cast, and rarely, if ever, the hero. A frequent component of that role is the bureaucracy and as documented in Civil Servants on the Silver Screen: Hollywood’s Depiction of Government and Bureaucrats, bureaucrats are routinely found on screen. This book investigates how government bureaucrats are portrayed in the top ten box office grossing films from 2000 through 2015. Perhaps unsurprisingly, government is generally portrayed poorly, while individual government bureaucrats are typically depicted positively. These images of government on screen are particularly important given the ability of movies to influence the attitudes and perceptions of its audiences. The nature of these depictions and potential implications are considered as bureaucrats in film are categorized.

"JFK, Nixon, Oliver Stone and Me is the funny, thoughtful memoir of an accomplished former Congressional staffer who left D.C. for Hollywood and a job with Oliver Stone, hoping to help make politically"

Richard Nixon was the nation's first sports super fan to occupy the Oval Office