Here are 100 books that The Lark fans have personally recommended if you like
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As Rebecca Roberts in Apocalypse was an ancestor whose achievements have been largely ignored-maybe because of gender-it seemed to be time to redress the balance. A female author may have done the job better, but none stepped forward at the time and Hollywood screenwriter K.Lewis was keen to write a screenplay, requiring a concept screenplay outline as a guide. It was that which later became the 1st Edition of Apocalypse.
Although written as a play, it has a foreword detailing its subject—the life of Joan of Arc. Joan was the inspiration and much-admired heroine of Rebecca Roberts in my own book. Based closely on the Inquisition records, it has very moving moments, whether read or performed as a play.
'What other judgment can I judge by but my own?' Charting the meteoric rise and fall of Joan of Arc and her mission to drive the English from France, Shaw's Saint Joan draws directly on the medieval records to cut through the sentiment that characterized previous literary treatments of her story. A powerful example of a new kind of history play, its staging of dissent and social constraint, personal responsibility and female assertion, as well as fervent adherence to a cause, gave it a powerful modernity in its own day and continuing resonance in ours. Acclaimed internationally, this instant modern…
As Rebecca Roberts in Apocalypse was an ancestor whose achievements have been largely ignored-maybe because of gender-it seemed to be time to redress the balance. A female author may have done the job better, but none stepped forward at the time and Hollywood screenwriter K.Lewis was keen to write a screenplay, requiring a concept screenplay outline as a guide. It was that which later became the 1st Edition of Apocalypse.
This book deals with the life of probably the most intelligent person on the planet at the time-not a fanciful idea as she had the highest pass rate in all of her exams to be the first woman (medical) doctor there has ever been. Her best friend and lifelong supporter was Lady Caithness-direct descendant of Catriona of Caithness who features in my book.
As Rebecca Roberts in Apocalypse was an ancestor whose achievements have been largely ignored-maybe because of gender-it seemed to be time to redress the balance. A female author may have done the job better, but none stepped forward at the time and Hollywood screenwriter K.Lewis was keen to write a screenplay, requiring a concept screenplay outline as a guide. It was that which later became the 1st Edition of Apocalypse.
Basically a biography of Anna Kingsford for those who don't like Edward Maitland's. The latter was accused (justly or unjustly) of destroying evidence about Anna—especially about her early life and over-dramatising the occult incidents in her life. This newer biography corrects some of these drawbacks of the earlier version and is more in tune with modern sensibilities.
Anna Kingsford (1846-1888) was an English woman of many talents: physician, feminist, Theosophist, and mystic. She campaigned strenuously for vegetarianism and animal welfare in print and giving lectures. She wrote short stories, a novel, and works on spiritual topics.She crammed much achievement into her short life, dying tragically of TB at the age of 41. Her spiritual writings and activities influenced many people. Among these were MacGregor Mathers, leader of the legendary occult society the Hermetic Order of the Golden Dawn; the poet W.B.Yeats; and Mahatma Gandhi who disseminated her spiritual works in South Africa in the 1890s. This biography…
As Rebecca Roberts in Apocalypse was an ancestor whose achievements have been largely ignored-maybe because of gender-it seemed to be time to redress the balance. A female author may have done the job better, but none stepped forward at the time and Hollywood screenwriter K.Lewis was keen to write a screenplay, requiring a concept screenplay outline as a guide. It was that which later became the 1st Edition of Apocalypse.
As well as being the best Gothic style verses in the English language with the possible exception of some by Edgar Allan Poe-there are some way ahead of their time. "If Earth & Moon were gone" prefigures Mach's Principle, which was only formulated 4 decades after EJB thought of it. Anyone lucky enough to find an edition with EJB's Essays she wrote in Brussels will have a copy of her formulation of Evolutionary theory 2 decades before Mr. Darwin claimed it as his own.
In 1846 a small book entitled Poems by Currer, Ellis and Acton Bellappeared on the British Literary scene. The three psuedonymous poets, the Bronte sisters went on to unprecedented success with such novels as Wuthering Heights, Agnes Grey, and Jane Eyre, all published in the following year. As children, these English sisters had begun writing poems and stories abotu an imaginary country named Gondal, yet they never sought to publish any of their work until Charlotte's discovery of Emily's more mature poems in the autumn of 1845. Charlotte later recalled: "I accidentally lighted on a MS. volume of verse in…
I have been teaching and writing about post-WWII American film for over thirty years now, with a particular passion for (behind the scenes) Hollywood history. Road Trip to Nowhere follows up on a new sort of movie industry history I introduced in my 2017 book on 1950s Los Angeles, Hard-Boiled Hollywood. Both books focus on actors, writers, producers, and directors who don’t quite make it—aspirants and would-be players kicked to the side of the road, so to speak, and others who for reasons we may or may not understand just walked away from the modern American dream life of stardom and celebrity.
Unique among those in Hollywood who dove head first into the American counterculture, Jane Fonda proved too committed to dismiss as a dilettante, too persistent to just fade away, too formidable for the FBI to destroy. Bosworth, a veteran Hollywood biographer (she has written books on Montgomery Clift and Marlon Brando as well) uniquely understands political celebrity; she’s never dismissive, but she’s not so easy on her subject either. Because she knows better: Bosworth’s father was the Hollywood 10 attorney Bart Crum. Bosworth surely understands the risks involved in Left-wing celebrity.
As actress, activist, businesswoman, wife, and mother, Jane Fonda has pushed herself to the limit, attempting to please all, excel in every arena, be everything. We've read her version of her controversial life, yet nothing can prepare us for this genuinely revelatory account of Jane's engrossing, sometimes shocking journey. Supplemented by the psychiatric records of her suicidal, bipolar mother, Fonda's FBI file, and interviews with her intimates, this perceptive portrait strips away hype and the subject's own mythmaking. Patricia Bosworth shows us what a toll Jane's quest to excel (and please her demanding father, Henry) exacted and sheds light on…
My husband, Robert McLaughlin, and I taught at Illinois State University for over thirty years. Our fathers both served in World War II (one in the Army Air Forces and one in the Navy) but would never talk about it. That spurred our interest in the war and what it was like. One way to know about it was through the popular culture of the time, such as movies, plays, radio, and books. As we watched more and more movies and gave presentations on them (we’re English professors by trade), we realized how these movies still affect how we think about the war.
This is a really good overview of how the studios responded to the rise of fascism overseas and how, as the reality of America becoming involved in the war became more possible, what plans they made to adapt, from more military screenplays to what actors to use (since many of the male actors were either drafted or enlisted), to how to get military equipment for sets.
Dick also probes how these war films, including some made after the war, altered or rearranged history in order to make a better movie.
The American World War II film depicted a united America, a mythic America in which the average guy, the girl next door, the 4-F patriot, and the grieving mother were suddenly transformed into heroes and heroines, warriors and goddesses. The Star-Spangled Screen examines the historical accuracy - or lack thereof - of films about the Third Reich, the Resistance, and major military campaigns. Concerned primarily with the films of the war years, it also includes discussions of such postwar movies as Battleground (1949), Attack! (1956), The Bridge on the River Kwai (1957), and Patton (1970). This revised edition includes new…
My husband, Robert McLaughlin, and I taught at Illinois State University for over thirty years. Our fathers both served in World War II (one in the Army Air Forces and one in the Navy) but would never talk about it. That spurred our interest in the war and what it was like. One way to know about it was through the popular culture of the time, such as movies, plays, radio, and books. As we watched more and more movies and gave presentations on them (we’re English professors by trade), we realized how these movies still affect how we think about the war.
Hollywood has always loved the way that British actors spoke, as well as the history, culture, and literature of Great Britain.
Since Britain became involved in the war years earlier than the Americans, the studios could celebrate British heroism and in so doing, point towards a time when the U.S. might be involved.
Many of the best-loved films of the time, such as Mrs. Miniver, The White Cliffs of Dover, and some of the Sherlock Holmes movies show the British collapsing class lines, which appealed to American sensibilities, and provided clues to how the Allies should behave in the midst of crisis.
This work examines the Hollywood "British" film - ie American features that were set in Britain, based on British history or literature and included the work of British producers, directors, writers and actors. "British" films include many of most popular and memorable films of the 1930s and 1940s, yet they have received very little individual attention from film historians and even less attention as a body of films. This work seeks to redress this by considering "British" films made during World War II, when Hollywood's interest in Britain was at a peak and "British" films were more numerous than every…
I am a history professor at Boston University, where I teach and write about modern American popular thought, political culture, trade, travel, and war especially in urban and transnational contexts. I enjoy histories that are based on deep and creative bodies of research and that push past timeworn myths and clichés about the American past.
Only a small fraction of the millions of Americans in uniform during World War II were engaged in combat operations. Harris’s well-researched account zeroes in on the service of five Hollywood directors, who, like many other professionals, were asked to adapt their civilian skills to wartime needs.
Tacking back and forth between Washington and other stateside locales and posts far afield—from Midway and the Aleutian Islands to North Africa and Italy—the book’s carefully drawn action conveys the far-flung exploits of filmmakers during the war as well as how those experiences impacted their craft.
“One of the great works of film history of the decade.” —Slate
Now a Netflix original documentary series, also written by Mark Harris: the extraordinary wartime experience of five of Hollywood's most important directors, all of whom put their stamp on World War II and were changed by it forever
Here is the remarkable, untold story of how five major Hollywood directors—John Ford, George Stevens, John Huston, William Wyler, and Frank Capra—changed World War II, and how, in turn, the war changed them. In a move unheard of at the time, the U.S. government farmed out its war propaganda effort…
My husband, Robert McLaughlin, and I taught at Illinois State University for over thirty years. Our fathers both served in World War II (one in the Army Air Forces and one in the Navy) but would never talk about it. That spurred our interest in the war and what it was like. One way to know about it was through the popular culture of the time, such as movies, plays, radio, and books. As we watched more and more movies and gave presentations on them (we’re English professors by trade), we realized how these movies still affect how we think about the war.
If you want to know what sort of pressures the Hollywood studies were under during World War II, from the OWI to the Production Code, then this book will help you sort it out.
The studios prior to the war were concerned about offending paying customers overseas, but once the war started, the Roosevelt administration wanted some oversight in how our enemies, our allies, and the Home Front were presented.
One of the most interesting parts is seeing how films about the Russians changed from humorous to supportive as they became our allies during the war and then back to untrustworthy as the war drew to a close.
Conflicting interests and conflicting attitudes toward the war characterized the uneasy relationship between Washington and Hollywood during World War II. There was deep disagreement within the film-making community as to the stance towards the war that should be taken by one of America's most lucrative industries. Hollywood Goes to War reveals the powerful role played by President Franklin D. Roosevelt's Office of War Information--staffed by some of America's most famous intellectuals including Elmer Davis, Robert Sherwood, and Archibald MacLeish--in shaping the films that were released during the war years. Ironically, it was the film industry's own self-censorship system, the Hays…
I am teaching Theater studies at the Hebrew University of Jerusalem. Among my courses, “The World of Theater in the Reflection of Cinema" was a notable one. My favorite film was Children of Paradise. However, I was taken aback when a friend questioned the film's alleged anti-Semitic elements. I scrutinized the character of the Old-Clothes Man, Josué, noticing his stereotypical Jewish traits. As my research went further, I discovered the original 1942 script, where Josué played a more significant role as an overt Jewish traitor, ultimately slain by the film's hero, Deburau. This revelation prompted extensive research in Paris and Jerusalem, uncovering veiled Jewish portrayals in other French films made during the German occupation.
Cinema of Paradox is a captivating journey into the intricate world of French cinema during the challenging years of the Nazi occupation of France. This book offers a unique window into a period when the French film industry not only survived but flourished, producing enduring classics like Carne's Children of Paradise.
Evelyn Ehrlich's meticulous exploration guides us through the tapestry of French filmmaking from the outbreak of World War II in 1939 to the liberation of France in 1944. What sets this book apart is its comprehensive approach, delving into the political, cultural, and social context that shaped the cinematic landscape in occupied France. It also sheds light on the occupiers' perspective, revealing the surprising encouragement from the Nazis for the French to maintain their high cinematic standards for their own purposes.
Though the book doesn’t approach the problem of veiled representations of Jewish characters in French cinema, Cinema of…
From 1940 to 1944 the French cinema thrived both economically and artistically under the Nazi occupation. Despite the harsh and grim conditions of defeat, the French film industry produced many good films and a few enduring classics, including Carne's Children of Paradise, one of the most beloved of all French films. Cinema of Paradox reveals, for the first time in English, the difficult course of French filmmaking from the declaration of war in 1939 through four years of misery to France's liberation in 1944. Evelyn Ehrlich examines the conditions of filmmaking as they reflected the larger political, cultural, and social…
