Here are 100 books that Without Lying down fans have personally recommended if you like
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I have loved classic Hollywood movies since childhood, especially the legendary actresses of the era. My grandmother nurtured this love, taking me to the video stores to rent movies and the library to read biographies and books about actresses and Old Hollywood. Now, I am a professor of film history at Chapman University, where I teach classes on American cinema and women in film. Still, my passion for female-centered classic Hollywood movies remains strong. I have compiled a list showing the multi-faceted ways that women have participated in Hollywood cinema during its first century.
When I first read this book over twenty years ago, I thought, finally, someone who sees what I see in classic Hollywood films—dynamic and exciting women. She traces American women onscreen: from the flappers of the 1920s (It girl Clara Bow) to the European goddesses Greta Garbo and Marlene Dietrich to the sultry Mae West in the 1930s, to the fast-talking Dames Barbara Stanwyck, Katharine Hepburn, Carole Lombard, and to Marilyn Monroe and her postwar millionaire-seeking pals.
Her multi-decade analysis contemplates what changed in the 1970s-80s; as American women earned greater equity in real life, their onscreen representation paled compared to their pre-WWII sisters. A quarter into the twenty-first century, female star-driven Hollywood films remain an anomaly. Read this book to find out why it was the inverse more than ninety years ago.
A revolutionary classic of feminist cinema criticism, Molly Haskell's From Reverence to Rape remains as insightful, searing, and relevant as it was the day it was first published. Ranging across time and genres from the golden age of Hollywood to films of the late twentieth century, Haskell analyzes images of women in movies, the relationship between these images and the status of women in society, the stars who fit these images or defied them, and the attitudes of their directors. This new edition features both a new foreword by New York Times film critic Manohla Dargis and a new introduction…
I have loved classic Hollywood movies since childhood, especially the legendary actresses of the era. My grandmother nurtured this love, taking me to the video stores to rent movies and the library to read biographies and books about actresses and Old Hollywood. Now, I am a professor of film history at Chapman University, where I teach classes on American cinema and women in film. Still, my passion for female-centered classic Hollywood movies remains strong. I have compiled a list showing the multi-faceted ways that women have participated in Hollywood cinema during its first century.
When you think of Method acting—which actors come to mind? Marlon Brando, James Dean, Robert De Niro…in other words, all men? This is where Keri Walsh’s landmark book comes in, challenging the cultural presumption that Method acting is a male craft.
This book is a revelation for both my teaching and research. Walsh argues that actresses like Kim Stanley, Shelley Winters, and Jane Fonda developed a feminist Method of acting that synthesized with second-wave feminism. Even more striking is their omission from American cinema histories because Walsh underscores how critics praised these women and their films, won Oscars, and/or they were popular with audiences in their contemporary moment.
This book sets the historical record straight by showing that Method acting was equally the domain of Hollywood women and men.
Women, Method Acting, and the Hollywood Film is the first study dedicated to understanding the work of female Method actors on film.
While Method acting on film has typically been associated with the explosive machismo of actors like Marlon Brando and Robert De Niro, this book explores an alternate tradition within the Method-the work that women from the Actors Studio did in Hollywood. Covering the period from the end of the Second World War until the 1970s, this study shows how the women associated with the Actors Studio increasingly used Method acting in ways that were compatible with their burgeoning…
I have loved classic Hollywood movies since childhood, especially the legendary actresses of the era. My grandmother nurtured this love, taking me to the video stores to rent movies and the library to read biographies and books about actresses and Old Hollywood. Now, I am a professor of film history at Chapman University, where I teach classes on American cinema and women in film. Still, my passion for female-centered classic Hollywood movies remains strong. I have compiled a list showing the multi-faceted ways that women have participated in Hollywood cinema during its first century.
When I read this book, I was relieved—at long last, a book that underscored the behind-the-scenes contributions of working women in the 1930s and 1940s. J.E. Smyth’s fascinating study brings to light new dimensions to screen legends Bette Davis, Katharine Hepburn, and fashion designer Edith Head, but also women less known to the greater public—the intrepid editors like Barbara McLean and Margaret Booth, three-time Screenwriter Guild president Mary J. McCall, and producers like Joan Harrison and Virginia Van Upp.
I like how this book provides a counter-history to the male-dominated narratives of Hollywood. Smyth shows that women found other ways outside of directing to leave their mark on Hollywood in the twentieth century.
Looking back on her career in 1977, Bette Davis remembered with pride, "Women owned Hollywood for twenty years." She had a point. Between 1930 and 1950, over 40% of film industry employees were women, 25% of all screenwriters were female, two women supervised all studio feature output and could order retakes on any director's work, one woman ran MGM behind the scenes, over a dozen women worked as producers, a woman headed the Screen Writers Guild three times, and press claimed Hollywood was a generation or two ahead of the rest of the country in terms of gender equality and…
I have loved classic Hollywood movies since childhood, especially the legendary actresses of the era. My grandmother nurtured this love, taking me to the video stores to rent movies and the library to read biographies and books about actresses and Old Hollywood. Now, I am a professor of film history at Chapman University, where I teach classes on American cinema and women in film. Still, my passion for female-centered classic Hollywood movies remains strong. I have compiled a list showing the multi-faceted ways that women have participated in Hollywood cinema during its first century.
I love this book’s blend of author self-reflection and fandom of the late great Bette Davis’s star persona and career alongside her civil rights advocacy and onscreen acting with African American actors in the 1930s and 1940s. Julia Stern contextualizes Hollywood’s troubling representation of African Americans onscreen that often accompanied Davis’ own proto-feminist iconic performances in films likeJezebel, The Little Foxes, and What Ever Happened to Baby Jane.
At the same time, she devotes analysis to the forgotten but riveting anti-racist film, This Our Life, directed by John Huston. With powerful performances from Black actors Hattie McDaniel and Ernest Anderson that stand apart in the Davis oeuvre, Stern effectively brings a twenty-first-century understanding of this Classic Hollywood legend. Be sure to read her footnotes—they are equally fascinating!
Bette Davis was not only one of Hollywood's brightest stars, but also one of its most outspoken advocates on matters of race. In Bette Davis Black and White, Julia A. Stern explores this largely untold facet of Davis's brilliant career.
Bette Davis Black and White analyzes four of Davis's best-known pictures-Jezebel (1938), The Little Foxes (1941), In This Our Life (1942), and What Ever Happened to Baby Jane? (1962)-against the history of American race relations. Stern also weaves in memories of her own experiences as a young viewer, coming into racial consciousness watching Davis's films on television in an all-white…
I'm a Czech scholar in Japanese studies and media studies who became spontaneously interested in the way media scandals unfold in Japan. For ten years, I was studying Japanese scandals at The University of Tokyo (Ph.D. 2017), and I developed a new approach to Japanese scandal as a highly mediatized social ritual that tends to preserve the status quo while generating commercial profit. After my return from Japan, I continued my scandal research at the Czech Academy of Sciences, and I'm currently teaching media & communication theory at Ambis University Prague. In 2023, Routledge finally published the results of my decade-long research in my new book titled Scandal in Japan: Transgression, Performance and Ritual.
I believe that this book is a nice starting point for students (starting with undergraduates) who are interested in learning more about media scandal via particular examples.
I was attracted by the book because it focuses on some of the most influential and notorious media scandals in history. What I found particularly useful for my research was the detailed timeline that helped me to put the wide-ranging scandals into historical perspective.
This is why I personally recommend this book to anyone interested in the social phenomenon of media scandal.
This fascinating volume offers an overview of the most influential and notorious media scandals, from newspaper publisher John Peter Zenger's groundbreaking 1735 trial for printing and publishing false, scandalous, malicious and seditious statements to Dr. Phil McGraw's 2008 thwarted attempt to force his television cameras inside Britney Spears' hospital room, from the attempts to ban literature by the likes of D.H. Lawrence, James Joyce, Henry Miller, and Allen Ginsberg to the excesses of gossip mongers like Walter Winchell, Hedda Hopper, Geraldo Rivera, and Matt Drudge. It delves into the tabloid press and walks through the minefields of political opinion shapers,…
I fell in love with Hollywood’s Golden Age when I first watched Psycho. From there, every new film and book from or about the era has been a journey into Hollywood’s history. I got into higher education and writing because I enjoy sharing what I’ve learned with others as much as I enjoy the learning process itself. What interests me most about Hollywood history is how the industry has interacted with American and global history. Hollywood has always had either a front-row seat or a seat at the table of history in the making. Not always on the right side of history, but always fascinating.
No list of important books on Hollywood is complete without a reference to Kevin Brownlow.
Kevin was there in the 1960s and 1970s, when many of the silent-era Hollywood stars were still alive. He met and interviewed them all. His book brings that era to life in a way that no other book or film has been able to accomplish. Kevin is also a major supporter of other authors.
He was kind enough to blurb two of my books. He also read drafts of my Warner Brothers book – twice! Each time with increasingly helpful, thoughtful, and supportive feedback. Kevin is the one historian that every film historian is in debt to. I don’t think Kevin knows how important he is, but he certainly deserves a spot on my list.
I fell in love with Hollywood’s Golden Age when I first watched Psycho. From there, every new film and book from or about the era has been a journey into Hollywood’s history. I got into higher education and writing because I enjoy sharing what I’ve learned with others as much as I enjoy the learning process itself. What interests me most about Hollywood history is how the industry has interacted with American and global history. Hollywood has always had either a front-row seat or a seat at the table of history in the making. Not always on the right side of history, but always fascinating.
This book was my first foray into social and political history of Hollywood.
Sklar covers early film industry battles with Thomas Edison, the impact of censorship in Hollywood, the monopoly-like integration of the studios, and the overarching mythology that Hollywood sold through their movies.
I read it as an undergraduate when I had no clue what I wanted to do with my life. Looking back as an author and professor, I can see this book as planting seeds that continue to blossom through my own work in the classroom as well as in books and articles that I publish.
Hailed as the definitive work upon its original publication in 1975 and now extensively revised and updated by the author, this vastly absorbing and richly illustrated book examines film as an art form, technological innovation, big business, and shaper of American values. Ever since Edison's peep shows first captivated urban audiences, film has had a revolutionary impact on American society, transforming culture from the bottom up, radically revising attitudes toward pleasure and sexuality, and at the same time, cementing the myth of the American dream. No book has measured film's impact more clearly or comprehensively than Movie-Made America. This vastly…
I worked for 27 years at The Washington Post, where I won a Pulitzer Prize for International Reporting. But when I returned home in 2006, I wanted to write about my own country, and what could be more American than the movies? They’re a wonderful looking glass into the past, and my books explore the making of an iconic movie and the historical era in which it was created. My recent ones have recounted the making of The Searchers, starring John Wayne, and High Noon, the Gary Cooper classic and its connection to the Hollywood blacklist, a time of vicious conflict eerily similar to our own troubled era.
Besides being superb novelists and essayists, Dunne and his famous wife, Joan Didion, were screenwriters who banked sizable incomes and endless frustrations doctoring scripts for nearly two dozen movies. Still, no matter what their glittering reputations, most writers are viewed as hors-d’oeuvres at the bottom of the Hollywood food chain, and Dunne spares no one, including himself, in this wickedly witty account of developing a screenplay about the life of TV news anchor Jessica Savitch. What started out as a gritty, cautionary story of a talented young woman who succumbed to drugs and alcohol was transformed into a feel-good fairy tale of love and redemption after Robert Redford and Michelle Pfeiffer got attached to the project. Dunne captures every wrong turn with a writer’s sharp eye and ear for Hollywood hypocrisy.
Monster is John Gregory Dunne's mordant account of the eight years it took to get the 1996 Robert Redford/Michelle Pfeiffer film Up Close & Personal made. A bestselling novelist, Dunne has a cold eye, perfect pitch for the absurdities of Hollywood, and sharp elbows for the film industry's savage infighting. 192 pp. Author tour & national ads. 25,000 print.
I’m a historian, with a special interest in the 20th century. I’ve written about Freud’s Vienna, the aftermath of the First World War, strikes in the 1920s and 1930s in America’s cotton South, the plot to assassinate Hitler, and the notorious 1940s gangsters nicknamed “Murder, Inc.”. What intrigues me about the 20th century are the era’s underlying values and the shocking and violent collisions among them. In Casablanca’s Conscience, I use the great film as a lens with which to take another look at the tumultuous times just a generation ago.
Isenberg has explored all the Hollywood archives and has produced a delightful and fascinating story of the actors, the director and producer, the writers, and all the technicians who created the film. A splendid guide to Casablanca and a great example of an in-depth, how-it-was-made history of a single film.
Casablanca is "not one movie," Umberto Eco once quipped; "it is 'movies.'" Film historian Noah Isenberg's We'll Always Have Casablanca offers a rich account of the film's origins, the myths and realities behind its production, and the reasons it remains so revered today, over seventy-five years after its premiere.
I am a film fan and scholar who has a joyful yet complex relationship with Hollywood. I have basked in the classics of Hollywood’s Golden Age (1930s-1950s) from my teen years on, including the musical delights of Fred Astaire and Ginger Rogers, the screwball comedies of Katherine Hepburn and Cary Grant, the magnificent Universal monsters, and the deliciously dark creativity of film noir. Reading about the history of Hollywood has helped me enjoy this pastime even more, learning everything from economics and politics to method and form. The more I know, the richer grows my interest in both the past and present of that unique institution we call Hollywood.
I once played Henry Higgins' mother in a local theatrical production of My Fair Lady. I delighted in the music and in portraying (in a white wig and wrinkled make-up) the stern, wise Mrs. Higgins, even as I also wondered whether Higgins and Pickering were perhaps secretly a couple and if Eliza was asexual.
This made me want to read the play on which My Fair Lady is based, George Bernard Shaw’s Pygmalion. I did not get answers to my somewhat whimsical questions about sexuality, but I did see in even greater relief the turning of women into objects that ambitious, selfish men may do.