I’m the author ofIs Superman Circumcised? The Complete Jewish History of the World's Greatest Hero, which won the 2021 Diagram Prize, and The Darkness in Lee's Closet and the Others Waiting There. I write about pop culture forThe Forward and CNN.com. My writing has appeared in a range of publications, including New York Daily News, Jerusalem Post, and Philosophy Now. I’ve taught English and writing at the City University of New York and am a former writer-in-residence fellow at the New York Public Library.
It doesn’t necessarily have to be this edition, but do yourself a favor and read the original Stan Lee & Jack Kirby run on Fantastic Four. It’s a comic that revolutionized the industry, established Marvel as we know it, and it’s fun, exciting, inventive, and straightforward in a way that few comics are today. It’s Lee & Kirby’s high-water mark, before or since.
Collects Fantastic Four (1961) #1-30, Fantastic Four Annual (1963) #1.
They were visionaries. Explorers. Imaginauts. They were Stan Lee and Jack Kirby. And like the Fantastic Four, they continually strove to overcome the impossible and achieve the extraordinary. Now, the first three years of their landmark run are collected in one oversized volume. And it includes all original letters pages and pinups, critical commentaries, a historical overview and other extras.
Years ago, as part of my research, I interviewed Elia Kazan and Abraham Polonsky, two key figures in the blacklist story, and two men who were on different sides in terms of how they responded to the postwar Congressional investigations. These personal encounters – in New York and Los Angeles – fed a fascination with the anti-Communist purge in Hollywood, its dramaturgy, and the way filmmakers of that generation were caught up in it in different ways. There are more specialized works but the books recommended provide a substantive introduction to this still globally resonant topic, calling attention to the problematic and still difficult relationships between citizenship and cultural identity.
Renowned cultural historian Thomas Doherty provides a granular, blow-by-blow retelling of the events that led to the Hollywood blacklist. He places particular emphasis on the hearings as a ‘media-political spectacle,’ seeing it as the first such media event of the postwar era. He reexamines the events through a close and careful reading of press and media responses of the time. Less cinema-centric than other accounts, and less mesmerized by key individuals, Doherty gives us a cool, skeptical perspective on what is often an emotive or partisan discourse. There is much detail on how filmmakers, activists, politicians, newspaper and radio figures acted, and for what reasons, and how and why the post-war hearings played out as they did. The result is a sophisticated cultural history of the blacklist era.
In 1947, the Cold War came to Hollywood. Over nine tumultuous days in October, the House Un-American Activities Committee held a notorious round of hearings into alleged Communist subversion in the movie industry. The blowback was profound: the major studios pledged to never again employ a known Communist or unrepentant fellow traveler. The declaration marked the onset of the blacklist era, a time when political allegiances, real or suspected, determined employment opportunities in the entertainment industry. Hundreds of artists were shown the door-or had it shut in their faces.
In Show Trial, Thomas Doherty takes us behind the scenes at…
"If you're looking for a book to take on holiday this summer, The Seven Husbands of Evelyn Hugo has got all the glitz and glamour to make it a perfect beach read." -Bustle
From the New York Times bestselling author of Daisy Jones & the Six-an entrancing and "wildly addictive journey of a reclusive Hollywood starlet" (PopSugar) as she reflects on her relentless rise to the top and the risks she took, the loves she lost, and the long-held secrets the public could never imagine.
Aging and reclusive Hollywood movie icon Evelyn Hugo is finally ready…
As an investigative journalist, I’ve spent my career interviewing and trying to understand the worst of humanity: murderers, child molesters and rapists. They are all predators, but rape is personal for me. I was a young journalist starting my career when a serial rapist assaulted my neighbor. He entered many things uninvited—homes, bedrooms, and my mind. For twenty years, I was obsessed—learning everything I could about him and sexual assault. I read these books to understand why the justice system and society sometimes fail survivors. Yet these remarkable survivors still manage to heal their trauma–at least, that’s what I found in each of these books.
For me, this book had it all: a behind-the-scenes look at the incredible investigative journalism by NY Times journalists Jodi Cantor and Meghan Twohey, who exposed Harvey Weinstein’s decades of sexual assaults.
And the courageous journey of the survivors who chose to tell their stories—which ultimately ignited the #MeToo movement.
*SOON TO BE A MAJOR MOTION PICTURE STARRING CAREY MULLIGAN AND ZOE KAZAN*
'Explosive' Margaret Atwood
'Seismic' Observer
'Brilliant' Nigella Lawson
'Gripping' Jon Ronson
A FINANCIAL TIMES, NEW STATESMAN, DAILY TELEGRAPH, METRO AND ELLE BOOK OF THE YEAR
On 5 October 2017, the New York Times published an article by Jodi Kantor and Megan Twohey that helped change the world.
Hollywood was talking as never before. Kantor and Twohey outmanoeuvred Harvey Weinstein, his team of defenders and private investigators, convincing some of the most famous women in the world - and some unknown ones - to go on the record.…
In 2016, I started thinking about art’s power to unite diverse people. The recent presidential election coincided with a sharp spike in anti-immigrant rhetoric, but artists, musicians, creatives, and performers were fierce defenders of the value of cultural difference. In my own life, I’ve always found inspiration and solace from creative practice. For years now, I’ve been part of an eclectic friend group I first met in painting class. The joy art brings to my life also made me wonder who gets credit and what even constitutes “art.” Is an expensive oil painting really worth more than a comic book, if someone loves the comic book just as much?
In 1988, a book on film history became an unexpected cultural classic. This book tells how a handful of Jewish immigrants from a very small area of central Europe became Hollywood moguls, effectively creating the screen imagery depicting the American dream.
The moguls’ identity as migrants and marginalized people was crucial to their success. As Gabler writes, precisely because of their striving and desire to belong, a former peddler, cobbler, junk seller, and other impoverished transplants concocted the gilded fantasies of Hollywood’s Golden Age. As a group biography and industrial history of Hollywood illusion, An Empire of Their Own is not usually considered in the same vein as The Power Broker’s bricks-and-mortar history.
Yet, in today’s screen-driven world, the legacy of these early media titans is more obvious than ever. The movie moguls’ quintessentially American story of immigration, success, and reinvention is also a prescient, more fully inclusive history of…
A provocative, original, and richly entertaining group biography of the Jewish immigrants who were the moving forces behind the creation of America's motion picture industry.
The names Harry Cohn, William Fox, Carl Laemmle, Louis B. Mayer, Jack and Harry Warner, and Adolph Zucker are giants in the history of contemporary Hollywood, outsiders who dared to invent their own vision of the American Dream. Even to this day, the American values defined largely by the movies of these émigrés endure in American cinema and culture. Who these men were, how they came to dominate Hollywood, and what they gained and lost…
I was old (or young) enough to have only seen two Kubrick films in the cinema: Full Metal Jacket and Eyes Wide Shut. I began teaching film studies and Hollywood in 1998, and I have been teaching and researching Kubrick intensively since 2007, visiting his archive in London on numerous occasions. At one point, I held the record for the researcher who had spent the most hours in the Archive. I also met Christiane and Jan and spoke to many others who knew and worked with Kubrick. Having been familiar with Robert Kolker’s work, it became clear that collaborating with an international authority on film was a necessity as well as a pleasure.
This is one of the few novels I’ve read twice for pleasure (rather than work). It’s a noirish novel that delves into the esoteric along the lines of Umberto Eco’s Foucault’s Pendulum (which Kubrick allegedly considered adapting at one point but which I was unable to read twice!).
The book follows a film scholar who uncovers an incredible conspiracy around a fictional B-movie director called Max Castle, and the imperceptible images he placed in the gap between each of the twenty-four frames played every second in a movie: the so-called flicker of the title. Its author, Roszak, is better known for having coined the term "the counter-culture."
From the golden age of art movies and underground cinema to X-rated porn, splatter films, and midnight movies, this breathtaking thriller is a tour de force of cinematic fact and fantasy, full of metaphysical mysteries that will haunt the dreams of every moviegoer. Jonathan Gates could not have anticipated that his student studies would lead him to uncover the secret history of the movies—a tale of intrigue, deception, and death that stretches back to the 14th century. But he succumbs to what will be a lifelong obsession with the mysterious Max Castle, a nearly forgotten genius of the silent screen…
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…
I am a professor of pop culture, so I know personally that talking about race can be so incredibly awkward at times – but it does not always have to be! Often, many restrict themselves from fully participating in these necessary dialogues only because of a profound fear of “saying the wrong thing.” As individuals responsible for preparing a new generation of thinkers prepared to innovate improved solutions for the society we share, inevitably, the topic of race must not only be broached, but broached productively. I write to provide tools to help make such difficult conversations less difficult.
This book is an absolutely indispensable reference – Donald Bogle may well be dubbed the “godfather” of race studies in film as he meticulously chronicled and chartered black images in early film.
The book’s title alone already clues readers into the idea that Bogle will not pull any punches in describing popular black film caricatures that we now regard as problematic today.
This classic iconic study of black images in American motion pictures has been updated and revised, as Donald Bogle continues to enlighten us with his historical and social reflections on the relationship between African Americans and Hollywood. He notes the remarkable shifts that have come about in the new millennium when such filmmakers as Steve McQueen (12 Years a Slave) and Ava DuVernay (Selma) examined America's turbulent racial history and the particular dilemma of black actresses in Hollywood, including Halle Berry, Lupita Nyong'o, Octavia Spencer, Jennifer Hudson, and Viola Davis. Bogle also looks at the ongoing careers of such stars…
20 years ago a software company I founded had been acquired and my life should have been good. Instead, it was a Herculean mess. I had just been fired by a billionaire whom I had accused of crimes, and now I was out of work and broke. It would still be four more years before Bernie Ebbers was sentenced to 25 years in federal prison (where he became blind and demented and died) for the world’s largest fraud. But when I was writing the first words of Paper Targets, the executives who had pulled me into their world of the “Lie” were freely strutting on the World Stage of Greed.
Bukowski didn't thieve, solve crimes, or use high-tech. In fact, he worked hard and was poor and isolated most of his life. But he lived in the fringe of the noir world, and beat on his machines—manual typewriters, then an IBM Selectric, and finally, with some fame and money, a computer. He was South of his No North, real and genuine for so long that when Hollywood knocked, he was ready for them. This book is his first-hand account of the dumb ego and stupid money that goes into making a movie. Hilarious and dark at the same time. A poet's novel.
'What will you do?' 'Oh, hell, I'll write a novel about writing the screenplay and making the movie.' 'What are you going to call it?' 'Hollywood.'
Henry Chinaski has a penchant for booze, women and horse-racing. On his precarious journey from poet to screenwriter he encounters a host of well-known stars and lays bare the absurdity and egotism of the film industry. Poetic, sharp and dangerous, Hollywood - Bukowski's fictionalisation of his experiences making the film Barfly - explores the many dark shadows to be found in the neon-soaked glare of Hollywood's limelight.
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.
As Hollywood’s Golden Age sputtered to a close and the old studio behemoths collapsed, United Artists became the Little Studio That Still Could, thanks largely to the discerning eye and risk-taking appetite of David Picker, its young head of marketing and production. Under his leadership, UA made deals that snagged the James Bond series, the Beatles’ two feature films, and Woody Allen’s best movies. Picker’s formula was simple—sign the most intriguing filmmakers in America and Europe to low-budget, one-movie contracts and then leave them alone to do their finest work. Picker praises his pals and lacerates his foes, including Robert Altman, Otto Preminger, and most especially Bill Cosby, whom he despised long before the sexual assault allegations. Anyone recall Cosby’s woeful Leonard Part 6?