Creating the American West

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Matthew J. Bruccoli, with Judith S. Baughman

"In April 1938 F. Scott Fitzgerald wrote to his editor Maxwell Perkins, "What a time you've had with your sons, Max - Ernest gone to Spain, me gone to Hollywood, Tom Wolfe reverting to an artistic hill-billy." As the sole literary editor with name recognition among students of American literature, Perkins remains permanently linked to Fitzgerald, Hemingway, and Wolfe in literary history and literary myth. Their relationships, which were largely epistolary, play out in the 221 letters Matthew J. Bruccoli has assembled in this volume. The collection documents the extent of the fatherly forbearance, attention, and encouragement the legendary Scribners editor gave to his authorial sons. The correspondent portrays his ability to juggle the requirements of his three geniuses." "Perkins wanted his stars to be close friends and wrote to each of them about the others. They responded in kind: Fitzgerald on Hemingway and Wolfe, Wolfe on Fitzgerald, Hemingway on Wolfe and Fitzgerald. The novelists also wrote to each other. But contrary to Perkins's hopes for a brotherhood among them, many of their letters express rivalry and suspicion rather than affinity. Perkins encouraged the writers professionally but never took sides in their sibling rivalries." "Addressing an overlooked aspect of literary study, the letters center on the acts of writing, editing, and publishing, and on the writers' relationships with the house of Scribner and one another. In addition to providing insight into the personalities of these literary heroes, the correspondence reveals how editing and publishing have changed since the Twenties and Thirties - a golden era for Scribners and for American literature. In particular, the letters correct the incomplete, oversimplified image of Perkins and his function as an editor - especially his relationship with Thomas Wolfe."--BOOK JACKET.

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Giannalberto Bendazzi

"... Its encyclopedic style will find it a place in the library of everyone interested in the subject." — Kirkus Reviews. "Enthusiastically recommended as both a fascinating story and an incredible reference resource for both scholars and aficionados of the art of film." —Choice. "Although animation has finally begun to be thought worthy of serious attention, the spate of books on it in recent years has focused primarily on commercial Hollywood animation. Bendazzi ambitiously attempts to fill the gap. He covers more than a century's worth of animation, from the 1888 th{‚}e{ƒ}atre optique (a device for projecting moving painted images that predates motion picture pioneers Edison and Lumi{Š}ere) to today's cutting edge computer-animation technology. He covers American animation, of course, but also describes developments in more than 70 other countries, in many of which animation emerged more as an art form than a box office draw. His work is not without shortcomings: the writing (the translation, anyway) is occasionally awkward, and despite or because of its exhaustive depth and scholarly approach, the text seldom conveys the delightfulness that makes the best cartoons so compelling. Carping aside, this valuable effort, already well received in France and Italy, promises to be the basic reference on its subject for some time to come." -- Gordon Flagg , Booklist review.

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Derek Mahon

Derek Mahon, best known as a poet, worked as a freelance journalist for many years, and his first prose book brings together a selection of his feature articles, lectures and book reviews. Some of these, like the essays on MacNeice and Beckett, Brian Moore and J.G. Farrell, are seriously 'literary' in nature; while others, like the reports from Coleraine, Rome and Los Angeles, are more discursive and relaxed, if not downright mischievous.

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David Bordwell, Janet Staiger and Kristin Thompson

"Acclaimed for their breakthrough approach, Bordwell, Staiger and Thompson analyze the basic conditions of American film-making as a historical institution and consider to what extent Hollywood film production constitutes a systematic enterprise, in both its style and its business operations. Despite differences of director, genre or studio, most Hollywood films operate within a set of shared assumptions about how a film should look and sound. Such assumptions are neither natural nor inevitable; but because classical-style films have been the type most widely seen, they have come to be accepted as the 'norm' of film-making and viewing. The authors show how these classical conventions were formulated and standardized, and how they responded to the arrival of sound, colour, widescreen ratios and stereophonic sound. They argue that each new technological development has served a function within an existing narrational system. The authors also examine how the Hollywood cinema standardized the film-making process itself. They describe how, over the course of its history, Hollywood developed distinct modes of production in a constant search for maximum efficiency, predictability and novelty. Set apart by its combination of theoretical analysis and empirical evidence, this book is the standard work on the classical Hollywood cinema style of film-making from the silent era to the 1960s. Now available in paperback, it is a 'must' for film students, lecturers and all those seriously interested in the development of the film industry" -- Provided by publisher.