Thematische Bibliographien / Hollywood (Los Angeles, Calif.)

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Auswahl der wissenschaftlichen Literatur zum Thema „Hollywood (Los Angeles, Calif.)“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 30. Juli 2024

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Zeitschriftenartikel zum Thema "Hollywood (Los Angeles, Calif.)"

Frazier, Robeson Taj, und Jessica Koslow. „Krumpin’ In North Hollywood“. Boom 3, Nr. 1 (2013): 1–16. http://dx.doi.org/10.1525/boom.2013.3.1.1.

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This article examines the cultural politics and labor of the 818 Session, a krump and street dancing collective that appropriates and repurposes a North Hollywood parking lot for dance sessions on Wednesday nights. In the face of the general culture of spatial domination and regulation in Los Angeles, most especially regarding the experiences of youth of color, the 818 Session promotes a culture of dance and play that collectively reshapes their environment and challenges much of what constitutes public space in Los Angeles. Here, in an empty Ralphs grocery store parking lot late-at-night, krump dancers interact with space, identifying interstices to produce racial and spatial formations anew.

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Biggart, A. R., J. Hawley und J. Townsend. „The North Hollywood Project, Los Angeles“. Proceedings of the Institution of Civil Engineers - Transport 141, Nr. 1 (Februar 2000): 43–56. http://dx.doi.org/10.1680/tran.2000.141.1.43.

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Karimi, Ali A., James C. Vickers und Richard F. Harasick. „Microfiltration goes Hollywood: the Los Angeles experience“. Journal - American Water Works Association 91, Nr. 6 (Juni 1999): 90–103. http://dx.doi.org/10.1002/j.1551-8833.1999.tb08651.x.

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Kaplan, Jon. „Los Angeles Tamara Takes Off“. Canadian Theatre Review 44 (September 1985): 135–38. http://dx.doi.org/10.3138/ctr.44.018.

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Even in Hollywood, they rarely see anything like Tamara. Canadian John Krizanc’s award-winning play, now in its second year in Los Angeles, still Is packing the American Legion Post #43 with audiences agog with delight. Transported back to 1927 fascist Italy for three hours, they drink champagne, eat trendy chocolate-mousse desserts catered by the fashionable restaurant Ma Maison, and follow 10 actors through the three stones of one of the most lavish theatre sets in the city.

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Sternheimer, Karen. „Hollywood: Doesn't Threaten Family Values“. Contexts 7, Nr. 4 (November 2008): 44–48. http://dx.doi.org/10.1525/ctx.2008.7.4.44.

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In 1992, then-Vice President Dan Quayle charged that Murphy Brown, a fictional character on the CBS sitcom of the same name, glamorized single motherhood by having a child outside marriage. His comment ignited a national debate about not just single parenthood, but the influence Hollywood and celebrities have over the choices Americans make in their lives. In a speech about civil unrest in Los Angeles, Quayle charged that characters like Brown indirectly contribute to central city problems by “mocking the importance of fathers.”

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Hall, Jermaine. „Second Annual Film Conference: Los Angeles Convention Center, Los Angeles, Calif. June 12–14, 1998“. SMPTE Journal 107, Nr. 4 (April 1998): 253. http://dx.doi.org/10.5594/j06405.

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Berg, Charles Ramírez. „Colonialism and Movies in Southern California, 1910-1934“. Aztlán: A Journal of Chicano Studies 28, Nr. 1 (2003): 75–96. http://dx.doi.org/10.1525/azt.2003.28.1.75.

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Once the film industry moved to Los Angeles fiom the East Coast in the 1910s, Hollywood became the source of the negative stereotyping of Latinos in mainstream American cinema. This article argues that the anti-Mexican American discourse in Southern California during the motion picture industry’s formative years provided the social context for those derogatory film images. In doing so, the essay synthesizes two bodies of literature that rarely comment on one another: early Hollywood studio history and works treating the Mexican American experience in Southern California. Three main elements that shaped the anti-Mexican American discourse are discussed: (a) the ostracizing of Mexican Americans to East Los Angeles at the same time that movie companies were flocking to the opposite side of town; (b) the social, economic, and political climate that resulted in anti-Mexicano attitudes, and (c) the view of Mexico as a playground for the United States.

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Hallett, Hilary A. „Based on a True Story: New Western Women and the Birth of Hollywood“. Pacific Historical Review 80, Nr. 2 (01.05.2011): 177–210. http://dx.doi.org/10.1525/phr.2011.80.2.177.

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This article explores early publicity about Hollywood that promoted Los Angeles as a New West supporting a New Western Woman who became a key, if often slighted, element in the “grounding of modern feminism.” The New Western Woman was both an image that sought to attract more women into movie audiences and a reality that dramatized the unconventional and important roles played by women workers in the early motion picture industry. By describing these women as expertly navigating the city, the West, and professional ambitions simultaneously, this publicity created a booster literature that depicted Los Angeles as an urban El Dorado for single white women on the make. In response, tens of thousands of women moved west to work in the picture business, helping to make Los Angeles the first western boomtown where women outnumbered men.

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Broe, Dennis. „Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles“. Journal of American History 104, Nr. 4 (01.03.2018): 1062–63. http://dx.doi.org/10.1093/jahist/jax517.

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Serna, Laura I. „“As a Mexican I Feel It’s My Duty:” Citizenship, Censorship, and the Campaign Against Derogatory Films in Mexico, 1922–1930“. Americas 63, Nr. 2 (Oktober 2006): 225–44. http://dx.doi.org/10.1017/s0003161500062982.

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In June of 1930, Dr. J. M. Puig Casauranc, who held the post of Jefe del Departamento del Distrito Federal (a post then somewhat akin to mayor) received a lengthy letter from theConfederación de Sociedades Mexicanasin Los Angeles, California. The letter asked Dr. Puig if a Committee for the Supervision of Film could be constituted in Los Angeles, a committee to be made up of members of the Confederation and the Mexican consulate in Los Angeles. In their letter members of the Confederation’s steering committee displayed a clear understanding of the history of Mexico’s struggle to exert some control over the content of Hollywood films.

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Dissertationen zum Thema "Hollywood (Los Angeles, Calif.)"

Granville, Scott. „Mapping the Geographical and Literary Boundaries of Los Angeles: A Real and Imagined City“. The University of Waikato, 2007. http://hdl.handle.net/10289/2359.

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In Los Angeles, the influence of Hollywood and the film industry, combined with a non-stop barrage of media images, has blurred the line between the real and imaged. The literature reveals a city exploding with cultural, racial and social differences, making Los Angeles a confusing and alienating place. The literature of Los Angeles reflects the changing face of the city. Los Angeles was always a city with a promising future, economic booms and optimism seemed to suggest that here was a place where the American Dream really could come true. Thousands travelled west in search of sunshine, oranges and a life that formerly, they could only dream of having. Yet, the literature of Los Angeles has highlighted the city's actual history together with a realization of undercurrents of violence, prejudice, depression and shattered dreams. The past, present and future is used to reveal a city that is in stark opposition to the Los Angeles, waves of immigrants came to find. This thesis explores the idea of the dreamer coming west to Los Angeles within the literature and the variety of ways in the travellers' romantic notions of Los Angeles as a city of promise, is betrayed, leaving a desperate people in its wake. The literature shows that beneath the shiny surface of a city founded on sunshine and prosperity, corruption reached all levels of society and the 'mean streets' abound. Later, influenced by an overwhelming feeling of powerlessness caused by Post-war nuclear depression, McCarthyism, loss of identity, and living in a city fragmented by racial tension and an ever growing gap between the very rich and the very poor, the literature of Los Angeles reflects not only the fears of that city, but of American society as a whole. The collision of technology, rapid progression and population explosion turned Los Angeles into a disconnected city, where the real and imagined merge in a cityscape that demonstrates a conflicting combination of historical replication, original design and movie-set inspiration. Nothing is ever what it appears to be in Los Angeles.

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Joniak, Elizabeth A. „"On the street" and "of the street" the daily lives of unhoused youth in Hollywood /“. Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2023832501&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Sterckx, Laurent S. S. „Systèmes de signification dans le cinéma classique hollywoodien: l'exemple de la comédie sophistiquée“. Doctoral thesis, Universite Libre de Bruxelles, 1996. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212325.

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Mills, Jane Kathryn. „Hollywood and its others : porous borders and creative tensions in the transnational screenscape“. Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19823.

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This dissertation challenges how Hollywood is typically imagined as monolithic, homogenous and homogenising, and separated from other cinemas by fixed and impermeable borders. This influential cinematic paradigm posits a centre-periphery model underpinned by binary oppositions in which most cinemas are negatively defined as Hollywood’s ‘other’ and perceived as fixed in permanent states of opposition and assimilation. It is a perception reinforced by the influential critical paradigm which focuses on the films’ formal stylistic and narrative properties. This conceptualisation ignores, or fails to observe, the larger picture, in which global, national and local cinemas relate to each other in complex and volatile ways. My argument is that a paradigm shift is required in which the main question asked is not ‘What is Hollywood?’ but ‘Where is Hollywood?’ Location is a crux of my argument because it offers a way of questioning the widespread conception of Hollywood as bounded and fixed in a stable cultural landscape. I apply Arjun Appadurai’s framework of disjunctive global cultural flows to the analysis of cinema to show the existence of a more dynamic and chaotic screenscape than is popularly imagined. I also develop a new model of textual analysis involving traces and tracings. This troubles the notion of impermeable borders by finding the traces of global cultural flows within the film frame and tracing their trajectories outside the frame to and from their points of origin and destination. From the creative tensions caused by these asymmetrical and, multidirectional flows a previously unobserved screenscape emerges in which it is possible to see globalising processes as hybridising processes. Within this interpretive framework Hollywood is decentred and can no longer be perceived as fixed and bounded, or as the paradigm by which most cinemas define themselves and are judged. It reveals that heterogeneity and flux rather than homogeneity and fixity characterise intercinematic relations. It shows the existence of porous borders permitting transnational flows. In linking a film’s formal stylistic properties to the disjunctions in the global flows, the new model I develop for textual analysis offers a way of re-imagining Hollywood within the transnational imaginary.

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Mills, Jane Kathryn. „Hollywood and its others porous borders and creative tensions in the transnational screenscape /“. View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19823.

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Thesis (Ph.D) -- University of Western Sydney, 2007.
A thesis submitted to the University of Western Sydney, College of Arts, School of Humanities and Languages, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliography.

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Möllers, Hildegard. „A paradise populated with lost souls : literarische Auseinandersetzungen mit Los Angeles /“. Essen : Verl. die Blaue Eule, 1999. http://catalogue.bnf.fr/ark:/12148/cb38876107f.

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Deener, Andrew Scott. „Venice, California community, diversity, and the politics of urban change in a Los Angeles beach time /“. Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1678687511&sid=15&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Ingram, James Warren. „The rules of ruling charter reform in Los Angeles, 1850-2008 /“. Diss., [La Jolla] : University of California, San Diego, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3311385.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed July 30, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 621-632).

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Oltmann, Katrin. „Remake - Premake : Hollywoods romantische Komödien und ihre Gender-Diskurse, 1930 - 1960 /“. Bielefeld : transcript, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=2960330&prov=M&dok_var=1&dok_ext=htm.

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Sannah, Bassim. „The characteristic features of Hollywood's scenographical stylization (1930-1939)“. [S.l. : s.n.], 2004. http://deposit.ddb.de/cgi-bin/dokserv?idn=972588477.

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Bücher zum Thema "Hollywood (Los Angeles, Calif.)"

Strick, David. Our Hollywood. London: Arrow, 1988.

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Leppikson, Krista, Hrsg. Hollywood. Tallinn, Estonia: Hotger, 2007.

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Bukowski, Charles. Hollywood. New York: HarperCollins, 2007.

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O'Brien, Darcy. Margaret in Hollywood. New York: Morrow, 1991.

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Collins, Jackie. Hollywood Husbands. London, United Kingdom: Simon & Schuster Ltd, 2012.

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Gierach, Ryan. West Hollywood. Charleston, SC: Arcadia, 2003.

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Underwood, Peter. Death in Hollywood. Oxford: ISIS Large Print, 1992.

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Underwood, Peter. Death in Hollywood. London: Piatkus, 1992.

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Bukowski, Charles. Hollywood: A novel. Santa Rosa: Black Sparrow Press, 1989.

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Ellroy, James. Hollywood nocturnes. New York: O. Penzler Books, 1994.

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Buchteile zum Thema "Hollywood (Los Angeles, Calif.)"

Kolthoff, Steven H., Michael F. Mills und Roy J. Shlemon. „Neotectonics of the Hollywood Fault, Central Hollywood District, Los Angeles, California, U.S.A.“ In IAEG/AEG Annual Meeting Proceedings, San Francisco, California, 2018 - Volume 5, 13–20. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93136-4_2.

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Wagner, Karin. „Von Höselberg nach Hollywood. Exil in der Filmmetropole Los Angeles“. In “Glück, das mir verblieb”, 105–34. Wien: Böhlau Verlag, 2022. http://dx.doi.org/10.7767/9783205215226.105.

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Scott, Ian. „“This Is Not America: This Is Los Angeles”: Crime, Space, and History in the City of Angels“. In Hollywood and the American Historical Film, 192–207. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-0-230-35789-1_11.

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Purkis, Charlotte. „The Other Gates: Anglo-American Influences on and from Dublin“. In Cultural Convergence, 107–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_5.

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Abstract An important influence on the foundation of the Dublin Gate Theatre in 1928 was the London Gate Theatre Studio. This chapter offers a historiographical survey concerning how the range of connections between these theatres have been treated by theatre commentators up to the present. Alongside this re-examination is a discussion of two other theatres that were also inspired by the London Gate, but established independently by the two London co-directors, Peter Godfrey and Velona Pilcher. Godfrey revived the early programming from London in 1943 at his ‘transplanted’ theatre in Hollywood, which also connected Los Angeles emigré culture back to Ireland. In London, Pilcher worked with a group of women associates to found a ‘new Gate’, the Watergate Theatre Club in 1949, which, with its avant-garde artistic ethos, had a cultural impact on the post-war London scene similar to the achievements of the earlier Gate theatres.

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Shiel, Mark. „‘Los Angeles and Hollywood in Film and French Theory: Agnès Varda’s Lions Love… and Lies (1969) and Edgar Morin’s Journal de Californie (1970)’“. In Cinematic Urban Geographies, 245–68. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-46084-4_13.

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Feather, Leonard, und Ira Gitler. „b“. In The Biographical Encyclopedia of Jazz, 29–102. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195074185.003.0002.

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Abstract Babasin, harry (Babasian), bs, cello; b. Dallas, TX, 3/19/21; d. Los Angeles, CA, 5/21/88. Raised in Vernon, Tex. Began on bs. and cello as teenager, then stud. at No. Texas St. Coll. Fellow students were Jimmy Giuffre, Herb Ellis, Gene Roland. Pl. w. territory bands in Midwest, early 1940s. To NYC ’45, pl. w. Gene Krupa, Charlie Barnet, Boyd Raeburn. Moved to Calif., late ’45. Pl. w. Raeburn ’45–6; Benny Goodman ’46–7. Made first jazz pizzicato cello recs. w. Dodo Marmarosa ’47. Tour. w. Woody Herman ’48, then freelanced as studio mus. in Hollywood. Founded Nocturne rec. co., early ’50s. Pl. cello in own gp., The Jazzpickers, ’56; pl. briefly w. Harry James ’59. Babasin received an M.A. in comp. fr. San Fernando Valley St. Coll. ’61. He pl. in a duo w. pianist Phil Moody fr. ’63. Film: app. in A Song Is Born ’48. LPs: PJ; Em.; Disc; VSOP. CDs: Noct.; PJ; Em; Disc.; VSOP; w. B. Goodman (Cap.); Laurindo Almeida (WP); Chet Baker; Sonny Criss; Bob Gordon (FS); Barney Kessel (Cont.); D. Marmarosa (Jz. Class.); B. Raeburn (Sav.).

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„Los Angeles: Hollywood“. In The Americas, 356–59. Routledge, 2013. http://dx.doi.org/10.4324/9781315073828-91.

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„1. Leaving Los Angeles“. In Mobile Hollywood, 1–31. University of California Press, 2024. http://dx.doi.org/10.1525/9780520399013-002.

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„Mob Violence in Los Angeles and the United States“. In Hollywood Riots. I.B.Tauris, 2016. http://dx.doi.org/10.5040/9780755694624.ch-004.

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„Hollywood“. In Los Angeles in the 1930sThe WPA Guide to the City of Angels, 227–37. University of California Press, 2011. http://dx.doi.org/10.1525/california/9780520268838.003.0019.

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Konferenzberichte zum Thema "Hollywood (Los Angeles, Calif.)"

Kiely, Joss. „Lights, Camera… Aluminum!: Materiality and Monumentality in Welton Becket’s Masterplan of Century City, CA“. In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5052p8ncv.

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The scale and ambition of the masterplan doesn’t fit neatly in either architecture or urban planning, and therefore, the history of master planning as a practice, its aesthetics and its ethics have long existed at the margins of both disciplines. In the postwar period, masterplan proposals designed by architects committed to high modernist ideals reimagined cities as orderly and aesthetic agglomerations – but with considerable anticipation of large-scale growth and development – both in the United States and abroad. As architects moved away from solely designing buildings to spearheading larger scale planning projects – straining their disciplinary expertise to the border of urban planning – an important transition took place. This shift might be best understood as a blend of omniscience and naivete, a stance that required architects to suspend specific knowledge to champion broad visionary pursuits. This paper considers an important aspect of everyday life: leisure time. Much touted by the tenets of high modernism, the ability to carve out time to “play” was largely a modern luxury, and this played out in a variety of projects worldwide, from beach resorts in Hawaii and ski resorts in France, to reimagined cities within cities, such as the masterplan for Century City, California in the Los Angeles Basin. Welton Becket’s 1963 urban vision called for the replacement of Hollywood studio lots with a composed entertainment, shopping and living centre focused on the needs of the Southern California entertainment industry. The ultimate buildout includes projects by a wide variety of late modernist architects, including Minoru Yamasaki, Charles Luckman and I. M. Pei, and it joins a long list of projects that champion leisure aesthetically expressed through architecture and planning schemes. Taken together, such projects underscore the increase in leisure, vacation time and conspicuous consumption that occurred after World War II and continues into the present day.

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