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Journal articles on the topic 'Hollywood (Los Angeles, Calif.)'

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Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2024

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1

Frazier, Robeson Taj, and Jessica Koslow. "Krumpin’ In North Hollywood." Boom 3, no. 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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2

Biggart, A. R., J. Hawley, and J. Townsend. "The North Hollywood Project, Los Angeles." Proceedings of the Institution of Civil Engineers - Transport 141, no. 1 (February 2000): 43–56. http://dx.doi.org/10.1680/tran.2000.141.1.43.

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3

Karimi, Ali A., James C. Vickers, and Richard F. Harasick. "Microfiltration goes Hollywood: the Los Angeles experience." Journal - American Water Works Association 91, no. 6 (June 1999): 90–103. http://dx.doi.org/10.1002/j.1551-8833.1999.tb08651.x.

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4

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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5

Sternheimer, Karen. "Hollywood: Doesn't Threaten Family Values." Contexts 7, no. 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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6

Hall, Jermaine. "Second Annual Film Conference: Los Angeles Convention Center, Los Angeles, Calif. June 12–14, 1998." SMPTE Journal 107, no. 4 (April 1998): 253. http://dx.doi.org/10.5594/j06405.

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7

Berg, Charles Ramírez. "Colonialism and Movies in Southern California, 1910-1934." Aztlán: A Journal of Chicano Studies 28, no. 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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8

Hallett, Hilary A. "Based on a True Story: New Western Women and the Birth of Hollywood." Pacific Historical Review 80, no. 2 (May 1, 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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9

Broe, Dennis. "Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles." Journal of American History 104, no. 4 (March 1, 2018): 1062–63. http://dx.doi.org/10.1093/jahist/jax517.

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10

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, no. 2 (October 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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11

Hall, Jermaine. "The Second Annual Film Conference: Los Angeles Convention Center, Los Angeles, Calif. June 12–14, 1998." SMPTE Journal 107, no. 2 (February 1998): 128. http://dx.doi.org/10.5594/j18216xy.

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12

Free, Katharine B. "Theatre Fever: The Olympic Festival of the Arts, Los Angeles 1984." Theatre Research International 10, no. 2 (1985): 154–60. http://dx.doi.org/10.1017/s0307883300010671.

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The sun was beginning to set in a muted pastel wash over Hollywood. In a nervous daze, I approached the ‘theatre’, Studio 9, a converted sound-stage which had never before been used as a space for live theatre. I had prepared assiduously for the performance by re-reading the play, Shakespeare's Richard II, the night before, and practicing French conjugations on the long drive through heavy traffic to Hollywood. The idea of listening to Shakespeare in French for four hours threatened to be incredibly taxing. My first sensations on entering Studio 9 were tactile. A spongy beige carpet was beneath my feet, providing an unfamiliar but distinctly pleasant odour. This carpet extended throughout the theatre space – underneath the bleachers where the audience sat, continuing to the raised stage and the ramps thrusting to the walls right and left. Black bands ran vertically from the back wall of the studio across the immense carpet up to the top of the bleachers.

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13

Ribeiro, Roberta Do Carmo. "A COMÉDIA SÉRIA DE WOODY ALLEN: NOVA YORK COMO NEGAÇÃO DE LOS ANGELES/HOLLYWOOD EM ANNIE HALL (1977)." Revista Mediação (ISSN 1980-556X) 16, no. 2 (February 18, 2022): 47–66. http://dx.doi.org/10.31668/mediacao.2021.v16e2.12507.

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Resumo: O presente artigo trabalha a evolução das representações de Nova York no cinema de Woody Allen, destacando o que chamo de Tetralogia de Nova York, uma série de longas-metragens que formam um conjunto coerente onde a cidade é usada como cenário para se discutir determinadas concepções de narrativa, visão de história e perspectiva de memória. O foco é o filme Annie Hall (1977), o primeiro que transforma a cidade em personagem. Em Annie Hall (1977), a cidade de Nova York é comparada a Los Angeles, estando Los Angeles num lugar de inferioridade: enquanto Nova York é uma cidade viva e real, Los Angeles seria uma cidade artificial e movida pela vaidade. Palavras-chave: Woody Allen. Cidade. Nova York. Los Angeles.

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14

Soligo, Marta, and David R. Dickens. "Rest in Fame: Celebrity Tourism in Hollywood Cemeteries." Tourism Culture & Communication 20, no. 2 (July 3, 2020): 141–50. http://dx.doi.org/10.3727/109830420x15894802540214.

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This research is a critical study of tourism at four cemeteries in the Los Angeles area between 2013 and 2019: Hollywood Forever, Forest Lawn in Glendale, Forest Lawn in Hollywood, and Pierce Brothers Westwood Village Memorial Park Cemetery. We examined these venues through the lens of celebrity tourism, since they are known as "Hollywood memorial parks," hosting the graves of some of the most famous stars in the world. Through participant observation, informal conversations, and content analysis of texts we aimed to understand how the relationship between these venues and the entertainment industry works as a "pull factor" for tourists. Our data collection and analysis led to three main findings. Firstly, we identified the motivations behind the increasing number of tourists who add Los Angeles cemeteries to their must-see list. Although scholars often define cemeteries as dark tourism destinations, our investigation shows that Hollywood memorial parks are more related to celebrity tourism. Secondly, employing the notion of "cult of celebrity," we described how the experience of tourists visiting their favorite celebrity's grave can be seen as a modern pilgrimage centered on a collective experience. Thirdly, we analyzed the cemetery as a commodity in which executives work to promote the site as the perfect location where one can spend the "eternal life." In this sense, we also investigated how memorial parks are often used as venues for cultural events, attracting a large number of tourists. As described in the findings section, initiatives such as movie screenings and guided tours transform cemeteries into much more than just peaceful places where to honor the dead, becoming venues for both commodification and spectacle.

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15

Johnson, Lorin, and Donald Bradburn. "Fleeing the Soviet Union, Dancing on the West Coast." Experiment 20, no. 1 (October 27, 2014): 297–316. http://dx.doi.org/10.1163/2211730x-12341266.

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In the 1970s and 1980s, Los Angeles audiences saw Soviet defectors Mikhail Baryshnikov, Alexander Godunov, Natalia Makarova, and Rudolf Nureyev in the prime of their careers at the Hollywood Bowl, The Dorothy Chandler Pavilion and the Greek Theater. Dance photographer Donald Dale Bradburn, a local Southern California dancer describes his behind-the-scenes access to these dancers in this interview. Perfectly positioned as Dance Magazine’s Southern California correspondent, Bradburn offers a candid appraisal of the Southern California appeal for such high-power Russian artists as well as their impact on the arts of Los Angeles. An intimate view of Russian dancers practicing their craft on Los Angeles stages, Bradburn’s interview is illustrated by fourteen of his photographs, published for the first time in this issue of Experiment.

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16

Thabet, Andrea. "“From Sagebrush to Symphony”." Pacific Historical Review 89, no. 4 (2020): 557–99. http://dx.doi.org/10.1525/phr.2020.89.4.557.

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This article explores the founding of the Hollywood Bowl and the multiple visions of its founding generation, tracing the cultural negotiations they engaged in between 1918 and 1926. These aims included disseminating high culture to ordinary citizens, democratizing access to music, providing spiritual uplift, unifying Hollywood’s diverse populace, and offering legitimacy to Hollywood as an emerging symbol of the U.S. film industry. By 1926, the Hollywood Bowl that emerged from a contentious planning process reflected aspects of all of the founders’ goals, but did not entirely fulfill those of any one of them. I argue that, despite their disagreements, the Bowl’s founders believed that their collective cultural enterprise had the potential to encourage a sense of cohesion and community among Hollywood’s—and more generally Los Angeles’s—inhabitants. The Hollywood Bowl was the first of many large-scale efforts to give culture permanence in Los Angeles, and its success helped redefine its urban identity by replacing negative images of the region with a growing reputation as a noteworthy cultural metropolis.

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17

Day, M. K. "Hollywood Faith: Holiness, Prosperity, and Ambition in a Los Angeles Church." Sociology of Religion 72, no. 4 (December 1, 2011): 484–85. http://dx.doi.org/10.1093/socrel/srr056.

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18

Rickman, Rebecca. "Hollywood Is a Verb: Los Angeles Tackles the Oxford English Dictionary." Dictionaries: Journal of the Dictionary Society of North America 36, no. 1 (2015): 131–35. http://dx.doi.org/10.1353/dic.2015.0010.

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19

Flory, Richard. "Hollywood Faith: Holiness, Prosperity, and Ambition in a Los Angeles Church." Pneuma 33, no. 2 (2011): 290–91. http://dx.doi.org/10.1163/027209611x575122.

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20

Mastromonaco, Ralph A. "Hazardous Waste Hits Hollywood: Superfund and Housing Prices in Los Angeles." Environmental and Resource Economics 59, no. 2 (September 25, 2013): 207–30. http://dx.doi.org/10.1007/s10640-013-9725-0.

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21

James, David E. "Hollywood Extras: One Tradition of "Avant-Garde" Film in Los Angeles." October 90 (1999): 3. http://dx.doi.org/10.2307/779077.

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22

Bowlt, John E., and Elizabeth Durst. "“The Art of Concealing Imperfection”." Experiment 20, no. 1 (October 27, 2014): 118–45. http://dx.doi.org/10.1163/2211730x-12341261.

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The focus of the essay is on Léon Bakst’s activities in the usa, especially in Los Angeles in 1924, when he lectured at the University of Southern California and at the Biltmore Hotel. The essay also touches on Bakst’s interest in Hollywood and cinema as the “new” medium and on his popularity as a dress and textile designer.

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23

Marez, Curtis. "Subaltern Soundtracks." Aztlán: A Journal of Chicano Studies 29, no. 1 (2004): 57–82. http://dx.doi.org/10.1525/azt.2004.29.1.57.

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This essay suggests that the postrevolutionary Mexican presence in Los Angeles profoundly influenced the emergence and consolidation of film and other media there. In the 1930s, Anglo Americans and Mexicans were in conflict and competition over how to use new forms of audio mass media such as radio and sound films. Mexican movie programmers and audiences in Los Angeles appropriated early sound films in ways that addressed immigrant concerns and contradicted emergent Hollywood norms of exhibition and spectatorship. Mainstream responses to such practices suggest that dominant uses of sound in film exercised an ideological police power that was ultimately aimed at symbolically containing Mexican dissent.

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24

Blum, Edward J. "Gods of the Golden Coast." Boom 2, no. 2 (2012): 82–85. http://dx.doi.org/10.1525/boom.2012.2.2.82.

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Review essay on The Visionary State: A Journey Through California’s Spiritual Landscapes; Religion at the Corner of Bliss and Nirvana: Politics, Identity, and Faith in New Migrant Communities; Esalen: America and the Religion of No Religion; From Bible Belt to Sunbelt: Plain-Folk Religion, Grassroots Politics, and the Rise of Evangelical Conservatism; and Hollywood Faith: Holiness, Prosperity and Ambition in a Los Angeles Church.

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25

Singh, Pawan. "Orienting Hollywood: a century of film culture between Los Angeles and Bombay." South Asian Popular Culture 13, no. 3 (September 2, 2015): 257–59. http://dx.doi.org/10.1080/14746689.2015.1126914.

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26

Johnson, Lorin. "Degrees of Separation: Lester Horton’s." Experiment 20, no. 1 (October 27, 2014): 48–85. http://dx.doi.org/10.1163/2211730x-12341259.

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This essay examines Lester Horton’s 1937 production of Le Sacre du printemps (The Rite of Spring) at the Hollywood Bowl. In particular, the genesis of the work and the transference of Russian modernism in 1930s Los Angeles is explored. The essay focuses on Horton’s professional relationships with two artists in Los Angeles, Adolph Bolm and Michio Ito, both of whom were in his proximity as teachers, mentors and colleagues when he created Le Sacre. The Russian émigré Bolm, a former dancer with the Ballets Russes during the period Nijinsky choreographed The Rite of Spring in 1913, was a well-established teacher and choreographer in Los Angeles. Bolm’s and Horton’s parallel interests in American Indian dance forms are discussed. Ito, the Japanese dancer and choreographer who was inspired to pursue dance after witnessing performances of the Ballets Russes, trained in Dalcroze Eurhythmics in Hellerau before settling in Los Angeles in 1929. Horton’s production of Le Sacre, the seventh created internationally and first West Coast version is discussed in detail, drawing on the choreographer’s rehearsal notes and other first-hand accounts.

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27

Moroney, Aileen. "138th SMPTE Technical Conference and World Media Expo: Los Angeles Convention Center • Los Angeles, Calif. October 8–12, 1996." SMPTE Journal 105, no. 4 (April 1996): 231–33. http://dx.doi.org/10.5594/j15833.

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28

Moroney, Aileen. "138th SMPTE Conference and World Media Expo Los Angeles Convention Center Los Angeles, Calif. October 8 to 12, 1996." SMPTE Journal 105, no. 7 (July 1996): 427–28. http://dx.doi.org/10.5594/j17214.

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29

Suzuki, Makoto, Huai-Ying Zheng, Tomokazu Takasaka, Chie Sugimoto, Tadaichi Kitamura, Ernest Beutler, and Yoshiaki Yogo. "Asian Genotypes of JC Virus in Japanese-Americans Suggest Familial Transmission." Journal of Virology 76, no. 19 (October 1, 2002): 10074–78. http://dx.doi.org/10.1128/jvi.76.19.10074-10078.2002.

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ABSTRACT To examine the mode of JC virus (JCV) transmission, we collected urine samples from second- and third-generation Japanese-Americans in Los Angeles, Calif., whose parents and grandparents were all Japanese. From the urine samples of these Japanese-Americans, we mainly detected two subtypes (CY and MY) of JCV that are predominantly found among native Japanese. This finding provides support for the hypothesis that JCV is transmitted mainly within the family through long-term cohabitation.

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30

Pinto, Julio, and Marcela Nascimento Gontijo. "Her e androides sonham com ovelhas elétricas: uma análise da relação entre tecnologia e design." Dispositiva 6, no. 10 (December 5, 2017): 126–39. http://dx.doi.org/10.5752/p.2237-9967.2017v6n10p126-139.

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As antecipações para o futuro da cidade de Los Angeles são bastante antitéticas se considerarmos as previsões feitas por Hollywood. Se por um lado o filme ‘Her’ (2013), de Spike Jonze, apresenta uma atmosfera mais promissora e amigável, por outro lado, tanto o filme Blade Runner (1982), quanto o livro de Philip K. Dick, ‘Androides Sonham com Ovelhas Elétricas?’, no qual Ridley Scott se baseou para fazer seu filme, retratam uma cidade mais apocalíptica e caótica. Este artigo propõe-se a fazer, portanto, uma análise destas duas Los Angeles tão distintas, entre o futuro estetizado de ‘Her’ e o caótico de ‘Androides Sonham com Ovelhas Elétricas?’, fazendo assim uma breve comparação das semelhanças e diferenças, e refletindo sobre a função da tecnologia e do design nas obras.

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31

Hurwitz, Joyce R. "The 136th SMPTE Technical Conference and World Media Expo: October 12–15, 1994, Los Angeles Convention Center, Los Angeles, Calif." SMPTE Journal 103, no. 2 (February 1994): 113. http://dx.doi.org/10.5594/j03714.

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32

Moroney, Aileen. "138th SMPTE Technical Conference and World Media Expo: Los Angeles Convention Center Los Angeles, Calif. October 8 to 12, 1996." SMPTE Journal 105, no. 9 (September 1996): 563–64. http://dx.doi.org/10.5594/j04614.

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33

Ghorra-Gobin, Cynthia. "Hollywood, capitale du cinéma : des influences réciproques entre Los Angeles et le cinéma." Revue Française d'Etudes Américaines 56, no. 1 (1993): 115–21. http://dx.doi.org/10.3406/rfea.1993.1489.

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34

Crabaugh, Sydney. "Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles by Jon Lewis." Film Quarterly 71, no. 2 (2017): 114–16. http://dx.doi.org/10.1525/fq.2017.71.2.114.

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35

Gunckel, Colin. "The war of the accents: Spanish language Hollywood films in Mexican Los Angeles." Film History: An International Journal 20, no. 3 (September 2008): 325–43. http://dx.doi.org/10.2979/fil.2008.20.3.325.

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36

Heard, James. "Feeling the Heat in Hollywood: Professionals, Surveillance, and the Landscape of Los Angeles." Thresholds, no. 51 (2023): 64–79. http://dx.doi.org/10.1162/thld_a_00777.

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37

Rasmussen, Douglas. "Recreating 1969 Los Angeles in Once Upon a Time… in Hollywood." Journal of Popular Film and Television 51, no. 4 (October 2, 2023): 162–73. http://dx.doi.org/10.1080/01956051.2023.2275021.

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38

Martin, Sylvia J. "Imagineering empire: how Hollywood and the US national security state ‘operationalize narrative’." Media, Culture & Society 42, no. 3 (December 30, 2019): 398–413. http://dx.doi.org/10.1177/0163443719890540.

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While the Pentagon has long enlisted Hollywood to make films that show the United States in a favorable light for the public, this article examines how and why US military agencies hire entertainment professionals for national security purposes such as imagining defense strategy against possible threats. Drawing from ethnographic fieldwork in Los Angeles, I argue that the application of entertainment media and creative expertise for internal military purposes articulates the totalizing resourcefulness of a national security state which after 9/11 increasingly identifies the capacity to imagine as its greatest weapon. I suggest that ‘Imagineering’, the Disney method for storytelling and developing scenarios that has become emblematic of the US entertainment industry, is a fitting concept with which to understand the state’s harnessing of creative labor for its project of empire. Tracing the relationship between Hollywood narrative and national security illuminates the imaginings of US empire at its domestic source.

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39

Toffel, P. H. "Spring Meeting of the American Rhinologic Society, Los Angeles, Calif, April 17-18, 1993." Archives of Otolaryngology - Head and Neck Surgery 119, no. 9 (September 1, 1993): 1053. http://dx.doi.org/10.1001/archotol.1993.01880210153023.

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40

SANTOS, Wolney Nascimento, Hamilcar Silveira DANTAS JUNIOR, and Fabio ZOBOLI. "Drama e memória em um Rosto/Corpo no filme “Sunset Boulevard – Crepúsculo Dos Deuses” (1950), de Billy Wilder." Fênix - Revista de História e Estudos Culturais 19, no. 2 (December 11, 2022): 261–77. http://dx.doi.org/10.35355/revistafenix.v19i2.1094.

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Objetiva interpelar o filme “Sunset Boulevard − Crepúsculo dos Deuses” (1950) reflexionando a indústria cinematográfica de Hollywood na época em que o filme foi produzido centrado na figura mítico/trágica da atriz decadente Norma Desmond em sua mansão na “Sunset Boulevard” – Los Angeles, California. O filme enquadra de modo perturbador a queda de uma celebridade que vai ficando sem foco diante da indústria do cinema, ao tempo que demarca oposições entre arte e mídia, câmeras de cinema e jornalísticas, entre uma personagem de ficção e uma assassina da vida real.

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41

Misek, Richard. "Trespassing Hollywood: Property, Space, and the “Appropriation Film”." October 153 (July 2015): 132–48. http://dx.doi.org/10.1162/octo_a_00230.

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In the two decades since the first exhibition of Douglas Gordon's 24 Hour Psycho (1993), “appropriation”—a mainstay of visual art since the mid-twentieth century—has also become a mainstay of experimental filmmaking and artists' film and video. Montages, collages, found-footage documentaries, essay films, and diverse other works made from pre-existing moving images now feature regularly at film festivals, in museum cinematheques, and in art galleries. Yet beyond the protective walls of these cultural institutions, a global copyright war is raging. Over recent years, media owners have become ever more assertive of their intellectual property rights, while activists have become ever bolder in their demands for radical open access. How have film and video artists responded to these differing views about what constitutes our cultural commons? This article explores the question by focusing on two test cases: Thom Andersen's essay film Los Angeles Plays Itself (2003) and Christian Marclay's video collage The Clock (2011). Both involve unlicensed reuse of pre-existing film and television material. However, in their overall conception, methods of production, and distribution and exhibition, Andersen's and Marclay's works provide opposing models for how to engage with media property. The article concludes by suggesting that the two works' differences raise urgent ethical question about how (and where) contemporary artists' film and video is exhibited.

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42

McCormick, Richard W., Cornelius Schnauber, and Barbara Zeisl Schoenberg. "Hollywood Haven: Homes and Haunts of the European Emigres and Exiles in Los Angeles." German Quarterly 72, no. 4 (1999): 403. http://dx.doi.org/10.2307/408483.

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43

Stotzer, Rebecca L. "Seeking Solace in West Hollywood: Sexual Orientation-Based Hate Crimes in Los Angeles County." Journal of Homosexuality 57, no. 8 (August 31, 2010): 987–1003. http://dx.doi.org/10.1080/00918369.2010.503506.

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44

JENKINS, KATHLEEN E. "HOLLYWOOD FAITH: HOLINESS, PROSPERITY, AND AMBITION IN A LOS ANGELES CHURCH by Gerardo Marti." Journal for the Scientific Study of Religion 48, no. 2 (June 2009): 402–3. http://dx.doi.org/10.1111/j.1468-5906.2009.01456_1.x.

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45

Montgomery, Alesia F. "“Living in Each Other's Pockets”: The Navigation of Social Distances by Middle Class Families in Los Angeles." City & Community 5, no. 4 (December 2006): 425–50. http://dx.doi.org/10.1111/j.1540-6040.2006.00192.x.

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In Hollywood movies and dystopian critiques, Los Angeles is two cities: one wealthy, white, and gated, the other impoverished, dark, and carceral. This depiction verges on caricature, eliding the diversity and maneuvers of the region's middle class. Drawing upon ethnographies of middle class families (black, white, Latino, Asian) in affluent areas of West Los Angeles and the Valley and in the low‐income areas that are located south and east of downtown Los Angeles, I explore how and why, and at what costs, parents engage in daily maneuvers to place their children in beneficial settings across the region's vast sprawl. I describe these maneuvers that resemble a game of “musical chairs” as selective flight. In contrast to middle class flight to the suburbs, selective flight involves diurnal rather than residential shifts. Enabling middle‐class families who reside amidst the crumbling infrastructure of the urban core to chase cultural capital and physical safety in ever‐receding advantaged areas, the post‐Civil Rights State expands spatial mobility yet does not close racial distances. The pursuit of ever‐receding spaces of advantage is particularly paradoxical and burdensome for black middle‐class parents.

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46

Beserra, Bernadete. "Sob a sombra de Carmen Miranda e do carnaval: brasileiras em Los Angeles." Cadernos Pagu, no. 28 (June 2007): 313–44. http://dx.doi.org/10.1590/s0104-83332007000100014.

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Neste artigo, analiso como brasileiras de classes média e média alta em Los Angeles lidam com o fenômeno da exotização das suas imagens. Observo que, embora originalmente articuladas a partir de Hollywood (Carmen Miranda) nos limites da hierarquia entre as nações e do colonialismo, essas imagens são hoje alimentadas e recriadas também pelos próprios brasileiros. Uma das idéias centrais que defendo aqui é que embora tais imagens inicialmente restrinjam a ação das brasileiras, uma vez que sempre impõem o diálogo com os seus conteúdos, elas não o fazem permanentemente, ou seja, no processo de integração há espaço para a negociação de outras imagens e conteúdos e isto depende de fatores que vão além da exotização em si.

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Williams, Sarah, and Elizabeth Currid-Halkett. "The Emergence of Los Angeles as a Fashion Hub." Urban Studies 48, no. 14 (March 15, 2011): 3043–66. http://dx.doi.org/10.1177/0042098010392080.

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The US fashion industry is a useful lens through which to view the transformation of the country’s urban economic systems. Initially an industrial vanguard, fashion has evolved into a more design-oriented sector and a central part of the ‘cognitive-cultural economy’. Fashion is also a clear demonstration of place-specific comparative advantage and specialisation, intensely linked to ‘place in product’. The paper traces the fashion industry’s evolution from 1986 to 2007, focusing on New York and Los Angeles. The composition of the industry in each locale demonstrates each city’s comparative advantage and these advantages may be key determinants of their future fortunes. Using geographical information systems (GIS), fashion’s current spatial form is studied. Within the industry’s sub-sectors, spatial patterns and similar geographical clustering emerge. The industry may be facing somewhat of a reconfiguring of its economic geography; however, the fashion industry’s spatial-structural patterns persist within each city. We also find that fashion, like high technology and Hollywood, tends to produce regional network agglomerations, strong headquarter cities and co-location of particular sectors. Our findings are consistent with the larger theoretical and empirical observations on the post-industrial landscape.

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Robb, K. L., J. K. Virzi, M. P. Parrella, and R. Wada. "Bedding Plant Phytotoxicity Evaluations, California, Summer, 1984." Insecticide and Acaricide Tests 10, no. 1 (January 1, 1985): 312–13. http://dx.doi.org/10.1093/iat/10.1.312a.

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Abstract Phytotoxicity trials on bedding plants, Los Angeles County, Calif., evaluated the effects of 1 x , 2 X , and 4 X rates of FMC 54800 2E, FMC 54800 10WP (1 x =0.125 lb AI/100 gal) and Zectran 2E (1 x = 0.5 lb AI/100 gal). Two flats, each containing 9 pony paks with 6 plants, were evaluated per treatment for each species. The materials were applied to runoff with a 2.5 gpm piston pump hand sprayer with a 5003 Spraying Systems® nozzle @ 150 psi on 3 Jul and 17 Jul, 33-38°C and 29-31°C, respectively. Weekly phytotoxicity readings were compared to a water check.

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L., J. F. "MOTHER GETS 6 YEARS FOR DRUGS IN BREAST MILK." Pediatrics 93, no. 1 (January 1, 1994): 103. http://dx.doi.org/10.1542/peds.93.1.103.

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CORONA, Calif., Oct. 27 (AP)—In a case that appears to broaden the prosecution of women who pass drugs to their infants through their bodies, a woman was sentenced here Monday to six years in prison because her breast milk, tainted with methamphetamine, had killed her baby daughter. In recent years, 160 women in 24 states have been charged with delivering drugs to their babies either during pregnancy or, through the umbilical cord, immediately after childbirth. But the case here in this town 40 miles southeast of Los Angeles is apparently the first in the nation based on the passing of drugs through breast milk.

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Dolan, James F., Kerry Sieh, Thomas K. Rockwell, Paul Guptill, and Grant Miller. "Active tectonics, paleoseismology, and seismic hazards of the Hollywood fault, northern Los Angeles basin, California." Geological Society of America Bulletin 109, no. 12 (December 1997): 1595–616. http://dx.doi.org/10.1130/0016-7606(1997)109<1595:atpash>2.3.co;2.

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