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Artykuły w czasopismach na temat „Hollywood (Los Angeles)”

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Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 29 stycznia 2023

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1

Thabet, Andrea. "“From Sagebrush to Symphony”". Pacific Historical Review 89, nr 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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Frazier, Robeson Taj, i 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 i J. Townsend. "The North Hollywood Project, Los Angeles". Proceedings of the Institution of Civil Engineers - Transport 141, nr 1 (luty 2000): 43–56. http://dx.doi.org/10.1680/tran.2000.141.1.43.

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

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Sternheimer, Karen. "Hollywood: Doesn't Threaten Family Values". Contexts 7, nr 4 (listopad 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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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 (październik 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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Hallett, Hilary A. "Based on a True Story: New Western Women and the Birth of Hollywood". Pacific Historical Review 80, nr 2 (1.05.2011): 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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Soligo, Marta, i David R. Dickens. "Rest in Fame: Celebrity Tourism in Hollywood Cemeteries". Tourism Culture & Communication 20, nr 2 (3.07.2020): 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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9

Johnson, Lorin, i Donald Bradburn. "Fleeing the Soviet Union, Dancing on the West Coast". Experiment 20, nr 1 (27.10.2014): 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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10

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, nr 2 (18.02.2022): 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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11

Free, Katharine B. "Theatre Fever: The Olympic Festival of the Arts, Los Angeles 1984". Theatre Research International 10, nr 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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12

Bowlt, John E., i Elizabeth Durst. "“The Art of Concealing Imperfection”". Experiment 20, nr 1 (27.10.2014): 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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13

Madigan, Andrew J. "What Fame Is: Bukowski's Exploration of Self". Journal of American Studies 30, nr 3 (grudzień 1996): 447–61. http://dx.doi.org/10.1017/s0021875800024907.

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Although this quote reads like a description of Hollywood and its celluloid environs, the author is reviewing Run With the Hunted: A. Charles Bukowski Reader, a comprehensive anthology of the poet-novelist's work. From Flower, Fist and Bestial Wail (1960), his first full-length collection of poetry, to Pulp, published shortly after his death in 1994, Bukowski chronicled the humorous, lyric, impoverished lives of prostitutes, drinkers, bums, writers, and miscreants of every description. His tales of squalor which document the starving and passionate Angeleno writer are in large measure inspired by John Fante.Los Angeles is Buk territory. He lived in and wrote about Central Los Angeles for most of his seventy-three years. L.A. is a place where, in the realm beyond fiction, people migrate in pursuit of dreams. One category of migrant dream-seeker is the writer. Whether he/she is a neophyte seeking fortune as a screenwriter or an aging, established author reviving an endangered career, the writer confronts an industry whose interests and intents are tangential to his/her own.

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14

Broe, Dennis. "Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles". Journal of American History 104, nr 4 (1.03.2018): 1062–63. http://dx.doi.org/10.1093/jahist/jax517.

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Blum, Edward J. "Gods of the Golden Coast". Boom 2, nr 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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Johnson, Lorin. "Degrees of Separation: Lester Horton’s". Experiment 20, nr 1 (27.10.2014): 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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Day, M. K. "Hollywood Faith: Holiness, Prosperity, and Ambition in a Los Angeles Church". Sociology of Religion 72, nr 4 (1.12.2011): 484–85. http://dx.doi.org/10.1093/socrel/srr056.

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Rickman, Rebecca. "Hollywood Is a Verb: Los Angeles Tackles the Oxford English Dictionary". Dictionaries: Journal of the Dictionary Society of North America 36, nr 1 (2015): 131–35. http://dx.doi.org/10.1353/dic.2015.0010.

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Flory, Richard. "Hollywood Faith: Holiness, Prosperity, and Ambition in a Los Angeles Church". Pneuma 33, nr 2 (2011): 290–91. http://dx.doi.org/10.1163/027209611x575122.

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Mastromonaco, Ralph A. "Hazardous Waste Hits Hollywood: Superfund and Housing Prices in Los Angeles". Environmental and Resource Economics 59, nr 2 (25.09.2013): 207–30. http://dx.doi.org/10.1007/s10640-013-9725-0.

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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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Pinto, Julio, i Marcela Nascimento Gontijo. "Her e androides sonham com ovelhas elétricas: uma análise da relação entre tecnologia e design". Dispositiva 6, nr 10 (5.12.2017): 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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Singh, Pawan. "Orienting Hollywood: a century of film culture between Los Angeles and Bombay". South Asian Popular Culture 13, nr 3 (2.09.2015): 257–59. http://dx.doi.org/10.1080/14746689.2015.1126914.

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Martin, Sylvia J. "Imagineering empire: how Hollywood and the US national security state ‘operationalize narrative’". Media, Culture & Society 42, nr 3 (30.12.2019): 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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SANTOS, Wolney Nascimento, Hamilcar Silveira DANTAS JUNIOR i 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, nr 2 (11.12.2022): 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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Montgomery, Alesia F. "“Living in Each Other's Pockets”: The Navigation of Social Distances by Middle Class Families in Los Angeles". City & Community 5, nr 4 (grudzień 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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Ghorra-Gobin, Cynthia. "Hollywood, capitale du cinéma : des influences réciproques entre Los Angeles et le cinéma". Revue Française d'Etudes Américaines 56, nr 1 (1993): 115–21. http://dx.doi.org/10.3406/rfea.1993.1489.

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Crabaugh, Sydney. "Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles by Jon Lewis". Film Quarterly 71, nr 2 (2017): 114–16. http://dx.doi.org/10.1525/fq.2017.71.2.114.

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Gunckel, Colin. "The war of the accents: Spanish language Hollywood films in Mexican Los Angeles". Film History: An International Journal 20, nr 3 (wrzesień 2008): 325–43. http://dx.doi.org/10.2979/fil.2008.20.3.325.

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Misek, Richard. "Trespassing Hollywood: Property, Space, and the “Appropriation Film”". October 153 (lipiec 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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Beserra, Bernadete. "Sob a sombra de Carmen Miranda e do carnaval: brasileiras em Los Angeles". Cadernos Pagu, nr 28 (czerwiec 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, i Elizabeth Currid-Halkett. "The Emergence of Los Angeles as a Fashion Hub". Urban Studies 48, nr 14 (15.03.2011): 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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McCormick, Richard W., Cornelius Schnauber i Barbara Zeisl Schoenberg. "Hollywood Haven: Homes and Haunts of the European Emigres and Exiles in Los Angeles". German Quarterly 72, nr 4 (1999): 403. http://dx.doi.org/10.2307/408483.

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Stotzer, Rebecca L. "Seeking Solace in West Hollywood: Sexual Orientation-Based Hate Crimes in Los Angeles County". Journal of Homosexuality 57, nr 8 (31.08.2010): 987–1003. http://dx.doi.org/10.1080/00918369.2010.503506.

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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, nr 2 (czerwiec 2009): 402–3. http://dx.doi.org/10.1111/j.1468-5906.2009.01456_1.x.

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Viana, Fausto, i Rosane Muniz. "Figurino: os figurinos em Bollywood". dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 3, nr 7 (7.02.2009): 23. http://dx.doi.org/10.26563/dobras.v3i7.251.

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Bollywood é o apelido da indústria mais forte do cinema indiano. Ainda que não seja a única nem esteja restrita a apenas um local, o nome Bollywood tem sua origem a partir da cidade onde se concentra a indústria de cinema de língua hindi – Bombaim (atualmente chamada de Mumbai) – e Hollywood, distrito da cidade de Los Angeles, notável pela concentração mundial de empresas da área cinematográfica. Apesar de parecer que Bollywood é uma indústria nova, seguidora da prima americana, que se iniciou no começo do século XX, não é bem assim: o termo foi cunhado na década de 1970, quando a produção de filmes em Bollywood atingiu o recorde de maior produção mundial de títulos por ano (...)

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Arum, Listiyanti Jaya, i Anindya Firda Khairunnisa. "MORE THAN A HOUSE: A GENDER ANALYSIS OF LAHSA’S THE VIOLENCE AGAINST WOMEN ACT (VAWA) HOUSING POLICY". Rubikon : Journal of Transnational American Studies 8, nr 2 (11.10.2021): 122. http://dx.doi.org/10.22146/rubikon.v8i2.69690.

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Homelessness is a chronic problem worldwide, including in the United States. The country’s biggest homeless population occupies major cities like New York and Los Angeles. The fight against homelessness in L.A. has been going on for years, with the homeless population flooding places like Venice Beach, Echo Park, Hollywood, and its most famous homeless encampment, Skid Row. One of the groups constantly vulnerable to the threat of homelessness are women, and the intersection between women's homelessness and domestic violence remains to be a challenging subject. Enriching previous scholarship, this paper critically analyzes housing programs targeting female domestic violence survivors in Los Angeles. In order to get an in-depth examination, the focus is directed to the Violence Against Women Act (VAWA) Housing Policy managed by the Los Angeles Homeless Services Authority (LAHSA). The paper employs gender theory to examine the program’s shortcomings. Using Jeff Hearn’s conception of the ‘public men,’ this paper proposes that the program’s limitations stem from the prevailing patriarchy, which cultivates from home and extends to public policy through the domination of men. Furthermore, the policy is insufficient in combatting women's homelessness due to the absence of programs such as trauma centers, financial security & education program, and childcare unit that are vital to address the unique experience of domestic violence survivors. Thus, evaluation of the housing policy is immediately needed to overcome the problem of homelessness due to domestic violence.

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Dolan, James F., Kerry Sieh, Thomas K. Rockwell, Paul Guptill i Grant Miller. "Active tectonics, paleoseismology, and seismic hazards of the Hollywood fault, northern Los Angeles basin, California". Geological Society of America Bulletin 109, nr 12 (grudzień 1997): 1595–616. http://dx.doi.org/10.1130/0016-7606(1997)109<1595:atpash>2.3.co;2.

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Bethel, A. C. W. "The Unfinished Web". Southern California Quarterly 102, nr 4 (2020): 327–84. http://dx.doi.org/10.1525/scq.2020.102.4.327.

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Early in the twentieth century, Los Angeles’s regional interurban electric railway, the Pacific Electric (PE), developed serious operational problems because the PE had been assembled from separate railroads that hadn’t been designed to fit together, and because Los Angeles’s explosive population growth overtaxed its facilities. The PE wanted to speed its trains and unify its system with a crosstown subway, but in 1923 the Los Angeles City1 Council blocked the PE’s plan and instead commissioned engineers and professional transit planners to devise comprehensive regional transit plans to be operated for the public good, not for private profit. These plans all focused on bringing lots of people downtown quickly, something irrelevant in a decentralizing city. Part I concludes with two seemingly propitious developments: the PE’s opening of its own mile-long but isolated Hollywood Subway, a compromise design but still impressive; and the unveiling of the most detailed and elaborate of the transit plans, as required by the new city charter. Part II, in the next issue, will describe why that comprehensive plan failed, then trace how political, economic, and demographic changes in the 1920s and 30s affected transit planning and why a plan to locate rail rapid transit in freeway medians failed. Part II will end with an examination of the PE’s financial condition as a refutation of a common explanation of the PE’s long decline.

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Nipe, Christine. "Mrs. Siddons' Currency". Theatre Survey 40, nr 2 (listopad 1999): 71–77. http://dx.doi.org/10.1017/s0040557400003562.

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“At last, Hollywood publicists and their high-profile clients have a chance to pay homage to their patron saint, Sarah Siddons,” claimed the August 17–23 issue of The Hollywood Reporter in its story on the concurrent exhibits of portraits of Sarah Siddons this summer at the J. Paul Getty Museum and he Huntington Art Collection (27 July-19 September). Also characterizing Siddons as calculating media mogul, the Los Angeles Times of July 25 compared the fame of the historical tragic actress (1755–1831) to that of current stars like Madonna, O.J., Diana, and even Monica. England's highly respectable muse of tragedy would likely reject these dubious associations, but the first actress of preeminent stature on the English stage was a symbol of female success, the subject of public scrutiny, and an emblem of ideal femininity. Siddons, who achieved celebrity status during an extraordinarily successful, forty-year career in England, Scotland, and Ireland, recently inspired a constellation of events which included not only these two art exhibitions, but a new play produced by Mark Taper Forum and an academic conference at the Huntington as well. In addition to detailing her sublime acting and renowned position in the Georgian theatre, these happenings emphasized Siddons' use of portraiture to cultivate and maintain her celebrity status.

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Read, Barry. "Building Mulholland Highway: The Road to Mulholland Drive". Southern California Quarterly 99, nr 1 (2017): 46–70. http://dx.doi.org/10.1525/scq.2017.99.1.46.

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The scenic highway along the crest of the Santa Monica Mountains that became Mulholland Drive was the brainchild of a group of large property owners, speculators, developers, financiers, and business leaders. This group, organized as the Hollywood Foothills Improvement Association, donated the land for the right-of-way, directed the survey and engineering studies for the roadway, lobbied city officials, convinced small property-holders to approve a municipal improvement district to fund it, and won public support for the project. The scenic drive fostered its members’ real estate goals and the value of their investments. It also promoted tourism in the region and reduced the mountain barrier that had divided the City of Los Angeles from its San Fernando Valley extension.

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Izquierdo, Adriana, Michael Ong, Esmeralda Pulido, Kenmeth B. Wells, Marina Berkman, Barbara Linski, Vivian Sauer i Jeanne Miranda. "Community Partners in Care: 6- and 12-month Outcomes of Community Engagement versus Technical Assistance to Implement Depression Collaborative Care among Depressed Older Adults". Ethnicity & Disease 28, Supp (6.09.2018): 339–48. http://dx.doi.org/10.18865/ed.28.s2.339.

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Objective: Community Partners in Care, a community-partnered, cluster-randomized trial with depressed clients from 95 Los Angeles health and community programs, examined the added value of a community coalition approach (Community Engagement and Planning [CEP]) versus individual program technical assistance (Resources for Services [RS]) to implement depression collaborative care in underserved communities. This exploratory subanalysis examines 6- and 12-month outcomes among CPIC participants aged >50 years.Design: Community-partnered, cluster-randomized trial conducted between April 2010 and March 2012.Setting: Hollywood-Metropolitan (HM) and South Los Angeles (SLA) Service Planning Areas (SPAs), Los Angeles, CaliforniaParticipants: 394 participants aged >50 years with depressive symptoms (8-item Patient Health Questionnaire score ≥ 10).Intervention: A community-partnered multi-sector coalition approach (Community Engagement and Planning [CEP]) vs individual program technical assistance (Resources for Services [RS]) to implement depression collaborative care.Main Outcome Measures: Depressive symptoms (PHQ-8 score), mental health-related quality of life (MHRQL), community-prioritized outcomes including mental wellness, homelessness risk and physical activity, and services utilization.Results: At 6 months, CEP was more effective than RS at improving MHRQL and mental wellness among participants aged >50 years; no differences were found in the effects of CEP vs RS on other outcomes. No significant outcome differences between CEP and RS were found at 12 months.Conclusions: A multisector community coalition approach may offer additional benefits over individual program technical assistance to improve outcomes among depressed adults aged >50 years living in underserved communities. Ethn Dis.2018;28(Suppl 2):339-348; doi:10.18865/ed.28.S2.339.

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Rajadhyaksha, Ashish. "Book Review: Nitin Govil, Orienting Hollywood: A Century of Film Culture between Los Angeles and Bombay". BioScope: South Asian Screen Studies 7, nr 1 (12.05.2016): 119–22. http://dx.doi.org/10.1177/0974927616638167.

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Venis, Linda. "L.A. Novels and the Hollywood Dream Factory: Popular Art's Impact on Los Angeles Literature in the 1940s". Southern California Quarterly 69, nr 4 (1987): 349–69. http://dx.doi.org/10.2307/41171327.

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Brook. "On Ross's Hitler in Los Angeles: How Jews Foiled Nazi Plots Against Hollywood and America". Jewish Film & New Media 6, nr 1 (2018): 128. http://dx.doi.org/10.13110/jewifilmnewmedi.6.1.0128.

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Levine, Debra. "Theodore Kosloff & Cecil B. DeMille". Experiment 20, nr 1 (27.10.2014): 146–95. http://dx.doi.org/10.1163/2211730x-12341262.

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The essay explores a rare and unknown 40-year professional and personal relationship between Russian ballet dancer Theodore Kosloff (1882-1956) and Hollywood director Cecil B. DeMille (1881-1959) told through the prism of the making of DeMille’s Madam Satan (mgm 1930). It tracks Kosloff’s colorful career as a dance entrepreneur, from his Bolshoi Ballet beginnings, to his appearance in the premiere Paris season of Diaghilev’s Ballets Russes, to his eventual relocation to Los Angeles where, starting in 1916, he was an acclaimed character actor in nearly 30 silent movies, primarily directed by DeMille. At the outset of the Depression, with the advent of sound in cinema, DeMille relied upon Kosloff as an artistic advisor to bring to fruition Madam Satan his first and only movie musical. The essay analyzes the high-art roots of Kosloff’s bizarre and exceptional ballet mécanique, Madam Satan’s central dance number staged in a moored zeppelin.

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Norden, Martin F. "“We Are Coming Out to the Light”". Feminist Media Histories 3, nr 4 (2017): 195–203. http://dx.doi.org/10.1525/fmh.2017.3.4.195.

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Lois Weber gave many speeches during her career as a film writer-director, but until now our knowledge of them has been limited to journalistic summaries and brief quoted excerpts. The current article advances our understanding of this dimension of Weber's career (and helps restore her “voice,” in a sense) by providing the text of an entire speech, reconstructed from five primary sources. Weber discussed a wide range of film topics in this public talk, which she delivered to the Los Angeles Woman's Club in July 1913. They included censorship issues, film's educational possibilities, her interest in greater authenticity in films, and her desire to uplift films and to correct the misinformation surrounding what she called “the glamour and danger of motion picture work.” It typifies the many speeches she gave to audiences made up of women who shared her interest in raising the standards of Hollywood and its products.

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Marti, Gerardo. "The Adaptability of Pentecostalism: The Fit between Prosperity Theology and Globalized Individualization in a Los Angeles Church". Pneuma 34, nr 1 (2012): 5–25. http://dx.doi.org/10.1163/157007412x621662.

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Abstract A main theme in the study of global Pentecostalism is its adaptability to the modern world system; yet, the way in which adaptability “works” is not well theorized. Hannah Arendt’s analysis of “the private and public realm” and Ulrich Beck’s description of “individualization and self-culture” offer heuristic frameworks for understanding how prosperity theology is well-suited to macro-historical patterns that address the growing individualization of everyday life, especially in relation to uncertain career paths and risk-oriented work structures. Arendt’s and Beck’s theoretical conceptualizations move away from sect-like notions of Pentecostals cultivating a bounded system among the non-Spirit-filled natives. Instead, their theoretical conceptualizations reveal Pentecostalism — especially in its prosperity orientation — to be fully compatible with individualization processes experienced by and demanded from today’s workers. A case study of the ministry of Oasis Christian Center to Hollywood entertainment industry workers illustrates connections between the Prosperity/Word of Faith orientation of the congregation and overarching processes of individualization.

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Rosenzweig, Laura. "Hitler in Los Angeles: How the Jews Foiled Nazi Plots Against Hollywood and America by Steven J. Ross". American Jewish History 103, nr 2 (2019): 246–48. http://dx.doi.org/10.1353/ajh.2019.0027.

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Lucas, Leopold. "The ordinary – extraordinary dialectics in tourist metropolises". International Journal of Tourism Cities 5, nr 1 (4.03.2019): 17–34. http://dx.doi.org/10.1108/ijtc-12-2017-0082.

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PurposeStarting from the hypothesis of an ordinary/extraordinary tension that drives the link between tourist places and non-tourist places, this paper discusses the issue of tourist spatial delimitations. Rather than take such an issue for granted, the paper argues that the author needs to understand how the different actors within the tourism system create specific delimitations and how tourists deal with these delimitations. To pinpoint these tourist spatial delimitations, this paper considers three types of discourses: the discourse of local promoters, the discourse of guidebooks and the discourse of tourists. The purpose of this paper is to explain not only the tourist delimitations established by these actors but also the concordance between the guidebooks’ prescriptions, the public actors’ strategies and the tourists’ practices. In this empirical investigation, the author uses the case of Los Angeles and focuses more specifically on the two main tourist places within the agglomeration: Hollywood and Santa Monica. The argument supports the idea that political actors tend to develop what the author could consider a tourist secession, as the author tends to precisely delimit the designated area for the sake of efficiency. Guidebooks, which the author must consider because they are true and strong prescribers of tourist practices, draw their own tourist neighbourhoods. Finally, most tourists in Los Angeles conform to these delimitations and do not venture off the beaten track.Design/methodology/approachThis paper examines three types of discourses: the discourse of local tourism promoters, the discourse of tourist guidebooks and the discourse of tourists. The purpose of the study is to explain not only the tourist delimitations established by these actors but also the concordance between the guidebooks’ prescriptions, the public actors’ strategies and the tourists’ practices. To conduct this analysis, this paper relied on an empirical survey (Lucas, 2014b) whose methodology used a range of different techniques. First, interviews with Convention and Visitors Bureau managers were performed to understand the delimitations established by the institutional actors directly in charge of the tourist development of those places. Second, the second kind of discourse considered here is that in guidebooks. Los Angeles is often included in guidebooks about California in general, albeit with a much shorter number of pages. Although all guidebooks were considered, the study mostly focused on those specifically dedicated to Los Angeles (Time Out,Rough GuideandLonely Planet) to conduct a thick analysis of their discourses and to note the spatial delimitations that they established. The author must regard guidebooks as the prescribers of practices because they represent a source of information for tourists. The aim is to determine how tourists follow – or do not follow – the recommendations of guidebooks. Third, to understand these practices, the paper considers numerous interviews (approximately seventy) conducted with tourists.FindingsThus, in these two examples, the author has distinguished powerful delimitations of the tourist places created by promoters through their discourse, which provides information on how they promote the place through urban planning. This tourist staging, and all the specific processing of the place, contributes to a clear distinction between these places and the rest of the urban environment, allowing a very precise definition. The distinction is made from one street to another. However, these delimitations are mainly defined by the practices of the tourists: they have a very selective way of dealing with the public space of the two places concerned. They validate, update and thus make relevant the limits established by the institutional operators, sometimes performing even stricter operations of delimitation. This way of dealing with space is observed in the urban planning and in the discourses on the tourist places expressed in the guidebooks. There are no tactics to bypass, divert and subvert the spatial configuration settled by local authorities and guidebooks; tourists do not attempt to discover new places or to go off the beaten track (Maitland and Newman, 2009). Yet, this is not the only explanation for the way in which tourists occupy a place. Although the guidebooks perform the operations of delimitation and rank places (insisting on one place over another and highlighting what should be seen, where to go, etc.), they also exhaustively present the practices that one can perform, and how tourists deal with space either hints at their disregard of these tools or at individuals’ selection based on the information given. In Hollywood, as in Santa Monica, while the guidebooks exhaustively enumerate the numerous sites that might be interesting for tourist practices, the author observes a very important and discriminating concentration of these tourist practices within a precisely delimited perimeter, respectively, the Walk of Fame and the Ocean Front Walk: tourists walk from one street to another and from a full to an empty space. Thus, the author can support the idea that how tourists cope with space are temporary, delimited by highly targeted practices and restricted only to a few tourist places.Originality/valueWhat about the ordinary/extraordinary dialectic? Most tourists do not look for something ordinary; yet, the entirety of what could be considered as “extraordinary” in one metropolis is not included in its tourism space. On the contrary, tourist places can also be seen as “ordinary.” Nevertheless, there is clearly a distinction observed through the discourses, but also in the practices, between an “inside” and an “outside” and between something extraordinary and one’s ordinary environment. One can interpret this result as an actual confirmation of the classic combination (tourist/sight/marker) that constitutes a “tourist attraction” (MacCannell, 1976, p. 44), which concerns a very specific way of dealing with space in Los Angeles. Tourists do not practice Los Angeles as the author might assume that they would typically practice other metropolises, e.g. strolling down the streets randomly. The two places examined in this paper are open to that kind of practice. One can consider that these places have a higher degree of urbanity than the average area of Los Angeles precisely because there are tourists. The density in terms of buildings is (relatively) more important and accompanied by a narrative construction of the urban space (the historic dimension of the buildings), and the public space has undergone specific urban planning and given special consideration, at least greater consideration than elsewhere. In these places, the author finds a concentration of population – the metropolitan crowd – that is otherwise very rare in Los Angeles. However, the tourists seem to have a limited interest in these attractions. These classic characteristics of urbanity do not seem to be regarded positively by a certain number of tourists and are not taken into consideration by tourists. This observation contrasts somewhat with the idea that dwelling touristically in a metropolis primarily entails the discovery of its urbanity (Equipe MIT, 2005). Discovering Los Angeles does not consist of experiencing the local society and of exploring the urban space but, rather, of performing specific practices in Los Angeles (seeing the Hollywood sign and the Stars and walking along the famous beaches). Two approaches can help us understand this gap: considering Los Angeles as a specific case or considering that the spatial configuration of Los Angeles enables us to bring out the logic at work in other metropolises but that would be too complex to distinguish here. Perhaps, the author finds both elements, and this reflection must invite the author to continue the discussion on the logic of tourists’ practice of metropolises: are they really looking for a maximal urbanity during their metropolitan experiences?

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