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| columbia pictures logo history: Columbia Pictures Bernard F. Dick, 2021-10-19 Drawing on previously untapped archival materials including letters, interviews, and more, Bernard F. Dick traces the history of Columbia Pictures, from its beginnings as the CBC Film Sales Company, through the regimes of Harry Cohn and his successors, and ending with a vivid portrait of today's corporate Hollywood. The book offers unique perspectives on the careers of Rita Hayworth and Judy Holliday, a discussion of Columbia's unique brands of screwball comedy and film noir, and analyses of such classics as The Awful Truth, Born Yesterday, and From Here to Eternity. Following the author's highly readable studio chronicle are fourteen original essays by leading film scholars that follow Columbia's emergence from Poverty Row status to world class, and the stars, films, genres, writers, producers, and directors responsible for its transformation. A new essay on Quentin Tarantino's Once Upon a Time...in Hollywood rounds out the collection and brings this seminal studio history into the 21st century. Amply illustrated with film stills and photos of stars and studio heads, Columbia Pictures is the first book to integrate history with criticism of a single studio, and is ideal for film lovers and scholars alike. |
| columbia pictures logo history: Screen Gems Jeb H. Perry, 1991 Features a lengthy and detailed corporate history of the studio, which began as an obscure producer of TV commercials. It rapidly evolved into a leader in program packaging, music publishing, audience studies, and TV broadcasting. Includes a program chronology listing the premiere and cancellation dates of every production. |
| columbia pictures logo history: Moe Howard & the 3 Stooges Moe Howard, 1977 A narrative and photographic account of the career of the popular slapstick team in vaudeville, movies, and television--Amazon. |
| columbia pictures logo history: Columbia Pictures Movie Series, 1926-1955 Gene Blottner, 2011-12-22 Blondie, Boston Blackie, Ellery Queen, The Lone Wolf, Gasoline Alley, Jungle Jim... There were 27 film series produced and released by Columbia Pictures from 1926 through 1955. This reference book covers the origins of the popular fictional characters featured, as well as their appearances in other media (comics, novels, radio and television). Also provided are thumbnail biographies of the actors who brought these characters to life. The films themselves are examined in detail, with release dates, cast and production credits, synopses, reviews, the author's summation, the publicity tag lines, and the songs heard. Additionally, most of the outdoor locations used in filming such Columbia western series as Wild Bill Saunders and The Durango Kid are identified. |
| columbia pictures logo history: Columbia Pictures Jim Pauley, 2024-10-15 Columbia Pictures reaches a major milestone in 2024 by celebrating the 100-year anniversary of Columbia’s incorporation. In the same vein of recent Hollywood movie studio titles such as Warner Bros.: Hollywood’s Ultimate Backlot, Paramount: City of Dreams, and MGM: Hollywood’s Greatest Backlot, this new book documents the studio history of Columbia Pictures Corporation in Hollywood, as well as Columbia’s back lot in Burbank, California. This book reveals how Columbia came to be founded by Joe Brandt and brothers Harry and Jack Cohn in 1924, and uses the “studio tour” concept to describe Columbia's history of filmmaking, which includes Lost Horizon, Mr. Smith Goes to Washington, From Here to Eternity, The Bridge on the River Kwai, as well as many serials and television programs. The book has hundreds of photos, including studio documents, vintage publicity stills, and candids, along with aerial views and maps. The majority of the photos have never been published before. |
| columbia pictures logo history: The Columbia Story Clive Hirschhorn, 1999 Since 1924, Columbia Pictures has made over 3,000 movies, becoming one of the most successful studios of Hollywood's Golden Age. Every one of those movies, from It Happened One Night to Men In Black, appears in noted film critic Clive Hirschhorn's grandly oversize, picture-filled book. Also included are a synopsis, casting, lively critical commentary, running time, and an extensive timeline of every Columbia film that ever won, or received, a nomination for an Oscar. Excellent.--Publishers Weekly. |
| columbia pictures logo history: Hit and Run Nancy Griffin, Kim Masters, 1997-06-17 Tells the story of Sony Corporation's failed attempt to enter the Hollywood scene by hiring Jon Peters and Peter Gruber, whose involvement with successful films had been minimal at best, to run its newly acquired Columbia Pictures in 1989. |
| columbia pictures logo history: "It's the Pictures That Got Small" Charles Brackett, 2014-12-16 “Brackett’s diaries read like a funnier, better-paced version of Barton Fink.” —Newsweek Screenwriter Charles Brackett is best remembered as the writing partner of director Billy Wilder, who once referred to the pair as “the happiest couple in Hollywood,” collaborating on such classics as The Lost Weekend and Sunset Boulevard. He was also a perceptive chronicler of the entertainment industry, and in this annotated collection of writings from dozens of Brackett’s unpublished diaries, film historian Anthony Slide clarifies Brackett's critical contribution to Wilder’s films and enriches our knowledge of Wilder’s achievements in writing, direction, and style. Brackett’s diaries re-create the initial meetings of the talent responsible for Ninotchka, Hold Back the Dawn, Ball of Fire, The Major and the Minor, Five Graves to Cairo, The Lost Weekend, and Sunset Boulevard, recounting the breakthroughs and the breakdowns that ultimately forced these collaborators to part ways. In addition to a portrait of Wilder, this is rare view of a producer who was a president of the Academy of Motion Picture Arts and Sciences and the Screen Writers Guild, a New Yorker drama critic, and a member of the Algonquin Round Table. With insight into the dealings of Paramount, Universal, MGM, and RKO, and legendary figures such as Alfred Lunt, Lynn Fontanne, Edna Ferber, and Dorothy Parker, this book reveals the political and creative intrigue at the heart of Hollywood’s most significant films. “A fascinating look at Hollywood in its classic period, and a unique and indispensable must-have for any movie buff.” —Chicago Tribune “This feels as close as we can get to being in the presence of Wilder’s genius, and he emerges as the cruelest as well as the wittiest of men.” —The Guardian “Not only rare insight into their often-stormy partnership but also an insider’s view of Hollywood during that era.” —Los Angeles Times “Very entertaining.” —Library Journal |
| columbia pictures logo history: The Columbia Comedy Shorts Ted Okuda, Edward Watz, 2013-10-29 Columbia produced over 500 two-reel shorts from 1933 through 1958, with Hollywood's finest comics (the Three Stooges, Andy Clyde, Buster Keaton, Harry Langdon, Charley Chase, others). Fully illustrated with never-before-published photographs, the book chronicles the history of all, including interviews with the veterans. The filmography covers all of the 526 two-reelers: credits, date, synopsis. |
| columbia pictures logo history: Marriage Story , 2019-12 Each volume contains film stills, set photography, quotes from the cast and the filmmakers, Introductions, copies of handwritten notes by Adam Driver (Charlie) and Scarlett Johansson (pink) giving their perspectives on who the other character is. In envelopes adhered to front paste-downs of each other's volumes. |
| columbia pictures logo history: The Big Picture Ben Fritz, 2018 A chronicle of the massive transformation in Hollywood since the turn of the century and the huge changes yet to come, drawing on interviews with key players, as well as documents from the 2014 Sony hack |
| columbia pictures logo history: Stuart Little M. Night Shyamalan, Greg Brooker, Linda Sunshine, 2000-01-19 The official tie-in to Columbia Pictures' hit holiday movie, from the co-director of the animated hit The Lion King—with over 200 illustrations, the script and story behind Sony Pictures Imageworks' latest state-of-the-art computer and imaging wizardry that brought E.B. White's classic mouse to life on-screen. Though only a three-inch mouse, Stuart Little represents as huge an advance in filmmaking as his long-ago predecessor, a mouse named Mickey. Now digital characters, complete with personality performance and lifelike qualities, share the screen with live actors—both human and feline. All of these elements were combined to make a seamless film. The result is nothing short of astonishing. How did they do that? Stuart Little: The Movie and the Moviemakers answers that question in stunning detail. Including the shooting script, and illustrated throughout with photos, paintings, blueprints, line drawings, computer graphics, and footnotes, this book explains how the movie incorporates groundbreaking visual effects technology in the realm of photo-realism by the artists and innovators of Sony Pictures Imageworks. The book also details the development of innovative software by Alias/Wavefront and other leading digital firms. For film buffs and fans of Stuart, Stuart Little: The Movie and the Moviemakers is a joyful celebration of the evolution of E.B. White's beloved 1940s classic mouse into an actor for the new millennium. The cast features: Geena Davis as Mrs. Little, Hugh Laurie as Mr. Little, Jonathan Lipnicki as George, Michael J. Fox as the voice of Stuart, Nathan Lane as the voice of Snowbell the Cat. Filmmakers include: Director Rob Minkoff (The Lion King), Producer Douglas Wick Wolf, Working Girl), Special Effect Supervisor Jerome Chen (Contact), Senior Visual Effects Supervisor John Dykstra (Star Wars: A New Hope), Animation Director Henry Anderson (Coca Cola's Polar Bears). |
| columbia pictures logo history: Questions for the Movie Answer Man Roger Ebert, 1997-06 What was in the briefcase in Pulp Fiction? Why don't movie actors wear seat belts? Was Fargo really based on a true story? Pulitzer Prize-winning film critic Roger Ebert answers these and hundreds more. Using wit, insight, and dozens of other experts, he resolves some of the most common questions about the moviesand some of the most bizarre. |
| columbia pictures logo history: Deals from Hell Robert F. Bruner, 2009-04-08 A detailed look at the worst M&A deals ever and the lessons learned from them It's common knowledge that about half of all merger and acquisition (M&A) transactions destroy value for the buyer's shareholders, and about three-quarters fall short of the expectations prevailing at the time the deal is announced. In Deals from Hell, Robert Bruner, one of the foremost thinkers and educators in this field, uncovers the real reasons for these mishaps by taking a closer look at twelve specific instances of M&A failure. Through these real-world examples, he shows readers what went wrong and why, and converts these examples into cautionary tales for executives who need to know how they can successfully navigate their own M&A deals. These page-turning business narratives in M&A failure provide much-needed guidance in this area of business. By addressing the key factors to M&A success and failure, this comprehensive guide illustrates the best ways to analyze, design, and implement M&A deals. Filled with in-depth insights, expert advice, and valuable lessons gleaned from other M&A transactions, Deals from Hell helps readers avoid the common pitfalls associated with this field and presents them with a clear framework for thinking about how to make any M&A transaction a success. |
| columbia pictures logo history: The White Brothers David N. Bruskin, Jack White, Jules White, Sam White, 1990 ...valuable and fascinating....marvelous insight into the frantic schedules and cost-cutting that dictated the production style of the Columbia two-reelers from the 1930s to the late Fifties. --FILMFAX |
| columbia pictures logo history: Bio-pics Ellen Cheshire, 2014-12-16 Bio-pics: A Life in Pictures offers a series of case studies which throw light on this most unique of genres. Is the bio-pic a genre in its own right? Or are such films merely footnotes in other more traditional genres such as the western or costume drama, depending on the historical figure under scrutiny. Unlike other genre forms bio-pics seemingly share no familiar iconography, codes or conventions. They can be set anywhere and at any time. What links them is quite simply that the films depict the life of an 'important' person. Through a carefully selected range of thematically linked (English-language) bio-pics released since 1990 this book explores key issues surrounding their resurgence, narrative structure, production, subject representation or misrepresentation, and critical response. The films under discussion are grouped around a profession (writers, singers, politicians, sportsmen, criminals, artists) allowing for comparisons to be drawn in approaches to similar subject matter. |
| columbia pictures logo history: Indecent Exposure David McClintick, 2002-12-03 When the head of Columbia Pictures, David Begelman, got caught forging Cliff Robertson's name on a $10,000 check, it seemed, at first, like a simple case of embezzlement. It wasn't. The incident was the tip of the iceberg, the first hint of a scandal that shook Hollywood and rattled Wall Street. Soon powerful studio executives were engulfed in controversy; careers derailed; reputations died; and a ruthless, take-no-prisoners corporate power struggle for the world-famous Hollywood dream factory began. First published in 1982, this now classic story of greed and lies in Tinseltown appears here with a stunning final chapter on Begelman's post-Columbia career as he continued to dazzle and defraud . . . until his last hours in a Hollywood hotel room, where his story dramatically and poignantly would end. |
| columbia pictures logo history: The Art of the Hollywood Backdrop Richard M. Isackes, Karen L. Maness, 2016-11 Once a guarded cinematic secret, this definitive history reveals for the first time the art and craft of Hollywood's hand painted-backdrops, and pays homage to the scenic artists who brought them to the big screen. -- Slipcase. |
| columbia pictures logo history: Columbia Pictures Horror, Science Fiction and Fantasy Films, 1928-1982 Michael R. Pitts, 2014-01-10 From 1928 through 1982, when Columbia Pictures Corporation was a traded stock company, the studio released some of the most famous and popular films dealing with horror, science fiction and fantasy. This volume covers more than 200 Columbia feature films within these genres, among them Close Encounters of the Third Kind, The 7th Voyage of Sinbad, Earth vs. the Flying Saucers and The Revenge of Frankenstein. Also discussed in depth are the vehicles of such horror icons as Boris Karloff, Bela Lugosi, and John Carradine. Additionally highlighted are several of Columbia's lesser known genre efforts, including the Boston Blackie and Crime Doctor series, such individual features as By Whose Hand?, Cry of the Werewolf, Devil Goddess, Terror of the Tongs and The Creeping Flesh, and dozens of the studio's short subjects, serials and made-for-television movies. |
| columbia pictures logo history: Focus On: 100 Most Popular Television Series by Sony Pictures Television Wikipedia contributors, |
| columbia pictures logo history: Hollywood Studios Tommy Dangcil, 2007 Just after the turn of the 20th century, the motion picture industry moved to the West Coast, and the largest land of make-believe was created in Hollywood, California. From the silent-era beginnings of primitive, open-air stages to the fabled back lots of the studios' heyday, Hollywood Studios presents a bygone era of magical moviemaking in rare postcards. Assembled from the author's private collection, these images from the Chaplin Studios to Metro-Goldwyn Mayer depict an insider's look back at the dream factories known as the Hollywood studios. |
| columbia pictures logo history: You're Only as Good as Your Next One Mike Medavoy, 2013-06-25 “An under-read and engaging show-biz memoir.” –The New Yorker If I had a talent for anything, it was a talent for knowing who was talented. Mike Medavoy is a Hollywood rarity: a studio executive who, though never far from controversy, has remained well loved and respected through four decades of moviemaking. What further sets him apart is his role in bringing to the screen some of the most acclaimed Oscar-winning films of our time: Apocalypse Now, One Flew Over the Cuckoo's Nest, Amadeus, The Silence of the Lambs, Philadelphia, and Sleepless in Seattle are just some of the projects he green-lighted at United Artists, Orion, TriStar, his own Phoenix Pictures. The ultimate lose-lose situation for a studio executive: to wind up with a commercial bomb and a bad movie. Of course, there are the box office disasters, and the films, as Medavoy says, for which I should be shot. They, too, have a place in his fascinating memoir -- a pull-no-punches account of financial and political maneuvering, and of working with the industry's brightest star power, including Steven Spielberg, Martin Scorsese, Francis Ford Coppola, Kevin Costner, Robert De Niro, Jodie Foster, Sharon Stone, Michael Douglas, Meg Ryan, and countless others. Putting together the elements of a film is a succession of best guesses. Medavoy speaks out on how movie studio buyouts have stymied the creative process and brought an end to the hands-off golden age of filmmaking. An eyewitness to Hollywood history in the making, he gives a powerful and poignant view of the past and future of a world he knows intimately. |
| columbia pictures logo history: Crime and Spy Jazz on Screen, 1950-1970 Derrick Bang, 2020-04-01 Henry Mancini's Peter Gunn theme. Lalo Schifrin's Mission: Impossible theme. John Barry's arrangement of the James Bond theme. These iconic melodies have remained a part of the pop culture landscape since their debuts in the late 1950s and early '60s: a golden decade that highlighted an era when movie studios and TV production companies employed full orchestral ensembles to provide a jazz backdrop for the suspenseful adventures of secret agents, private detectives, cops, spies and heist-minded criminals. Hundreds of additional films and television shows made during this period were propelled by similarly swinging title themes and underscores, many of which have (undeservedly) faded into obscurity. This meticulously researched book traces the embryonic use of jazz in mainstream entertainment from the early 1950s--when conservative viewers still considered this genre the devil's music--to its explosive heyday throughout the 1960s. Fans frustrated by the lack of attention paid to jazz soundtrack composers--including Jerry Goldsmith, Edwin Astley, Roy Budd, Quincy Jones, Dave Grusin, Jerry Fielding and many, many others--will find solace in these pages (along with all the information needed to enhance one's music library). The exploration of action jazz continues in this book's companion volume, Crime and Action Jazz on Screen Since 1971. |
| columbia pictures logo history: The New Historical Dictionary of the American Film Industry Anthony Slide, 2014-02-25 The New Historical Dictionary of the American Film Industry is a completely revised and updated edition of Anthony Slide's The American Film Industry, originally published in 1986 and recipient of the American Library Association's Outstanding Reference Book award for that year. More than 200 new entries have been added, and all original entries have been updated; each entry is followed by a short bibliography. As its predecessor, the new dictionary is unique in that it is not a who's who of the industry, but rather a what's what: a dictionary of producing and releasing companies, technical innovations, industry terms, studios, genres, color systems, institutions and organizations, etc. More than 800 entries include everything from Academy of Motion Pictures Arts and Sciences to Zoom Lens, from Astoria Studios to Zoetrope. Outstanding Reference Source - American Library Association |
| columbia pictures logo history: Death of the Moguls Wheeler Winston Dixon, 2012-08-28 Death of the Moguls is a detailed assessment of the last days of the “rulers of film.” Wheeler Winston Dixon examines the careers of such moguls as Harry Cohn at Columbia, Louis B. Mayer at MGM, Jack L. Warner at Warner Brothers, Adolph Zukor at Paramount, and Herbert J. Yates at Republic in the dying days of their once-mighty empires. He asserts that the sheer force of personality and business acumen displayed by these moguls made the studios successful; their deaths or departures hastened the studios’ collapse. Almost none had a plan for leadership succession; they simply couldn't imagine a world in which they didn’t reign supreme. Covering 20th Century-Fox, Selznick International Pictures, Metro-Goldwyn-Mayer, Paramount Pictures, RKO Radio Pictures, Warner Brothers, Universal Pictures, Republic Pictures, Monogram Pictures and Columbia Pictures, Dixon briefly introduces the studios and their respective bosses in the late 1940s, just before the collapse, then chronicles the last productions from the studios and their eventual demise in the late 1950s and early 1960s. He details such game-changing factors as the de Havilland decision, which made actors free agents; the Consent Decree, which forced the studios to get rid of their theaters; how the moguls dealt with their collapsing empires in the television era; and the end of the conventional studio assembly line, where producers had rosters of directors, writers, and actors under their command. Complemented by rare, behind-the-scenes stills, Death of the Moguls is a compelling narrative of the end of the studio system at each of the Hollywood majors as television, the de Havilland decision, and the Consent Decree forced studios to slash payrolls, make the shift to color, 3D, and CinemaScope in desperate last-ditch efforts to save their kingdoms. The aftermath for some was the final switch to television production and, in some cases, the distribution of independent film. |
| columbia pictures logo history: King Cohn Bob Thomas, 2000 In today's cutthroat world of multimillion-dollar movies, Cohn is a man of mythic proportions. In this revised show-biz classic, Thomas reinstates material omitted from the book's first publication for being too controversial--information that adds to the mystery of Cohn's compelling persona. 8-page photo insert. |
| columbia pictures logo history: Catalog of Copyright Entries Library of Congress. Copyright Office, 1956 |
| columbia pictures logo history: Cinema and Inter-American Relations Adrián Pérez Melgosa, 2012 Cinema and Inter-American Relations studies the key role that commercial narrative films have played in the articulation of the political and cultural relationship between the United States and Latin America since the onset of the Good Neighbor policy (1933). As a result, it reveals the existence of a continued cinematic conversation between Anglo and Latin America about a cluster of shared allegories representing the continent and its cultures. |
| columbia pictures logo history: Catalog of Copyright Entries. Part 1. [C] Group 3. Dramatic Composition and Motion Pictures. New Series Library of Congress. Copyright Office, 1941 |
| columbia pictures logo history: Shared Pleasures Douglas Gomery, 1992 Gomery (The coming of sound to the American cinema, 1975; The Hollywood studio system, 1986) draws upon his earlier work and that of other scholars to address the broader social functions of the film industry, showing how Hollywood adapted its business policies to diversity and change within American society. Includes 31 bandw photographs. Paper edition (unseen), $15.95. Annotation copyrighted by Book News, Inc., Portland, OR |
| columbia pictures logo history: Lonelyhearts Marion Meade, 2010-03-10 A “breezily entertaining” look at the comic couple who hobnobbed with Dorothy Parker, S. J. Perelman, Bennett Cerf, and other luminaries of their day (The New York Times Book Review). Nathanael West—author, screenwriter, playwright—was famous for two masterpieces: Miss Lonelyhearts and The Day of the Locust, which remains one the most penetrating novels ever written about Hollywood. He was also one of the most gifted and original writers of his generation, a scathing satirist whose insight into the brutalities of modern life proved prophetic. Eileen McKenney—accidental muse, literary heroine—grew up corn-fed in the Midwest and moved to Manhattan’s Greenwich Village when she was twenty-one. The inspiration for her sister Ruth’s stories in the New Yorker under the banner of “My Sister Eileen,” she became an overnight celebrity, and her star eventually crossed with that of the man she would impulsively marry. Together, Nathanael and Eileen had entrée into a social circle that included F. Scott Fitzgerald, Dashiell Hammett, Katharine White, and many of the literary, theatrical, and film luminaries of the era. But their carefree, offbeat Broadway-to-Hollywood love story would flame out almost as soon as it began. Now, with “a great marriage of scholarship and gossip” (Minneapolis Star-Tribune), this biography restores West and McKenney to their rightful place in the popular imagination, offering “a shrewd portrait of two people who in their different ways were noteworthy participants in American culture during one of its liveliest periods” (Los Angeles Times). “Opens a window onto the lives of writers in 1930s America as they struggled with anxieties, pretensions, temptations and myths that confound our culture to this day.” —Salon.com “The first to fully chronicle and entwine these careening lives, Meade forges an engrossing, madcap, and tragic American story of ambition, reinvention, and risk.” —Booklist, starred review |
| columbia pictures logo history: How to Read a Film James Monaco, 2009-05-08 Richard Gilman referred to How to Read a Film as simply the best single work of its kind. And Janet Maslin in The New York Times Book Review marveled at James Monaco's ability to collect an enormous amount of useful information and assemble it in an exhilaratingly simple and systematic way. Indeed, since its original publication in 1977, this hugely popular book has become the definitive source on film and media. Now, James Monaco offers a special anniversary edition of his classic work, featuring a new preface and several new sections, including an Essential Library: One Hundred Books About Film and Media You Should Read and One Hundred Films You Should See. As in previous editions, Monaco once again looks at film from many vantage points, as both art and craft, sensibility and science, tradition and technology. After examining film's close relation to other narrative media such as the novel, painting, photography, television, and even music, the book discusses the elements necessary to understand how films convey meaning, and, more importantly, how we can best discern all that a film is attempting to communicate. In addition, Monaco stresses the still-evolving digital context of film throughout--one of the new sections looks at the untrustworthy nature of digital images and sound--and his chapter on multimedia brings media criticism into the twenty-first century with a thorough discussion of topics like virtual reality, cyberspace, and the proximity of both to film. With hundreds of illustrative black-and-white film stills and diagrams, How to Read a Film is an indispensable addition to the library of everyone who loves the cinema and wants to understand it better. |
| columbia pictures logo history: Creativity and Innovation in the Music Industry Peter Tschmuck, 2012-03-14 Why did jazz become a dominant popular music genre in the 1920s and rock 'n' roll in the 1950s? Why did heavy metal, punk rock and hiphop find their way from sub-cultures to the established music industry? What are the effects of new communication technologies and the Internet on the creation of music in the early 21st century? These and other questions are answered by Peter Tschmuck through an integrated model of creativity and innovation that is based on an international history of music industry since Thomas A. Edison invented the phonograph in 1877. Thus, the history of the music industry is described in full detail. By discussing the historic process of music production, distribution and reception the author highlights several revolutions in the music industry that were caused by the inference of aesthetic, technological, legal, economic, social and political processes of change. On the basis of an integrated model of creativity and innovation, an explanation is given on how the processes and structures of the present music industry will be altered by the ongoing digital revolution, which totally changed the value-added network of the production, dissemination and use of music. For the second edition, the author has reworked chapter 9 in order to include all the developments which shaped the music industry in the first decade of the 21st century – from Napster to cloud-based music services and even beyond. |
| columbia pictures logo history: Catalog of Copyright Entries. Third Series Library of Congress. Copyright Office, 1968 Includes Part 1, Number 2: Books and Pamphlets, Including Serials and Contributions to Periodicals July - December) |
| columbia pictures logo history: The Globetrotting Shopaholic Annessa Ann Babic, Tanfer Emin Tunc, 2009-10-02 The thrust of the literature on consumer space and society focuses on product labeling, marketing techniques and approaches to branding, as well as how mass consumer culture has reshaped individuals' interaction with needs and desires. Globetrotting Shopaholics departs from this current discourse by examining both consumption venues and the cultural, political and social reasons why we consume. It elucidates international trends in consumption politics, and how they impact the creation of consumer spaces, which, in this book, takes the form of numerous global loci including Canada's West Edmonton Mall, Japanese theme parks, shopping venues in the Philippines, and expat boutiques in Budapest. Using a wide range of epistemological frameworks including cultural ethnography, historical analysis, literary theory, sociological dissection, anthropological examination, and philosophical ruminations, this collection conveys how material objects and lifestyles are accumulated and represented internationally, and how consumer goods and spaces define who we are as human beings. |
| columbia pictures logo history: 360 Sound Sean Wilentz, 2012-11-14 For 125 years, Columbia Records has remained one of the most vibrant and storied names in prerecorded sound, nurturing the careers of legends such as Bessie Smith, Frank Sinatra, Barbra Streisand, Miles Davis, Bob Dylan, Johnny Cash, Bruce Springsteen, Beyoncé, and many more. Written by distinguished historian Sean Wilentz, 360 Sound tells the story of the label's rich history as it interweaves threads of technical and social change with the creation of some of the greatest albums ever made. Featuring over 300 rare and revealing images from the Columbia archives, this lavishly illustrated celebration is a must-have for any serious music fan. |
| columbia pictures logo history: Columbia University and Morningside Heights Michael V. Susi, 2007 Outgrowing its remarkably shortlived location in midtown Manhattan, Columbia College moved uptown in the mid1890s, not only transforming itself into an urban university under university president Seth Low, but also creating an urban campus guided by Charles McKim, William Rutherford Mead, and Stanford White's master plan. The university became a major constituent of what would be described as New York's Acropolis on Morningside Heights. It was preceded in this endeavor by the Cathedral Church of St. John the Divine and St. Luke's Hospital, and it was soon joined by Barnard College, Teachers College, and Union Theological Seminary, among others. The arrival of the Interborough Rapid Transit Subway in 1904 spurred residential and retail development. |
| columbia pictures logo history: They Live D. Harlan Wilson, 2014-12-16 Born out of the cultural flamboyance and anxiety of the 1980s, They Live (1988) is a hallmark of John Carpenter's singular canon, combining the aesthetics of multiple genres and leveling an attack against the politics of Reaganism and the Cold War. The decision to cast the professional wrestler Rowdy Roddy Piper as his protagonist gave Carpenter the additional means to comment on the hypermasculine attitudes and codes indicative of the era. This study traces the development of They Live from its comic book roots to its legacy as a cult masterpiece while evaluating the film in light of the paranoid/postmodern theory that matured in the decidedly Big 80s. Directed by a reluctant auteur, the film is examined as a complex work of metafiction that calls attention to the nature of cinematic production and reception as well as the dynamics of the cult landscape. |
| columbia pictures logo history: The American Worker on Film Doyle Greene, 2014-01-10 An examination of the cinematic and cultural discourse surrounding work, the worker, organized labor, and the working class in 20th century America, this book analyzes a number of films within the historical context of labor and politics. Looking at both comedies (Modern Times, Gung Ho, Office Space) and dramas (The Grapes of Wrath, On the Waterfront, F.I.S.T., Blue Collar, Norma Rae, and Matewan), it reveals how these films are not merely products of their times, but also producers of ideological stances concerning the status of capitalism, class struggle, and democracy in America. Common themes among the films include the myth of the noble worker, the shifting status of the American Dream, and the acceptability of reform versus the unacceptability of revolution in affecting economic, political, and social change in America. |
| columbia pictures logo history: In the Company of Legends Joan Kramer, David Heeley, Richard Dreyfuss, 2015-04-16 Starting with their award winning profiles of Fred Astaire in 1980, Joan Kramer and David Heeley documented the lives and careers of many Hollywood legends, establishing a reputation for finding the un-findable, persuading the reluctant, and maintaining unique relationships long after the end credits rolled. These were recognized as high-quality, definitive film portraits, which revitalized the genre and made it a mainstay of television programming. This is their insiders’ view of the famous and the powerful: Katharine Hepburn, James Stewart, Johnny Carson, Frank Sinatra, Lew Wasserman, Ronald Reagan, Paul Newman, Joanne Woodward, Jane Fonda, Richard Dreyfuss, Audrey Hepburn, and Bette Davis, among others. Kramer and Heeley’s behind the scenes stories of the productions and the personalities involved are amusing, sometimes moving, often revealing, and have never been told before. |
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Find a Columbia Sportswear location near you. spacer. Shop. Columbia 166 stores in United States. Find a Location. All stores; Alabama (1) Arizona (3) California (22) Colorado (6) …
Shop Women's Clothing - Columbia Sportswear
Shop Columbia's full selection of women's clothing and accessories, including jackets, shirts, pants, shoes, and more. 25-40% off almost everything.
Web Deals - Online Deals - Columbia Sportswear
Shop online through the official Columbia Sportswear website. Find men's jackets, shoes, men's boots, pants, fleece sweaters and shirts.
Columbia Sportswear | Miami, Florida
Columbia 1 store in Miami. Find a Location. All stores; Florida; Miami; Columbia Factory Store. Open Now closes at 9:00 PM. 11401 Northwest 12th Street. Ste 336. Miami, FL 33172. US …
