DOCSLIB.ORG

{PDF EPUB} Irving Thalberg Boy Wonder to Producer Prince by Mark A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
{PDF EPUB} Irving Thalberg Boy Wonder to Producer Prince by Mark A Read Ebook {PDF EPUB} Irving Thalberg Boy Wonder to Producer Prince by Mark A. Vieira Irving Thalberg: Boy Wonder to Producer Prince by Mark A. Vieira. Our systems have detected unusual traffic activity from your network. Please complete this reCAPTCHA to demonstrate that it's you making the requests and not a robot. If you are having trouble seeing or completing this challenge, this page may help. If you continue to experience issues, you can contact JSTOR support. Block Reference: #ad35ede0-d0db-11eb-85f9-b35f87982b20 VID: #(null) IP: 116.202.236.252 Date and time: Sat, 19 Jun 2021 08:52:28 GMT. Hollywood’s Forgotten Heroine Norma Shearer Was ‘One of the First Feminist Movie Stars’ The Funhouse! Take a Tour of Pink and Carey Hart's Santa Barbara Home. 'Eight Is Enough' Cast Then and Now: See the Stars Reunited. See the Most Adorable Photos of Barbra Streisand's Granddaughter Westlyn. Inside Clint Eastwood's Tight-Knit Family! Meet the Actor's 8 Kids. Kevin Costner Has 7 Amazing Kids — Meet His Blended Family. In The Divorcee , Norma Shearer’s character has an affair to take revenge on her cheating husband. Before the Hays Code dictated morality in movies, this risqué comedy about a love triangle among New York socialites thrilled and titillated audiences. Norma’s free-spirited portrayal won her the 1931 Oscar for Best Actress over Greta Garbo and Gloria Swanson. Like the progressive women she often played, Norma was among a rare breed of actresses including Marlene Dietrich, Joan Crawford and Carole Lombard determined to have control over their careers. “Norma believed that she had the right to have input on every level,” says Mark A. Vieira , author of Irving Thalberg: Boy Wonder to Producer Prince, exclusively to the latest issue of Closer , on newsstands now. “She often portrayed characters who had aspirations because she was an ambitious and career-minded person herself.” She had to be. Norma’s father had lost his construction business overnight, forcing her to support herself from a young age. “She had no other choice but to seek a career and be self-determining,” says Vieira. These qualities attracted the attention of Irving Thalberg, MGM’s young hotshot producer. “She was already a star when he invited her to a premiere,” explains Vieira. “He was drawn to Norma’s intelligence and eagerness to learn.” The couple married in 1927, with studio head Louis B. Mayer acting as best man at the ceremony. Three years later, they welcomed Irving Jr., followed by his sister, Katherine, in 1935. But their happiness didn’t last. In 1936, Irving died of pneumonia at age 37. “It was traumatic,” says Vieira, who explains that like the fiery heroines she often played onscreen, Norma was forced to sue MGM for the percentage of the profits it owed her late husband. “In a way it was fortunate. It forced her to get up and fight,” he says. Norma prevailed in court and continued to act, but her heart wasn’t in it anymore. She retired from films in 1942. “Norma always had integrity,” says Vieira. “She really was one of the first feminist movie stars.” For this story and more, pick up the latest issue of Closer magazine, on newsstands now. Screen Saver. "The picture business can only exist,” observed Metro-Goldwyn-Mayer mogul Irving Thalberg in a long letter to a fellow studio executive in 1933, “on the basis of real entertainment, glamour, good taste, and stars.” Thalberg adhered to that formula for much of his intense, frequently brilliant career as one of Hollywood’s most influential producers in the age of the studio system. By the time he penned these words—he was in his early thirties and beginning to fear that the assembly-line approach introduced at other big studios would forever compromise the kind of filmmaking he espoused—he had already helped launch the careers of Clark Gable, Ramon Novarro, Marie Dressler, Joan Crawford, and Greta Garbo and overseen such acclaimed films as Ben-Hur , The Big Parade , The Broadway Melody , and Grand Hotel . Though not all Thalberg’s pictures were box-office jackpots (several of his more ambitious projects never earned back their investments), when he died of pneumonia in 1936, at the age of thirty-seven, the triumphs attributed to the “Boy Wonder of Hollywood” were not merely the stuff of studio lore. The tale of Thalberg, as Mark Vieira tells it in his engaging new biography, Irving Thalberg: Boy Wonder to Producer Prince , is “as romantic and improbable as a silent-movie plot.” It begins in the attic apartment of a Brooklyn brownstone located in what was then a German-Jewish enclave, where young Irving entered the world in May 1899. He was pronounced a “blue baby” due to a congenital heart condition that caused notable discoloration and the initial prognosis anticipated a maximum life expectancy of thirty years. Thalberg’s childhood was filled with health setbacks, and he was bed-ridden with rheumatic fever for a year during high school. But the time in bed, Vieira suggests, served as an apprenticeship of sorts, allowing Thalberg to immerse himself in reading everything he could get his hands on—classics and pulps, plays and biographies, philosophy and history; all the sources and lessons he would draw on later in his career. Vieira spends the bulk of his energies charting Thalberg’s meteoric rise, from his teenage start as the assistant to Universal boss Carl Laemmle, to his “mature” years at MGM, where he spent close to a decade and a half toiling away at a feverish pace as vice president in charge of production. By 1926, merely three years after MGM’s founding and after Louis B. Mayer had brought Thalberg on board, the studio boasted the highest earnings of any in Hollywood. Crediting Thalberg, then in his mid-twenties, with the success, the New York Times referred to him as an “old head on young shoulders”; it wasn’t long before Screenland magazine pronounced him the “hit-maker.” Due to his youthful appearance, Thalberg was often mistaken for an assistant—his future wife, Norma Shearer, on meeting him in 1923, thought he was an “office boy”—yet behind that sweet, innocent facade was, at least as some of his collaborators and competitors saw him, “the toughest and most ruthless man in the industry.” Known for his habits of flipping a twenty-dollar coin high in the air and munching on corn flakes during screenings, Thalberg was famous for his frequent insistence on retakes and his occasionally autocratic behavior toward writers, earning him the moniker Napoleon Thalberg. “Movies aren’t made,” he once insisted. “They’re re made.” His strident tampering was a source of great dismay to many directors. During the production of China Seas , for example, after several unwelcome interventions in which Thalberg dictated to the editors and coached the actors, Tay Garnett pushed back. “Irving, you’ve hired me as director,” he told him. “You’ve given me the best stars in the business and spent a million dollars—and now you won’t let me direct the picture. I didn’t come to Metro to be a stooge!” Thalberg was not unwilling to acknowledge his own wrongdoing and acquiesced in this instance. Film history has long been told from the vantage point of the director or the star, or focused our attention on a specific genre, period, or national cinema, but rarely has it come from the perspective of the producer. Vieira’s biography offers an unusually animated and revealing tour of Hollywood in the 1920s and ’30s. His detailed accounts of the personalities and the productions are replete with wonderful anecdotes: Thalberg imported William Strunk Jr., of The Elements of Style fame, from Cornell University to help with the treatment of Romeo and Juliet . When Strunk arrived at the studio—it’s hard not to picture Barton Fink—Thalberg explained to the literary scholar what was expected of him: “Your job is to protect Shakespeare from us.” Strunk responded by telling Thalberg how the bard used to gather his stories without paying royalties or sharing authorship, finally making a pronouncement that is somehow appropriate for understanding not only Renaissance England but also the age of Thalberg: “Shakespeare would have made the best movie producer in history.” Perhaps, but Thalberg was a pretty close second. Noah Isenberg is the author, most recently, of Detour (British Film Institute, 2008) and the editor of Weimar Cinema: An Essential Guide to Classic Films of the Era (Columbia University Press, 2009). THE STARLIGHT STUDIO. Adrian: A Lifetime of Movie Glamour . (With Leonard Stanley) Rizzoli USA, 2019. Forbidden Hollywood: The Pre-Code Era . Running Press, 2019. Into the Dark: The Hidden World of Film Noir . Running Press, 2016. Clifton’s and Clinton: A Cafeteria and a Crusader . (With Edmond Clinton) Angel City Press, 2015. Cecil B. DeMille: The Art of the Hollywood Epic . (With Cecilia de Mille Presley) Running Press, 2014. Majestic Hollywood: The Films of 1939 . Running Press, 2013. George Hurrell's Hollywood: Glamour Portraits, 1925-1992 . Running Press, 2013. Harlow in Hollywood . (With Darrell Rooney) Angel City Press, 2011. Irving Thalberg: Boy Wonder to Producer Prince . University of California Press, 2009. The Making of “Some Like It Hot.” (With Tony Curtis) John Wiley and Sons, 2009. Hollywood Dreams Made Real: Irving Thalberg and the Rise of M-G-M . Harry N. Abrams, 2008. Earn Qantas Points on eligible Booktopia orders* Simply link your Qantas Frequent Flyer membership number to your Booktopia account and earn points on eligible orders. Either by signing into your account or linking your membership details before your order is placed.
Load more

Recommended publications
  • Making Pictures the Pinter Screenplays
    Joanne Klein Making Pictures The Pinter Screenplays MAKING PICTURES The Pinter Screenplays by Joanne Klein Making Pictures: The Pinter Screenplays Ohio State University Press: Columbus Extracts from F. Scott Fitzgerald, The Last Tycoon. Copyright 1941 Charles Scribner's Sons; copyright renewed. Reprinted with the permission of Charles Scribner's Sons. Extracts from John Fowles, The French Lieutenant's Woman. Copyright © 1969 by John Fowles. By permission of Little, Brown and Company. Extracts from Harold Pinter, The French Lieutenant's Woman: A Screenplay. Copyright © 1982 by United Artists Corporation and Copyright © 1982 by J. R. Fowles, Ltd. Extracts from L. P. Hartley, The Go-Between. Copyright © 1954 and 1981 by L. P. Hartley. Reprinted with permission of Stein and Day Publishers. Extracts from Penelope Mortimer, The Pumpkin Eater. © 1963 by Penelope Mortimer. Reprinted by permission of the Harold Matson Company, Inc. Extracts from Nicholas Mosley, Accident. Copyright © 1965 by Nicholas Mosley. Reprinted by permission of Hodder and Stoughton Limited. Copyright © 1985 by the Ohio State University Press All Rights Reserved Library of Congress Cataloging in Publication Data Klein, Joanne, 1949­ Making pictures. Bibliography: p. Includes index. 1. Pinter, Harold, 1930- —Moving-picture plays. I. Title. PR6066.I53Z713 1985 822'.914 85-326 Cloth: ISBN 0-8142-0378-7 Paper: ISBN 0-8142-0400-7 for William I. Oliver Contents Acknowledgments ix Chronology of Pinter's Writing for Stage and Screen xi 1. Media 1 2. The Servant 9 3. The Pumpkin Eater 27 4. The Quiller Memorandum 42 5. Accident 50 6. The Go-Between 77 1. The Proust Screenplay 103 8.
    [Show full text]
  • 9781474451062 - Chapter 1.Pdf
    Produced by Irving Thalberg 66311_Salzberg.indd311_Salzberg.indd i 221/04/201/04/20 66:34:34 PPMM 66311_Salzberg.indd311_Salzberg.indd iiii 221/04/201/04/20 66:34:34 PPMM Produced by Irving Thalberg Theory of Studio-Era Filmmaking Ana Salzberg 66311_Salzberg.indd311_Salzberg.indd iiiiii 221/04/201/04/20 66:34:34 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Ana Salzberg, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road 12(2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 11/13 Monotype Ehrhardt by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 5104 8 (hardback) ISBN 978 1 4744 5106 2 (webready PDF) ISBN 978 1 4744 5107 9 (epub) The right of Ana Salzberg to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66311_Salzberg.indd311_Salzberg.indd iivv 221/04/201/04/20 66:34:34 PPMM Contents Acknowledgments vi 1 Opening Credits 1 2 Oblique Casting and Early MGM 25 3 One Great Scene: Thalberg’s Silent Spectacles 48 4 Entertainment Value and Sound Cinema
    [Show full text]
  • The Last of the Belles and Other Stories
    The Last of the Belles and Other Stories F. Scott Fitzgerald ALMA CLASSICS AlmA ClAssiCs ltd London House 243-253 Lower Mortlake Road Richmond Surrey TW9 2LL United Kingdom www.almaclassics.com This collection first published by Alma Classics Ltd in 2015 Extra Material © Richard Parker Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY isbn: 978-1-84749-405-4 All the pictures in this volume are reprinted with permission or pre sumed to be in the public domain. Every effort has been made to ascertain and acknowledge their copyright status, but should there have been any unwitting oversight on our part, we would be happy to rectify the error in subsequent printings. All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or other- wise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher. Contents The Last of the Belles and Other Stories 1 Jacob’s Ladder 3 A Short Trip Home 31 The Bowl 54 The Last of the Belles 82 Majesty 101 At Your Age 123 The Swimmers 140 Two Wrongs 163 The Bridal Party 186 One Trip Abroad 206 The Hotel Child 233 Note on the Texts 256 Notes 256 Extra Material 261 F. Scott Fitzgerald’s Life 263 F. Scott Fitzgerald’s Works 273 Select Bibliography 278 Other books by F.
    [Show full text]
  • A Study of the Work of Vladimir Nabokov in the Context of Contemporary American Fiction and Film
    A Study of the Work of Vladimir Nabokov in the Context of Contemporary American Fiction and Film Barbara Elisabeth Wyllie School of Slavonic and East European Studies, University College London For the degree of PhD 2 0 0 0 ProQuest Number: 10015007 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10015007 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT Twentieth-century American culture has been dominated by a preoccupation with image. The supremacy of image has been promoted and refined by cinema which has sustained its place as America’s foremost cultural and artistic medium. Vision as a perceptual mode is also a compelling and dynamic aspect central to Nabokov’s creative imagination. Film was a fascination from childhood, but Nabokov’s interest in the medium extended beyond his experiences as an extra and his attempts to write for screen in Berlin in the 1920s and ’30s, or the declared cinematic novel of 1938, Laughter in the Dark and his screenplay for Stanley Kubrick’s 1962 film version of Lolita.
    [Show full text]
  • The Media Assemblage: the Twentieth-Century Novel in Dialogue with Film, Television, and New Media
    THE MEDIA ASSEMBLAGE: THE TWENTIETH-CENTURY NOVEL IN DIALOGUE WITH FILM, TELEVISION, AND NEW MEDIA BY PAUL STEWART HACKMAN DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Robert Markley Associate Professor Jim Hansen Associate Professor Ramona Curry ABSTRACT At several moments during the twentieth-century, novelists have been made acutely aware of the novel as a medium due to declarations of the death of the novel. Novelists, at these moments, have found it necessary to define what differentiates the novel from other media and what makes the novel a viable form of art and communication in the age of images. At the same time, writers have expanded the novel form by borrowing conventions from these newer media. I describe this process of differentiation and interaction between the novel and other media as a “media assemblage” and argue that our understanding of the development of the novel in the twentieth century is incomplete if we isolate literature from the other media forms that compete with and influence it. The concept of an assemblage describes a historical situation in which two or more autonomous fields interact and influence one another. On the one hand, an assemblage is composed of physical objects such as TV sets, film cameras, personal computers, and publishing companies, while, on the other hand, it contains enunciations about those objects such as claims about the artistic merit of television, beliefs about the typical audience of a Hollywood blockbuster, or academic discussions about canonicity.
    [Show full text]
  • American Cinematic Novels and Their Media Environments, 1925 – 2000
    American Cinematic Novels and their Media Environments, 1925 – 2000 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Paul Douglas McCormick, M.A. Graduate Program in English The Ohio State University 2012 Dissertation Committee Professor Jim Phelan, Advisor Professor Jared Gardner Professor Brian McHale Copyright by Paul Douglas McCormick 2012 Abstract Cinematic American Novels and their Media Environments, 1925-2000 shows that a famous group of twentieth-century American novels asserted their cultural relevance through their responses to transitional moments in Hollywood film history. I select five well-known novels that engage with different transitional moments, including Hollywood’s transition to sound cinema and its response to New Hollywood: The Great Gatsby, The Day of the Locust, Lolita, Gravity’s Rainbow, and Underworld. By using narrative theory to analyze the content and form of such cinematic novels and by attending to the evolution of Hollywood cinema itself, I reveal the synergistic relations between film history, media history, and narrative techniques. Because I also grant considerable attention to how the larger “media environment” (including such forms as radio, television, video recorders, and the internet) afforded routes of exchange between cinema and the novel, my dissertation takes a new approach to the task of combining American media history with literary criticism and film history. Based on this evidence, I also intervene in recent debates about the fate of the American novel in new media environments. I argue that even if aggregate sales of print novels continue to fall in the future, influential American novelists will win both readers and cultural prestige by shaping our understanding of new media environments and the novel’s evolving positions in them.
    [Show full text]
  • Los Angeles City Planning Department
    JOHN O’HARA TOWNHOUSE 10733-10735 ½ Ohio Avenue CHC-2015-1979-HCM ENV-2015-2185-CE Agenda packet includes 1. Final Staff Recommendation Report 2. Categorical Exemption 3. Letter from John O’Hara’s daughter, Lylie O’Hara Doughty 4. Under Consideration Staff Recommendation Report 5. Nomination Please click on each document to be directly taken to the corresponding page of the PDF. Los Angeles Department of City Planning RECOMMENDATION REPORT CULTURAL HERITAGE COMMISSION CASE NO.: CHC-2015-1979-HCM ENV-2015-2185-CE HEARING DATE: August 6, 2015 Location: 10733-10735 ½ Ohio Avenue TIME: 9:00 AM Council District: 5 PLACE: City Hall, Room 1010 Community Plan Area: Westwood 200 N. Spring Street Area Planning Commission: West Los Angeles Los Angeles, CA Neighborhood Council: Westwood 90012 Legal Description: TR 7803, Block 28, Lot 14 PROJECT: Historic-Cultural Monument Application for the JOHN O’HARA TOWNHOUSE REQUEST: Declare the property a Historic-Cultural Monument OWNER(S): Thomas Berry 986 La Mesa Terrace Unit A Sunnyvale, CA 94086 Caribeth LLC c/o John Ketcham 626 Adelaide Drive Santa Monica,CA 90402 APPLICANT: Marlene McCampbell 10634 Holman Ave. Apt 1 Los Angeles, CA 90024 RECOMMENDATION That the Cultural Heritage Commission: 1. Declare the subject property a Historic-Cultural Monument per Los Angeles Administrative Code Chapter 9, Division 22, Article 1, Section 22.171.7. 2. Adopt the staff report and findings. MICHAEL J. LOGRANDE Director of PlanningN1907 [SIGNED ORIGINAL IN FILE] [SIGNED ORIGINAL IN FILE] Ken Bernstein, AICP, Manager
    [Show full text]
  • GSC Films: S-Z
    GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything.
    [Show full text]
  • American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
    For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
    [Show full text]
  • The Last Tycoon Adapted for the Stage by Simon Levy
    F. SCOTT FITZGERALD’S THE LAST TYCOON ADAPTED FOR THE STAGE BY SIMON LEVY DRAMATISTS PLAY SERVICE INC. THE LAST TYCOON Copyright © 1998, 2013, Simon Levy All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of THE LAST TYCOON is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/ amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file- sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for THE LAST TYCOON are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee.
    [Show full text]
  • Truma and Gender Performance in F
    ABSTRACT BLITCHOK, AMY MARIE. Trauma and Gender Performance in F. Scott Fitzgerald’s Tender is the Night and The Last Tycoon. (Under the direction of Anne Baker.) This project uses biographical and historical information in conjunction with psychoanalytic and gender studies in order to show how F. Scott Fitzgerald recreates his own traumas of emasculation through his work, especially Tender is the Night and The Last Tycoon, in order to create a more appealing fictional narrative and imagined resolution to his personal tragedies. By examining biographical information in light of Fitzgerald’s particular historical moment and the social forces that contributed to his personal definition of masculinity we can begin to trace the evolution of his emasculated sense of self and how that progression was reflected in his work. After uncovering the way in which Fitzgerald used Tender is the Night as his own therapeutic outlet for expressing his gender anxieties, I show in Chapter Three how the collision of personal, emotional and professional circumstances lead him to a very different novel, The Last Tycoon. The achievement of some resolution in Tender is the Night allowed him to move beyond the flawed and doomed hero of his earlier novels. He was no longer bound to the repetition of earlier traumas, so in his final novel he was able to create his most admirable hero and essentially complete his own idealized narrative, which was free from the gender anxieties that had plagued his life and his work. TRAUMA AND GENDER PERFORMANCE IN F. SCOTT FITZGERALD’S
    [Show full text]
  • F Scott Fitzgerald's "The Last Tycoon" (1941) and Nathanael West's "The Day of the Locust" (1939)
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1974 The Hollywood Metaphor: F Scott Fitzgerald's "The Last Tycoon" (1941) and Nathanael West's "The Day of the Locust" (1939) Anthony Glyn Roberts College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Literature Commons Recommended Citation Roberts, Anthony Glyn, "The Hollywood Metaphor: F Scott Fitzgerald's "The Last Tycoon" (1941) and Nathanael West's "The Day of the Locust" (1939)" (1974). Dissertations, Theses, and Masters Projects. Paper 1539624859. https://dx.doi.org/doi:10.21220/s2-m3rn-5g52 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. THE HOLLYWOOD METAPHOR: . SCOTT FITZGERALD'S THE LAST TYCOON (1941) AND NATHANAEL WEST'S THE DAY OF THE LOCUST (1939) A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Anthony Glyn Roberts APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Anthony Glyn Roberts Author Approved, July, 1974, Scott Donaldson \ A U ^ > r if r ( Jjohn H. Willis/' Jr . ___ I O' Martha Reid 608950 I la memory of my father, Glyn Roberts, and to my mother, Irene.
    [Show full text]