The large literature about the politics of Hollywood in the period of McCarthy and the blacklist has largely overlooked political filmmaking during those agitated years. "Hollywood Riots" examines the most vibrant cycle of independently produced political films made while House Committee on Un-American Activities was investigating communists in the film industry. In doing so, it shifts the focus from the politics of Washington to the politics of Los Angeles and from the films of the Hollywood Ten to the more politically complex films of the progressive community at large. Dibbern shows how the movies produced by progressives at the end of the 1950s, including "The Lawless", "The Sound of Fury", "The Underworld", were the logical cinematic parallel to their political and journalistic advocacy fighting the conservative newspapers. In these films they were recasting political events from California's recent past as politically-engaged narratives that were inflected with their own fears of persecution." Hollywood Riots" re-views the work of notable directors like Joseph Losey and Cy Endfield, as well as introducing unheralded political screenwriters and directors such as Daniel Mainwaring, Jo Pagano, and Leo C. Popkin.

On the Sunset Strip in Los Angeles in 1965 and 1966 an electrifying scene appeared out of nowhere, exploded into creativity, and then, just as suddenly, vanished. So much remarkable music, art, and social revolution came from one place at one time, it's difficult now to grasp how it all happened. In that moment, rock 'n' roll displaced movies as the centre of action in Hollywood. This book tells the story of that astonishing time. The nightlife was a heady mix of modernist design, pop art, and beat aesthetics. From the moment The Byrds debuted at Ciro's on March 26th 1965 - with Bob Dylan joining them on stage - right up to the demonstrations of November 1966, Sunset Strip nightclubs nurtured and broke The Doors, Love, Buffalo Springfield, Frank Zappa's Mothers Of Invention, Captain Beefheart & His Magic Band, The Turtles, The Mamas & The Papas, and many others. The Strip was a hotbed for garage punk bands such as The Standells, The Seeds, The Music Machine and The Electric Prunes. Folk-rock and psychedelia were born there, and it was a favourite hangout and inspiration for The Beatles, The Rolling Stones, Them, The Velvet Underground, and The Yardbirds. Pop art and rock 'n' roll combined, and the new fusion quickly permeated television, animation, and New Hollywood's indie cinema.

This is a collection of aritcles about what happened during the riots following the Rodney King verdict, the causes of these riots, similar situations which have provoked unrest in other cities, and what is needed for social justice.

One of the country’s most picturesque cities and conveniently located just a few hours’ drive from Hollywood, San Francisco became the most frequently and extensively filmed American city beyond the production hubs of Los Angeles and New York in the three decades after World War II. During those years, the cinematic image of the city morphed from the dreamy beauty of Vertigo to the nightmarish wasteland of Dirty Harry, although San Francisco itself experienced no such decline. This intriguing disconnect gives impetus to Hollywood in San Francisco, the most comprehensive study to date of Hollywood’s move from studio to location production in the postwar era. In this thirty-year history of feature filmmaking in San Francisco, Joshua Gleich tracks a sea change in Hollywood production practices, as location shooting overtook studio-based filming as the dominant production method by the early 1970s. He shows how this transformation intersected with a precipitous decline in public perceptions of the American city, to which filmmakers responded by developing a stark, realist aesthetic that suited America’s growing urban pessimism and superseded a fidelity to local realities. Analyzing major films set in San Francisco, ranging from Dark Passage and Vertigo to The Conversation, The Towering Inferno, and Bullitt, as well as the TV show The Streets of San Francisco, Gleich demonstrates that the city is a physical environment used to stage urban fantasies that reveal far more about Hollywood filmmaking and American culture than they do about San Francisco.

Choosing ten films that were considered “suspicious,” “un-American,” or even “dangerous” by the conservative media, and especially the infamous “House Un-American Affairs Committee” (HUAC) between 1947–1953, each chapter briefly outlines how progressive Christians should have supported the message of the film rather than condemned it. Each chapter explains why the film was considered controversial, and then proposes a number of arguments drawing heavily on Scripture, arguing that Christians should have, and still should, consider these films about social justice issues to be deeply biblical, and not “un-American.” Intended for an adult education series, this book can serve as a kind of “handbook” for a church or parish “Film Series” that raises serious questions of social justice and Christian response.

An instant New York Times bestseller! An Indiebound bestseller! An Asian/Pacific American Award for Literature Honor Book! Troublemaker follows the events of the LA Riots through the eyes of 12-year-old Jordan as he navigates school and family. This book will highlight the unique Korean American perspective. 12-year-old Jordan feels like he can't live up to the example his older sister set, or his parent's expectations. When he returns home from school one day hoping to hide his suspension, Los Angeles has reached a turning point. In the wake of the acquittal of the police officers filmed beating Rodney King, as well as the shooting of a young black teen, Latasha Harlins by a Korean store owner, the country is at the precipice of confronting its racist past and present. As tensions escalate, Jordan's father leaves to check on the family store, spurring Jordan and his friends to embark on a dangerous journey to come to his aide, and come to terms with the racism within and affecting their community.

In Hollywood Remembered, a wide array of Tinseltown veterans share their stories of life in the city of dreams from the days of silent pictures to the present. The 35 voices, many of whom have come to know Hollywood inside-out, range from film producers and movie stars to restaurateurs and preservationists. Actress Evelyn Keyes recalls how, fresh from Georgia, she met Cecil B. DeMille and was soon acting in Gone With the Wind; Blacklisted writer Walter Bernstein tells how he transformed his McCarthy era-experiences into drama with The Front; Steve Allen speaks out on how Hollywood has changed since he first came there in the 1920s; and Jonathan Winters relates how he left a mental institution to come work with Stanley Kramer in It's a Mad, Mad, Mad, Mad World.