"This is the colorful and dramatic biography of two of America's most controversial entrepreneurs: Moses Louis Annenberg, 'the racing wire king, ' who built his fortune in racketeering, invested it in publishing, and lost much of it in the biggest tax evasion case in United States history; and his son, Walter, launcher of TV Guide and Seventeen magazines and former ambassador to Great Britain."--Jacket.

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.

Early modern Central Europe was the continent’s most decentralized region politically and its most diverse ethnically and culturally. With the onset of the Reformation, it also became Europe’s most religiously divided territory and potentially its most explosive in terms of confessional conflict and war. Focusing on the Holy Roman Empire and the Polish-Lithuanian Commonwealth, this volume examines the tremendous challenge of managing confessional diversity in Central Europe between 1500 and 1800. Addressing issues of tolerance, intolerance, and ecumenism, each chapter explores a facet of the complex dynamic between the state and the region’s Catholic, Protestant, Orthodox, Utraquist, and Jewish communities. The development of religious toleration—one of the most debated questions of the early modern period—is examined here afresh, with careful consideration of the factors and conditions that led to both confessional concord and religious violence.