“Explains Pickford’s roles as not only a talented actress, but also as a philanthropist and industry leader who managed to end up her own producer.” —Time Out In the early days of cinema, when actors were unbilled and unmentioned in credits, audiences immediately noticed Mary Pickford. Moviegoers everywhere were riveted by her magnetic talent and appeal as she rose to become cinema’s first great star. In this engaging collection, co-published with the Library of Congress, an eminent group of film historians sheds new light on this icon’s incredible life and legacy. Pickford emerges from the pages in vivid detail, revealed as a gifted actress, a philanthropist, and a savvy industry leader who fought for creative control of her films and ultimately became her own producer. With extensive photos and illustrations, this book paints a fascinating portrait of a key figure in American cinematic history. Includes over 200 photos, illustrations, and stills from the collections of the Library of Congress and Academy of Motion Picture Arts and Sciences

A comprehensive biography of film's first star traces her rise to fame with the growth of the medium, her influence as a partner in United Artists, her relationship with Douglas Fairbanks, and her struggles later in life. UP.

"Wild Land is an epic and unprecedented portrait of some of the most untouched parts of our planet, and a timely message highlighting the urgent need for them to be preserved for its future."--Publisher.

Not only does this volume feature, as the title suggests, many previously unpublished photos of the silent film star (these consisting of film stills, production shots, and personal photographs drawn from the collection of the Academy of Motion Picture Arts and Sciences), it also contains extensive commentary on Pickford's career and each of her films. Not merely the most popular actress of her day, Pickford also exercised complete control over her films, making her a pioneer for women in positions of power in the film industry. For film historians and fans, this valuable volume contains a wealth of otherwise unavailable information about--as well as images of--her career. 9x12". Annotation copyrighted by Book News, Inc., Portland, OR

A biography of Hollywood's first superstar, examining her life and career. Includes a listing of the films she made.

The Sense of Semblance is the first book to incorporate contemporary analytic philosophy in interpretations of art and architecture, literature, and film about the Holocaust. The book’s principal aim is to move beyond the familiar debates surrounding postmodernism by demonstrating the usefulness of alternative theories of meaning and understanding from the Anglophone analytic tradition. The book takes as its starting point the claim that Holocaust artworks must fulfill at least two specific yet potentially reciprocally countervailing desiderata: they must meet aesthetic criteria (lest they be, say, merely historical documents) and they must meet historical criteria (they must accurately represent the Holocaust, lest they be merely artworks). I locate this problematic within the tradition of philosophical aesthetics, as a version of the conflict between aesthetic autonomy and aesthetic heteronomy, and claim that Theodor W. Adorno’s “dialectic of aesthetic semblance” describes the normative demand that a successful artwork maintain a dynamic tension between these dual desiderata. While working within a framework inspired by Adorno, the book further claims that certain concepts and lines of reasoning from contemporary philosophy best explicate how individual artworks fulfill these dual desiderata, including the causal theory of names, the philosophy of tacit knowledge, analytic philosophy of quotation, Sartre’s theory of the imaginary, work in the epistemology of testimony, and Walter Benjamin’s theory of dialectical images. Individual chapters provide close readings of lyric poetry by Paul Celan (including a critique of Derridean deconstruction), Holocaust memorials in Berlin, texts by the Austrian quotational artist Heimrad Bäcker, Claude Lanzmann’s film Shoah and Art Spiegelman’s graphic novel Maus. The result is a set of interpretations of Holocaust artworks that, in their precision, specificity and clarity, inaugurate a dialogue between contemporary analytic philosophy and contemporary art.