Bøger af Bob Herzberg

"This book deals with the seldom-written topic featuring depictions of Imperial Japan from the time it was a totalitarian power to the productions of recent years. It especially covers wartime depictions, as well as the historical events that inspire the stories behind these productions. In the 1930s, Hollywood gave us the likeable Mr. Moto at the same time Japan was set on its expansionist course. When war broke out, both the Allies and the Axis produced propaganda films that increased hatred for the enemy. In the postwar years as the Cold War took hold, the US government encouraged friendship with their former wartime enemy. This book details correspondence between studio personnel and the Production Code office, as well as the critiques of film reviewers, historians and military figures from both sides of the conflict. It also examines behind-the-scenes machinations from both the Japanese and American governments in the censorship of controversial film content"--

He will uphold the law, even if it costs him everything...Shortly after the turn of the century on a Colorado range near the town of Sage, Will Landry-an African American land agent enforcing the Van Wyck Fence Law-finds himself in a precarious position. When he discovers the body of a lynched nester swinging out on the prairie, Landry realizes he's stumbled upon a sinister plot orchestrated by German immigrant cattle baron, Joachim Lang-a man steeped in darkness if there ever was one.To bring Lang to justice, Landry must confront not only the rampant racism of the era but also a town bureaucracy resistant to change. Yet, amidst the adversity, Landry forges unexpected alliances with outcasts and those nursing personal vendettas against a common enemy.As Landry's unwavering dedication and commitment to the law chip away at Lang's facade, tensions escalate toward a dramatic climax-a showdown that will test Landry's courage and resilience like never before.

Through a century of movies, the US military held sway over war and service-oriented films. Drawing on production files, correspondence between bureaucrats and filmmakers, and contemporary critical reviews, the author reveals the behind-the-scenes political manoeuvres that led to the rewriting of history on-screen.

For over eighty years, we've seen the many faces of the Third Reich on screen, in documentaries, newsreels, and especially fictional stories. Through studio files, Production Code office correspondence, and the works of noted historians and film critics, this book reveals many of the behind-the-scenes machinations in the making of these films.

Deals with the changing image of the American Indian in the Western film genre, contrasting the fictionalized images of native Americans portrayed in classic films from Francis Boggs' ""Curse of the Redman"" to Michael Mann's ""Last of the Mohicans"" against the historical reality of life on the American frontier.

Drawing on studio files, newspaper critiques, internet sources and scholarly studies of Mexican cinema, this critical history focuses on film depictions, in Hollywood and in Mexico, of the Mexican Revolution of 1910. The political and military battles of the revolution are discussed in detail, and contrasted with the film industry's mostly uninformative take on the conflict.

The adaptations of seven of the pulps' best writers - Ernest Haycox, Luke Short, Frank Gruber, Norman A Fox, Louis L'Amour, Marvin H. Albert, and Clair Huffaker - are analyzed here. The work looks at how the pulp novels and the movie adaptations reflected the times in which they were produced.

Examines the careers of communist and liberal actors, screenwriters, playwrights, and directors in Hollywood from the late 1920s to the present. It uses studio and PCA correspondence, FBI files, film and theatre reviews, and other sources to reveal how all of these artists were concerned with and active in the cinema of social protest.

Discusses the many Western films, as well as the novels they are based on, that illustrate distortions of the law in the Old West and the many ways, most of them marked by vengeance, in which its characters pursued justice. The author has used correspondence from studio files, letters from the Production Code office, newspaper and magazine reviews, passages from the novels to analyse not only the filmmakers' intentions but also how the films became a showcase of America as it promoted the principles of due process, trial by jury, and innocence before proven guilty.