During the 30's and 40's, Hollywood produced a genre of madcap comedies that emphasized reuniting the central couple after divorce or separation. And the female protagonists were strong, independent, and sophisticated. Here, Stanley Cavell examines seven of those classic movies for their cinematic techniques, and for such varies themes as feminism, liberty and interdependence. Included are "Adam's Rib," "Bringing Up Baby," and "The Philadelphia Story."

During the 30's and 40's, Hollywood produced a genre of madcap comedies that emphasized reuniting the central couple after divorce or separation. And the female protagonists were strong, independent, and sophisticated. Here, Stanley Cavell examines seven of those classic movies for their cinematic techniques, and for such varies themes as feminism, liberty and interdependence. Included are "Adam's Rib," "Bringing Up Baby," and "The Philadelphia Story."

The star of scores of hit movies in the '30s, '40s and '50. From The Jungle Princess to the phenomenally Road series of comedies with Bob Hope and Bing Crosby, Dorothy Lamour was a successful star and a popular pin-up girl during World War II. All aspects of her career are beautifully illustrated in this new paper doll book by Jim Howard, the great fashion illustrator. Two Dorothy dolls are ready to cut-out and dress in scores of movie costumes contained in eight visually stunning pages.

Holly O'Brien began her fitness career in her early 20's in several fitness clubs, worked with pro ball players then gave it up for stunt work in film. She later migrated her entertainment career into behind the scenes technical operations in television broadcasting, post production and animation. That was until one day while managing a video-on-demand control room arguing or the picture quality of a movie she had an epiphany; why was she doing that which would only keep people on the couch? She wanted people to get off the couch and go exercise and she realized her own career certainly wasn't helping. After careful review of the challenges involved she gave up her 23 year entertainment career and re-certified her pedigrees with International Sports Sciences Association, teamed up as a coach for a Fitness Boot Camp and took on a roster of private clients only to discovery what seemed to be a unilateral problem. Folks were stuck, really stuck and she was more stunned by why. She decided to approach a fix from a very different angle; one that folks could do on their own. A Fitness Guide written with a light hearted spirit to assist folks who wish to train themselves. A guide that covers free weights, aerobics, understanding your own metabolic rate, utilizing food for fitness and tackles the continually frustrating mission of how to loose stored body fat. It's fun, fast with plenty of tools to create your own program, loose stored body fat and pursue a sport or two. As a labor of love she hopes you'll drag this book around with you and use it often to assist with clearing up the confusion, inspire new activities where they may not be any, bury old frustrations forever and have some fun along the way.

Comedy/Murder Mystery / 4m, 2f / Unit Set It's New Year's Eve at the Perry mansion, and Julia and Matthew Perry seem to have it all. But Matthew wants something more -- to be rid of his wife Julia so he can have some real fun! He resolves to murder Julia by the new year's end, and tells her so. She vows to stay alive, and tells him so. And so the game begins -- a hilarious year-long match of wits and the witless. While Julia cleverly dodges Matthew's devious murder attempts, the Perry friends and staff are dying off mysteriously. It seems Matthew is successful in murdering everyone but Julia. As the bodies are falling, dim-witted daughter Bunny contemplates calling off her wedding to unwitting Donald since all the intended gift-bearing guests are dying. Enter Detective Plotnik -- a Sam Spade reincarnation who suspects everyone, but hasn't a clue. That is, not until Donald stumbles upon Julia and gentlemanly butler Buttram in what Donald mistakenly perceives as a compromising situation. Donald jumps to the conclusion that Julia is the murderer -- trying to murder Matthew! A Little Murder Never Hurt Anybody is an homage to the screwball comedies of the 30's and 40's. "A delightful surprise . . . an evening of fun just on the proper side of slapstick." - Lansing State Journal "Comedy packs laughs . . . a delightful play . . . a medley of laughs . . . the play has charm, and is really funny." - News-Herald, Southgate, MI Community Theatre Association of Michigan New Plays Competition Winner

Comedy/Murder Mystery / 4m, 2f / Unit Set It's New Year's Eve at the Perry mansion, and Julia and Matthew Perry seem to have it all. But Matthew wants something more -- to be rid of his wife Julia so he can have some real fun! He resolves to murder Julia by the new year's end, and tells her so. She vows to stay alive, and tells him so. And so the game begins -- a hilarious year-long match of wits and the witless. While Julia cleverly dodges Matthew's devious murder attempts, the Perry friends and staff are dying off mysteriously. It seems Matthew is successful in murdering everyone but Julia. As the bodies are falling, dim-witted daughter Bunny contemplates calling off her wedding to unwitting Donald since all the intended gift-bearing guests are dying. Enter Detective Plotnik -- a Sam Spade reincarnation who suspects everyone, but hasn't a clue. That is, not until Donald stumbles upon Julia and gentlemanly butler Buttram in what Donald mistakenly perceives as a compromising situation. Donald jumps to the conclusion that Julia is the murderer -- trying to murder Matthew! A Little Murder Never Hurt Anybody is an homage to the screwball comedies of the 30's and 40's. "A delightful surprise . . . an evening of fun just on the proper side of slapstick." - Lansing State Journal "Comedy packs laughs . . . a delightful play . . . a medley of laughs . . . the play has charm, and is really funny." - News-Herald, Southgate, MI Community Theatre Association of Michigan New Plays Competition Winner

One of the most prolific pin-up artists of the 20th Century finally gets his due.No other pin-up cartoon artist over a 30-year period was as prolific or as omnipresent as Bill Wenzel. Virtually every humor and men's magazine, ranging from Judge in the mid-'40s to Sex to Sexy in the '60s and '70s, boasted two, if not a dozen, of Wenzel's pin-up cartoons. Quick with pen and ink, Wenzel was equally adept with the brush, and nowhere was this more evident than in his work for the Humorama line of girlie digests. The digests, which sported titles like Gaze, Joker, Jest, Comedy and Stare, were crammed full of marginally risque single panel pin-up cartoons and cheesecake photos featuring the likes of Bettie Page, Irish McCalla, and even Sophia Loren, and as a long-time contributor to the Humorama digests, Wenzel was part of an artistic fraternity that included the likes of Bill Ward, Playboy's Jack Cole, and Archie's Dan DeCarlo. Though wasp-waisted long-legged women were de rigueur in the digests, Wenzel set himself apart from the rest of the best with his decidedly more Rubenesque rendering of the female form. And whether they were aloof secretaries biding their time waiting for their bosses to ditch their wives or smoldering vixens preparing for a night on the town, Wenzel's women carried their weight well, the better to hold up their ample chests. Without a doubt, Wenzel is the most overlooked of all the pin-up cartoon artists of his era, but with this volume, which features a selection of his sexiest and most sensual ink-wash images, Wenzel takes his rightful place among Humorama's top artists. Two-color illustration throughout

One of the most prolific pin-up artists of the 20th Century finally gets his due.No other pin-up cartoon artist over a 30-year period was as prolific or as omnipresent as Bill Wenzel. Virtually every humor and men's magazine, ranging from Judge in the mid-'40s to Sex to Sexy in the '60s and '70s, boasted two, if not a dozen, of Wenzel's pin-up cartoons. Quick with pen and ink, Wenzel was equally adept with the brush, and nowhere was this more evident than in his work for the Humorama line of girlie digests. The digests, which sported titles like Gaze, Joker, Jest, Comedy and Stare, were crammed full of marginally risque single panel pin-up cartoons and cheesecake photos featuring the likes of Bettie Page, Irish McCalla, and even Sophia Loren, and as a long-time contributor to the Humorama digests, Wenzel was part of an artistic fraternity that included the likes of Bill Ward, Playboy's Jack Cole, and Archie's Dan DeCarlo. Though wasp-waisted long-legged women were de rigueur in the digests, Wenzel set himself apart from the rest of the best with his decidedly more Rubenesque rendering of the female form. And whether they were aloof secretaries biding their time waiting for their bosses to ditch their wives or smoldering vixens preparing for a night on the town, Wenzel's women carried their weight well, the better to hold up their ample chests. Without a doubt, Wenzel is the most overlooked of all the pin-up cartoon artists of his era, but with this volume, which features a selection of his sexiest and most sensual ink-wash images, Wenzel takes his rightful place among Humorama's top artists. Two-color illustration throughout

Exploring the downfalls of being a freelance writer, this cautionary tale explains what happens when one becomes self-employed, celebrating cubicle-free living through a brilliant comic narrative on the real-life ups and downs of a full-time writer. For more than a decade Stephanie Dickison had been successfully publishing features and articles while working a full-time job. But in December 2005 she left the secure world of “9 to 5,” opting to write freelance in order to pay the bills and hoping to finish a manuscript that was close to five years old. With valuable insights about time management, networking with magazines and newspapers, as well as conducting celebrity interviews and writing feature articles, this valuable resource will inspire many industrious dreamers to take that long-delayed leap and become their own boss.

Among radio comedy's most enduring features were its running gags - and few gags ran longer, or more hilariously, than the legendary feud between two of its great masters: Jack Benny and Fred Allen. For nearly twenty years the mere mention of Benny on an Allen program was guaranteed to produce an escalating laugh - just as bringing Allen up with Benny had listener in stitches at the mere anticipation of a response. This digitally remastered collection brings together the classic episodes that started it all - from first time the pair shared a microphone (in a skit ripe with references to Benny's musical skill), to Stuart Canin's performance of The Bee, to the showdown that was supposed to end it once and for all. Join Jack, Fred, and their comical cohorts Portland Hoffa, Harry Von Zell, John Brown, Minerva Pious, Mary Livingstone, Kenny Baker, Don Wilson, Andy Devine, Phil Harris, and all the regulars from both Town Hall Tonight and The Jell-O Program. Includes rare episodes, excerpts, and a Program Guide by radio historian Elizabeth McLeod. EPISODES INCLUDE: Town Hall Tonight 02-26-36 (Excerpt); Town Hall Tonight 12-30-36; The Jell-O Program 01-03-37; The Jell-O Program 01-10-37; Town Hall Tonight 01-06-37; Town Hall Tonight 01-13-37 (Excerpt); Town Hall Tonight 01-20-37; The Jell-O Program 01-31-37; Town Hall Tonight 01-27-37 ( Excerpt); The Jell-O Program 02-07-37; Town Hall Tonight 02-03-37 (Excerpt); Town Hall Tonight 02-10-37; The Jell-O Program 02-14-37; The Jell-O Program 02-28-37; Town Hall Tonight 02-24-37; Town Hall Tonight 03-03-37 (Excerpt); The Jell-O Program 03-07-37; The Jell-O Program 03-14-37; Town Hall Tonight 12-22-37; The Fred Allen Show 12-18-40 (Excerpt)

From the silent films of Charlie Chaplin to today’s high-tech blockbusters, this superb volume chronicles our favorite movies through hundreds of vibrant images and an insightful text with an introduction by legendary director Franco Zeffirelli. Organized by era, Legendary Movies delves into such genres as romance, comedy, action, sci-fi, cult movies, and musicals. The author explores such elements as the thriving Hollywood studios of the 30s and 40s, the Bollywood phenomenon, the influence of international filmmakers, and much more. Readers will be introduced to the key players behind the camera as well as movie stars through the ages who are spotlighted in superb portraits and candids. The second part of the book provides a selection of 130 movies not to be missed. Spanning the decades and a wide range of genres, the list includes beloved classics as well as eclectic examples of groundbreaking movie-making technology and techniques. Throughout the book, reproductions of movie posters, movie stills, and other colorful graphics provide movie lovers with a wealth of information and hours of enjoyment.

Pages: 311, Paperback, Catedra

Practice makes not-quite-perfect Claudia Clarkson just cut the cord from her high school love-you-forever boyfriend. Sure, she misses Drew. But with so many eligibles on her new college campus, why study ancient history? Problem is, Claudia's lived in la-la-loveland for so long that she's completely forgotten how to meet boys -- and how to flirt. Then her roommate proposes a solution: Meet one new guy every day for thirty days. Consider it "target practice" for when Mr. Perfect comes along. Claudia's game, but she definetely hasn't got game. In fact, Flirting 101 could be her toughest course to pass...

In this highly readable and entertaining book, Jeanine Basinger shows how the "woman's film" of the 30s, 40s, and 50s sent a potent mixed message to millions of female moviegoers. At the same time that such films exhorted women to stick to their "proper" realm of men, marriage, and motherhood, they portrayed -- usually with relish -- strong women playing out liberating fantasies of power, romance, sexuality, luxury, even wickedness.Never mind that the celluloid personas of Bette Davis, Myrna Loy, Katharine Hepburn, Joan Crawford, or Rita Hayworth see their folly and return to their man or lament his loss in the last five minutes of the picture; for the first eighty-five minutes the audience watched as these characters "wore great clothes, sat on great furniture, loved bad men, had lots of sex, told the world off for restricting them, even gave their children away." Basinger examines dozens of films -- whether melodrama, screwball comedy, musical, film noir, western, or biopic -- to make a persuasive case that the woman's film was a rich, complicated, and subversive genre that recognized and addressed, if covertly, the problems of women.