MARC Record from marc_nuls

LEADER: 03492cam a2200469 i 4500
001 9925463376801661
005 20201007021454.0
008 200120s2020 nyu b 001 0 eng
010 $a 2019052936
019 $a1127750868$a1182542365
020 $a9780231195683$qhardcover
020 $a0231195680$qhardcover
020 $a9780231195690$qpaperback
020 $a0231195699$qpaperback
020 $z9780231551434$qelectronic book
035 $a(OCoLC)1127665159$z(OCoLC)1127750868$z(OCoLC)1182542365
035 $a(OCoLC)on1127665159
040 $aLBSOR/DLC$beng$erda$cDLC$dOCLCO$dOCLCF$dERASA$dYDX
042 $apcc
043 $an-us---
049 $aCNUM
050 00 $aPN1995.9.P7$bW477 2020
082 00 $a791.4302/330922$223
100 1 $aWexman, Virginia Wright,$eauthor.
245 10 $aHollywood's artists :$bthe Directors Guild of America and the construction of authorship /$cVirginia Wright Wexman.
264 1 $aNew York :$bColumbia University Press,$c[2020]
300 $aviii, 297 pages ;$c24 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aFilm and culture
504 $aIncludes bibliographical references and index.
505 0 $aDirectors as artists : the DGA rides the wave -- Charisma and competition : the DGA stakes its claim -- Recognition : the DGA takes credit -- Politics : the DGA stages HUAC -- Law : the DGA and artists as owners.
520 $a"The production of a Hollywood movie encompasses the work of many people from the screenwriter and editor to the cinematographer and boom operator. Yet it is the director who is considered the artistic force behind a film. The notion of the director as the author of a film was not always a given but the result of a variety of different historical and institutional factors, including the breakup of the classical Hollywood studio system and the rise of the auteur theory in the 1960s. An often overlooked player in this story is the Directors Guild of America (DGA) that, as Virginia Wright Wexman argues, played a crucial role in establishing the director's status and power in Hollywood and in the public's mind. In Hollywood's Artists, Wexman provides the first history of the DGA and its influence. She begins by discussing how it differentiated itself from other industry unions, focusing on issues of status, networking, and creative control as opposed to money and job security. Wexman then considers how the DGA fought for directors to be credited as "authors" of the film and how this put them in conflict with others in the film industry. In addition to tracing the history of how directors created their image in the public's imagination, including their role in the McCarthy hearings, Wexman discusses how the DGA fought to have directors get more legal control over their films"--$cProvided by publisher.
610 20 $aDirectors Guild of America$xHistory.
650 0 $aMotion picture producers and directors$zUnited States$xHistory.
650 0 $aMotion pictures$xProduction and direction$zUnited States$xHistory.
650 0 $aMotion picture industry$zUnited States$xHistory.
776 08 $iOnline version:$aWexman, Virginia Wright.$tHollywood's artists.$dNew York : Columbia University Press, [2020]$z9780231551434$w(DLC) 2019052937
830 0 $aFilm and culture.
947 $cBOOK$fBOOK-COLS$g30.00$hCIRCSTACKS$lNULS$n523017$o200706$p28.50$q1$r31786103152242
980 $a40029998903