Personal letters of Samuel Goldwyn's personal secretary provides an inside look at life as a young professional in 1920's Los Angeles.

Histories of women in Hollywood usually recount the contributions of female directors, screenwriters, designers, actresses, and other creative personnel whose names loom large in the credits. Yet, from its inception, the American film industry relied on the labor of thousands more women, workers whose vital contributions often went unrecognized. Never Done introduces generations of women who worked behind the scenes in the film industry—from the employees’ wives who hand-colored the Edison Company’s films frame-by-frame, to the female immigrants who toiled in MGM’s backrooms to produce beautifully beaded and embroidered costumes. Challenging the dismissive characterization of these women as merely menial workers, media historian Erin Hill shows how their labor was essential to the industry and required considerable technical and interpersonal skills. Sketching a history of how Hollywood came to define certain occupations as lower-paid “women’s work,” or “feminized labor,” Hill also reveals how enterprising women eventually gained a foothold in more prestigious divisions like casting and publicity. Poring through rare archives and integrating the firsthand accounts of women employed in the film industry, the book gives a voice to women whose work was indispensable yet largely invisible. As it traces this long history of women in Hollywood, Never Done reveals the persistence of sexist assumptions that, even today, leave women in the media industry underpraised and underpaid. For more information: http://erinhill.squarespace.com

Studies of "Classic Hollywood" typically treat Hollywood films released from 1930 to 1960 as a single interpretive mass. Veronica Pravadelli complicates this idea. Focusing on dominant tendencies in box office hits and Oscar-recognized classics, she breaks down the so-called classic period into six distinct phases that follow Hollywood's amazingly diverse offerings from the emancipated females of the "Transition Era" and the traditional men and women of the conservative 1930s that replaced it to the fantastical Fifties movie musicals that arose after anti-classic genres like film noir and women's films. Pravadelli sets her analysis apart by paying particular attention to the gendered desires and identities exemplified in the films. Availing herself of the significant advances in film theory and modernity studies that have taken place since similar surveys first saw publication, she views Hollywood through strategies as varied as close textural analysis, feminism, psychoanalysis, film style and study of cinematic imagery, revealing the inconsistencies and antithetical traits lurking beneath Classic Hollywood's supposed transparency.

In the early part of the twentieth century, migrants made their way from rural homes to cities in record numbers and many traveled west. Los Angeles became a destination. Women flocked to the growing town to join the film industry as workers and spectators, creating a “New Woman.” Their efforts transformed filmmaking from a marginal business to a cosmopolitan, glamorous, and bohemian one. By 1920, Los Angeles had become the only western city where women outnumbered men. In Go West, Young Women, Hilary A. Hallett explores these relatively unknown new western women and their role in the development of Los Angeles and the nascent film industry. From Mary Pickford’s rise to become perhaps the most powerful woman of her age, to the racist moral panics of the post–World War I years that culminated in Hollywood’s first sex scandal, Hallett describes how the path through early Hollywood presaged the struggles over modern gender roles that animated the century to come.

In 1930s Hollywood, an orphaned Texas beauty refuses to trade her personal integrity for the promise of fame and fortune. When a shadowy business scheme comes to light, Edna King decides that self-respect is much more important than opportunism. Despite her many setbacks, the resilient woman continues to do what she thinks is right and finally discovers security and happiness in the burgeoning Los Angeles basin of the thirties and forties.

Fifteen years in the making, “860 glittering pages” (The New York Times), the first volume of the astonishing life of Barbara Sanwyck—one of our greatest screen actresses—explores her extraordinary range of eighty-eight motion pictures, her work, her world, and her Hollywood through an American century. Frank Capra called her “the greatest emotional actress the screen has yet known.” Yet Barbara Stanwyck (1907-1990) was also one of its most underrated stars. Now, Victoria Wilson gives us the most complete portrait of this magnificent actress, seen as the quintessential Brooklyn girl whose family was in fact of old New England stock…her years in New York as dancer and Broadway star…her fraught marriage to Broadway genius, Frank Fay…the adoption of a son; her partnership with Zeppo Marx, with whom she created a horse breeding farm; her fairytale romance and marriage to Robert Taylor, America's most sought-after male star… Here is the shaping of her career working with Hollywood's most important directors, all set against the times—the Depression, the rise of the unions, the coming of World War II, and a fast-evolving motion picture industry. At the heart of the book is Stanwyck herself—how she transformed herself from shunned outsider into one of America's most revered screen actresses. Volume One is the result of more than 100 exhaustive interviews with those who knew Stanwyck, many who never before had agreed to be interviewed: her family, friends, and co-workers from Lauren Bacall, Jane Fonda, and Jackie Cooper to Patricia Neal, Milton Berle, and Kirk Douglas; from Billy Wilder, Bruce Dern, and Anthony Quinn to Jane Powell, Charlton Heston, Arthur Laurents, and Sydney Lumet. “An epic Hollywood narrative,” A Life of Barbara Stanwyck includes never-before-seen letters, journals, and photographs.

Dispatches from a land of extremes, by writers and movie stars, natives and visitors, activists and pioneers, and more. California has always been, literally, a place to write home about. Renowned figures and iconoclasts; politicians, actors, and artists; the world-famous and the not-so-much—all have contributed their voices to the patchwork of the state. With this book, cultural historian and California scholar David Kipen reveals this long-storied place through its diaries and letters, and gives readers a highly anticipated follow up to his book Dear Los Angeles. Running from January 1 through December 31, leaping across decades and centuries, Dear California reflects on the state's shifting landscapes and the notion of place. Entries talk across the centuries, from indigenous stories told before the Spanish arrived on the Pacific coast through to present-day tweets, blogs, and other ephemera. The collected voices show how far we've wandered—and how far we still have to go in chasing the elusive California dream. This is a book for readers who love California—and for anyone who simply treasures flavorful writing. Weaving together the personal, the insightful, the impressionistic, the lewd, and the hysterically funny, Dear California presents collected writings essential to understanding the diversity, antagonisms, and abiding promise of the Golden State. Writings from Edward Abbey, Louis Armstrong, Ambrose Bierce, Octavia Butler, John Cage, Willa Cather, Cesar Chavez, Julia Child, Winston Churchill, Simone de Beauvoir, Albert Einstein, F. Scott Fitzgerald, Jane Fonda, Allen Ginsberg, Dolores Huerta, Langston Hughes, Zora Neale Hurston, Steve Jobs, Billy Joel, Frida Kahlo, John F. Kennedy, Anne Lamott, John Lennon, Groucho Marx, Henri Matisse, Marshall McLuhan, Herman Melville, Charles Mingus, Marilyn Monroe, John Muir, Ronald Reagan, Sally Ride, Joan Rivers, Susan Sontag, Mark Twain, Oscar Wilde, Laura Ingalls Wilder, Mark Zuckerberg, and many others.