For decades, filmmakers worldwide have been remaking Hollywood movies in colorful ways. They've chronicled a singing and dancing Hannibal Lecter in India, star-crossed lovers aboard the doomed Nigerian ship Titanic, a Japanese expedition to the planet of the apes, and an uncivil war in Turkey between Captain America and a mobbed-up Spider-Man. Most of these films were low budget and many were unauthorized, but all of them were fantastic--and lately have begun to resurface thanks to cherry-picked YouTube clips. But why and how were they made in the first place? This book tells the little-known stories of the wily filmmakers who made an Italian 007 flick by casting Sean Connery's tradesman brother, produced a Turkish space opera by stealing a print of Star Wars for its effects footage, and transported a full-fledged Terminator to the present day--not from a post-apocalyptic future, but from the vibrant mythology of Indonesia. Their stories reveal more than mere imitations; they demonstrate the fascinating ways ideas evolve as they cross borders.

This book describes how notions of Chinese identity, culture, and popular film genres have been reinvented and repackaged by major U.S. studios, spurring a surge in Chinese visibility in Hollywood.

"Peter Decherney tells the story of Hollywood, from its nineteenth-century origins to the emergence of internet media empires. Using well-known movies, stars, and directors, the book shows that the elements we take to be a natural part of the Hollywood experience--stars, genre-driven storytelling, blockbuster franchises, etc.--are the product of cultural, political, and commercial forces"--

Acknowledgements; Introduction; 1: Tracing The Hollywood Meme: Towards a Comparative Model of Transnational Adaptation; 2: Hollywood and the Popular Cinema of Turkey; 3: Hollywood and the Popular Cinema of the Philippines; 4: Hollywood and the Popular Cinema of India; Conclusion; Bibliography; Index

Originally published in 1994, Homelands, Harlem & Hollywood examines the anti-colonialist struggle against apartheid, and the ways in which American and South African culture have been fascinated with and influenced by one another. Rob Nixon’s wide-ranging analysis looks at Hollywood representations of the struggle for liberation, the impact of the Harlem Renaissance on the Sophiatown writers, the banning and censorship of television under apartheid, Mandela and messianic politics, the sports and cultural boycotts, ethnic nationalism, and the culture of violence. Nixon concludes with an investigation of how the collapse of communism and anti-communism and the rise of ethnic cleansing in Eastern Europe and the former Soviet Union had powerful implications for the shape of post-apartheid South Africa.

Thomas Edison invented his motion picture system in New Jersey in the 1890s, and within a few years most American filmmakers could be found within a mile or two of the Hudson River. They planted themselves here because they needed the artistic and entrepreneurial energy that D. W. Griffith realized New York had in abundance. But as the going rate for land and labor skyrocketed and their business grew more industrialized, most of them moved out. The way most historians explain it, the role of New York in the development of American film ends here. In Hollywood on the Hudson, Richard Koszarski rewrites an important part of the history of American cinema. During the 1920s and 1930s, film industry executives had centralized the mass production of feature pictures in a series of gigantic film factories scattered across Southern California, while maintaining New York as the economic and administrative center. But as Koszarski reveals, many writers, producers, and directors also continued to work here, especially if their independent vision was too big for the Hollywood production line. East Coast filmmakers-Oscar Micheaux, Rudolph Valentino, Ben Hecht, Charles MacArthur, Paul Robeson, Gloria Swanson, Max Fleischer, and others-quietly created a studio system without back-lots, long-term contracts or seasonal production slates. They substituted "newsreel photography" for Hollywood glamour, targeted niche audiences instead of middle-American families, ignored accepted dramatic conventions, and pushed the boundaries of motion picture censorship. Rebellious and unconventional, they saw the New York studios as laboratories, not factories-and used them to pioneer the development of new technologies (from talkies to television), new genres, new talent, and ultimately, an entirely new vision of commercial cinema.

A bracing, indispensable account of America’s epoch-defining involvement in the Great War, rich with fresh insights into the key issues, events, and personalities of the period After years of bitter debate, the United States declared war on Imperial Germany on April 6, 1917, plunging the country into the savage European conflict that would redraw the map of the continent—and the globe. The World Remade is an engrossing chronicle of America’s pivotal, still controversial intervention into World War I, encompassing the tumultuous politics and towering historical figures that defined the era and forged the future. When it declared war, the United States was the youngest of the major powers and militarily the weakest by far. On November 11, 1918, when the fighting stopped, it was not only the richest country on earth but the mightiest. With the mercurial, autocratic President Woodrow Wilson as a primary focus, G. J. Meyer takes readers from the heated deliberations over U.S. involvement, through the provocations and manipulations that drew us into the fight, to the battlefield itself and the shattering aftermath of the struggle. America’s entry into the Great War helped make possible the defeat of Germany that had eluded Britain, France, Russia, and Italy in three and a half years of horrendous carnage. Victory, in turn, led to a peace treaty so ill-conceived, so vindictive, that the world was put on the road to an even bloodier confrontation a mere twenty years later. On the home front, Meyer recounts the break-up of traditional class structures, the rise of the progressive and labor movements, the wave of anti-German hysteria, and the explosive expansion of both the economy and federal power, including shocking suspensions of constitutional protections that planted the seeds of today’s national security state. Here also are revealing portraits of Theodore Roosevelt, Henry Cabot Lodge, Robert La Follette, Eugene Debs, and John J. “Black Jack” Pershing, among others, as well as European leaders such as “Welsh Wizard” David Lloyd George of Britain, “Tiger” Georges Clemenceau of France, and Kaiser Wilhelm II of Germany. Meyer interweaves the many strands of his story into a gripping narrative that casts new light on one of the darkest, most forgotten corners of U.S. history. In the grand tradition of his earlier work A World Undone—which centered on the European perspective—The World Remade adds a new, uniquely American dimension to our understanding of the seminal conflict of the twentieth century. Praise for The World Remade “[G. J.] Meyer offers wonderful insights into many of the key players in this arresting saga . . . one that should be read to understand our emergence as a global power.”—Booklist (starred review) “Meyer gives a good sense of America’s future at that negotiating table and Wilson’s celebrated role at Versailles as the leader of the free world. . . . A refreshing look at this still-much-debated world debacle.”—Kirkus Reviews “Characters come alive and the past seems near. . . . Meyer succeeds brilliantly with his basic narrative approach, and any reader who wants to learn about American participation in the war will benefit from this book.”—Publishers Weekly “This book is well written, sharp, and has bearing on our present and future involvement in wars. A+”—Seattle Book Review “This lengthy revisionist history will fit well with American history and governmental studies departments in both public and academic libraries.”—Library Journal