5 comments about Glued to the Set.

1. This book is an excellent example of scholarship that is accessible and fun, and yet theoretically relevant. Anyone interested in how television or, to a broader extent, technology has shaped or been shaped by American culture and social events should read this book. You'll get some great insight, plus half of the fun is just seeing what Stark has to say about your favorite TV programs.



2. Mr. Stark has insights on television that you won't find elsewhere. He is fair and thoughtful. Although he appears to be a liberal (albeit with at least some sympathy toward cultural conservatism), you won't often find his analysis colored by party lines. He has positive things to say about Lawrence Welk, Mr. Ed and Ronald Reagan and harsh words about Masterpiece Theater, 60 Minutes and Edward R. Murrow. Moreover, he shows you why you should agree with him even if your initial reaction was quite the opposite. Many of the reviewers remarked that he would be a good person to have a conversation with. I heartily agree. I only wish that he would do a sequel. Reading this 1997 book in 2005 makes you realize just how much has changed since then.



3. Mr. Stark has managed to capture what the whole spirit of essay-writing is about: to spark debate and seamlessly incorporate the various (and often needlessly divorced) disciplines, be it sociology, psychology, design, media, education, etc.

   Many other reviewers on this democratic yet altogether newfangled 'Amazon' service have expressed displeasure at Stark's omissions and/or the marketing of the book. For those who expected a simple list of the Best Shows of All Time, you should not bother with books to begin with; yet if you persist in reading, I suggest you start with Ziauddin Sardir's essay about list and rank obsession in 'The A to Z of Postmodern Life'.

   Mr. Stark's cause, I believe (and teach my students) is to provoke the very debate and discussion that has prompted both 1 and 5 star rankings. He is perhaps one of the most effective essayists of our time, for he manages to incorporate opinion, research, and a broader historical view by referencing the very (and only) things that give our American culture its ballast. Most importantly, he manages to do this without falling into the academic sophism that describes much of the current film/video literature.




4. This book is not meant to be about the 60 greatest shows ever to appear on television. It is not, in reality, a book about television at all, but rather about sociology. It analyzes the impact of television on American life, and, conversely, the impact of American life on television.

   Bravo to Mr. Stark for writing a book which gives us much more than so many other books do in discussing television. Mr. Stark actually makes us think about its impact.




5. Anybody who thinks they're writing a book about the sixty best television shows ever made yet somehow doesn't include The Simpsons is obviously so stupid and ignorant that no further comment need be made. Time for this windy old hack to be sent to the glue factory.

5 comments about Dark City: The Lost World of Film Noir.

1. I've listened to Eddie Muller's commentaries on various DVDs, and they have been excellent overall. He also seems like an extremely nice guy. Having said that, I had mixed feelings about this book. As another reviewer said, it is indeed written in a rather breezy way. It's also quite self-referential, which gets tedious sometimes. There are some genuine nuggets sprinkled throughout that pique your interest. Still, the treatment feels superficial, and the content blends together after a while. IMHO, I think it's more suited to suited to someone who's not that familiar with film noir.



2. If you are interested in film noir and looking to purchase a single book on the subject, this is the title that I would recommend. There are dozens of other books available, but this is the one that I would deem as being essential for a beginner. The text of "Dark City: The Lost World of Film Noir" is lavishly illustrated with publicity stills and film posters. The writing is uniformly engaging and highly addictive.
   
   The author, Eddie Muller, is a man of parts. He has written novels and biographies, he has provided informative and entertaining commentary tracks as bonus materials for dvds, he has hosted and programmed film festivals and interviewed actors and actresses from Hollywood's Golden Age, he helped found a not for profit corporation that labors to restore vintage films that might otherwise be lost due to the decomposition of nitrate stock while studio attorneys quarrel over ownership issues and so much more. Muller has an interest in prize fighting and exploitation films. He was writing about the grindhouse cinemas long before Quentin Tarantino developed a feature film screenplay on the same topic. Muller is a minor expert on the architecture and geography of his hometown, San Francisco, and can identify all of the filming locations used in the noirs set there, including former landmark buildings that are now demolished.
   
   Given his varied interests, Muller's writing reflects his overall versatility. He is not a one trick pony who rewrites the same book and repeats the same anecdotes over and over again. Muller is authoritative, but humble and approachable at the same time. He does not take himself too seriously and he remains an unrepentant enthusiast. Any man who could attend a revival screening of "Born to Kill" and keep the volatile Lawrence Tierney on a short leash is someone to be admired. Muller received an affectionate head butt for his troubles from Tierney one of Hollywood's most celebrated barroom pugilists and back alley brawlers.
   His online essay on the eventful day is hilarious.
   
   As to the subject at hand, film noir, Muller's carefully crafted prose reads as if it were transcribed from a performance by an accomplished improvisational jazz musician, although Muller would be the first to point out that the widespread public association of film noir with jazz is overstated (noir films did not typically include jazz scores until relatively late into the film noir cycle). Many standard reference books on the subject are written by film school professors and academics. Regrettably, some of these scholarly tomes are decidedly dull. Muller is refreshingly readable in contrast and could go fifteen rounds with any of the film school lecturers without putting anyone to sleep. He can hold his own against the scholars and specialists, but his writing reflects a liberal arts background that will resonate with the masses.
   
   If you finish this book, you will learn about the pulp fiction and detective writers who produced the paperbacks that were adapted for the movies, the economics of the "B" film units at the studios, marketing techniques and poster art used to sell the flicks and put fannies in the theater seats, the production code censors and the back stories on the people who made the movies. Edgar G. Ulmer, for example, worked on such a tight budget for the one week wonder "Detour" that the total amount of raw film stock, as measured in feet, available to him for the feature was rationed by the studio penny pinchers at Producers Releasing Corporation.
   
   This book is great fun and it holds up well for rereading. My only complaint is that Muller concentrated on the output of the major studios almost exclusively and, largely, overlooked Poverty Row productions, but that is a small criticism. After reading this book, you may subscribe to Netflix to secure more film titles that were once staples on the late, late show.
   
   Muller does not pull any punches. You may not agree with all of his opinions, but you can respect his positions. The book cover is based upon a scene in the climax of the movie "Dead Reckoning." Muller pans the film for its shortcomings, which include a confusing plot, and relates the problematic history of its script going through multiple rewrites by several writers before the film was shot. I have always enjoyed the film, but Muller recognizes its deficiencies that rendered it good rather than great.
   
   Naturally enough, the book incorporates some of the best dialogue from the movies. Highly recommended.



3. Hands down the best book on film noir. Enough facts for the academics and enough fun for the rest of us. Fantastic layout and though some have trouble with the hard-boiled writing style, I loved it and it comes from a master - check out Muller's novels too!



4. more than you ever knew about film noir, eddie muller plunges the reader into the dark and seamy side of hollywood. a fabulous history of film noir with rare and splendid posters, photographs, and insider stories that can only be found here and as only eddie can tell them.
   i highly recommend this book. a must have for every film buff and serious collector.



5. I will grant that film noir is mostly about style, that's film noir the thing in itself, not the explanation. Muller tries to write like the hard-boiled wordsmiths that helped give noir its flavor; but he adds so much useless patter as to give the impression that, like them, he is being paid by the word. In the end this book is about as satisfying as getting nicotine from a patch. The two stars are for the pictures.

3 comments about Blithe Spirit, Hay Fever, Private Lives: Three Plays.

1. Noel Coward's talent for spinning gossamer plots into rapier-sharp comedy assures his reputation in theatre, and his comedies have such timeless appeal that they remain staples of both English and American theatre. This volume collects three of his most memorable scripts: the fantasy BLITHE SPIRIT, the farce HAY FEVER, and the razor-wicked PRIVATE LIVES.

   Of the three, BLITHE SPIRIT and PRIVATE LIVES are best known to the general public through various film versions and frequent revivals. BLITHE SPIRIT concerns a novelist who invites a medium to give a seance that he might learn tricks of the trade for the book he is writing--but the medium is no fake, and she unintentionally summons up the ghost of his first wife, who promptly moves in and makes his second wife's life a living hell. PRIVATE LIVES offers the story of a divorced couple who unexpectedly meet while honeymooning with their new spouses--whom they quickly abandon in order to resume their torrid passion for each other. Trouble is, although they love each other desperately, their personalities are about as compatible as two scorpions in a bottle. HAY FEVER, one of Coward's earliest successes, presents the story of visitors to an eccentric family who are very nearly driven mad before they are able to escape.

   Coward was reknowned for his sophistocated and often acid turn of phrase, and all three of these plays contain enough outrageous situations and sharp-tongued lines to make even the worst sourpuss laugh loud enough to annoy the neighbors. Although those unused to reading playscripts may find HAY FEVER a bit hard to grasp, both BLITHE SPIRIT and PRIVATE LIVES read extremely, extremely well--so much so that you're likely to find yourself acting them out as you read! Wonderful fun, and strongly, strongly recommended.




2. I recieved my summer reading list for Honors English a few weeks ago, and under the section that held a list of three play titles to choose from, I came across Blithe Spirit. Having never heard of Noel Coward, or anything of the other two plays in this book (Hay Fever, and Private Lives) I decided to give the book a chance and I am pleased that I did. I am not a huge fan of reading plays, but after I read Blithe Spirit, I felt that I just had to keep going and read the other two. After reading this book, it is now very obvious to me that Noel Coward was a man with extreme talent, and an awful witty sense of humor. While reading these plays you come across some really interesting situations, and characters, and I guarentee that you will be smiling throughout the whole thing.



3. Noel Coward's _Hay Fever_, Evelyn Waugh's _Handful of Dust_, and Kingsley Amis's _Lucky Jim_ are, for my money, the three funniest things written in English in the 20th century. I was a drama critic for nearly 12 years, saw hundreds of productions of all kinds from coast to coast in the US and a few in London, and never laughed harder or enjoyed myself more than at a regional US production of "Hay Fever" in the late 1970's. Do it again! Do it again!

5 comments about Broadway: The American Musical.

1. One of the best books every written about the Broadway Theatre. Lots of little known facts, lots of pictures. A fountain of knowledge and a must have for every Broadway buff.



2. This is an amazing book that covers from Gilbert and Sullivan to (almost) present day.
   It is very much worth it's weight in gold if you love Broadway and Music Theatre.



3. This book is great for anyone - from the Broadway musical savant to the average curious person to the theatre student.



4. If you've seen the PBS television series, Broadway: The American Musical, this book acts as a fantastic companion and will look great on your bookshelf or coffee table!
   
   It's virtually exactly the same as the DVD in terms of following the chronology of the development of Broadway but the great thing about it is it seems to come with additional pictures not seen in the series and great quotes. Forget about flicking on your DVD! If you need a quick reference you could turn to any page and find something interesting about Broadway to read about.
   
   If you enjoyed the series and are passionate about Broadway, I would thoroughly recommend this book as it has everything in there that you'd need to know. Enjoy it!



5. If you're into theatre, this book is a must-have! You won't find any other book that gives you such a detailed and accurate history of Musical Theatre. The pictures are great and the reading is outstanding!

5 comments about One Life to Live: Thirty Years of Memories.

1. This book has all that any fan of 'One Life To Live' would want. You can relive the storylines through all of the recaps. The book features listings of every character to ever appear on the show, along with many pictures of past and present greats from the show. It is definitely a nostalgic trip down memory lane.
   The book did a wonderful job of cramming 30 years into something that is totally enjoyable. I really can't think of anything that was missed.



2. This book is a wonderful historical memoir of one of the most daring and well-written shows on daytime.

   Not only does it chronicle the show's rich history, it includes wonderfully bright and vivid color photos of many of the most-loved actors/actresses/characters that have been on the show.

   I highly recommend this book to all fans of OLTL!




3. I HAVE BEEN A BIG FAN OF OLTL FOR 25 YEARS. THIS BOOK IS EVERYTHING I COULD WANT IN COVERING MY FAVORITE SOAP OPERA. THE INTERVIEWS, PHOTOS, RESEARCH DONE MR. WARNER IS OUTSTANDING. IT BROUGHT BACK SOME GREAT MEMORIES FROM THE PAST 25 YEARS. ALL FANS OF ONE LIFE TO LIVE AND SOAPS SHOULD OWN THIS GREAT PIECE OF WORK. A WONDERFUL BOOK DEDICATED TO A WONDERFUL SHOW THAT FILLED MANY OF MY AFTERNOONS. A MUST READ.



4. The other 2 reviews were right about ABC daytime canceling ONE LIFE TO LIVE in July 16,1999!,to make room for a new soap opera, PACIFIC CITY.Please right to ABC DAYTIME about this, they aren't going to tell the public 'til OLTL is cancelled. Don't let this happen, like what happened to NBC SOAP ANOTHER WORLD. Write to ABC DAYTIME about this, why?



5. I heard ABC WILL cancel ONE LIFE TO LIVE as of JULY 16. The press of daytime soap operas is not telling viewers and put the information about it in the Magazines. Write to ABC DAYTIME in New York please!

5 comments about The Big Book of Broadway, Third Edition.

1. Bought this along with the definitive Broadway for my teenage daughter. Thorough compilation and she was thrilled



2. This is a great book of show tunes. There is quite a bit of variety here. Many new songs are included, along with plenty of old favorites. The music is challenging to play, but you can always fake it, if you're a piano hack like me!



3. I "read" this book because I'm a big fan of broadway and have always wanted to learn new showtunes. This book is great if you want to learn lyrics of great songs. Many of the songs in this book are popular such as "Memory" from Cats.

   There is quite a bit of variation in this book. there are songs from all sorts of musicals. If you want to learn the tunes of the songs in this book, it helps yo play the piano or quitar. The songs are mostly in b flat. There are many time signatures too. I play violin, and I could learn tunes by playing violin using the music in this book too. If you are looking for some songs to sing for an audition, or to play for an audition, or just for fun-this book is great!




4. I am a singer and many of the songs I sing come from this book my favorite is "Being Alive". It's got a lot of songs from very familiar Musicals like the King and I and Sound of Music. Also most of the arragements are not bad either.



5. I am a singer and many of the songs I sing come from this book my favorite is "Being Alive". It's got a lot of songs from very familiar Musicals like the King and I and Sound of Music. Also most of the arragements are not bad either.

5 comments about How to Talk Dirty and Influence People.

1. This book is just as relevant now as it was in the age it was written. If you don't "get it" then it wasn't meant for you.



2. I first read this book at the tender age of fourteen, and even then it had an impact on my perceptions. Now, over thirty years later, it has remained one of the strongest influences of my life! I would not be the wise and compassionate Spiritual teacher that I am without having read about Lenny's life of pushing the boundaries and comedic concepts far ahead of his time. He was and still is the most profound comic Spiritual visionary America has ever seen...and most likely will ever see. Long live Saint Lenny!



3. I found this book to be thoroughly enjoyable. Lenny Bruce is an interesting guy and I think it's very insightful just of life and society in general and of all their inconsistencies. Though today, I'm sure, is much different than Lenny's era, most of what he has to say still applies. He can be really funny at times, but I'd say its a darker humor. I remember thinking it dragged just a bit when he gets deep into his legal battle near the end of the book but overall it kept me entertained.



4. You could be forgiven for thinking that this book is by Eric Bogosian. Although generally okay, the Fireside edition spends more time talking about Bogosian on the front cover than it does talking about Bruce himself.
   
   Too bad. But luckily for the reader, this book is pure Lenny.
   
   More readable than the transcripts of his performance (since he intended this to be read)-- How To Talk Dirty and Influence People is part autiobiography and part diatribe. Bruce explains, jokes, cajoles and convinces as he writes. This is the story of his life from his birth until 1963 when it was written.
   
   Lenny Bruce is a very important figure in the histories of performance and free expression. This book is a little bit sketchy to be a final remembrance, but is still worth the time and effort that it takes to read. In particular, the beginning sections of the book are magical-- funny, wry and moral. It loses the thread a little bit towards the end, as Bruce is more and more obsessed with the legal wars that he was then fighting on every front. Certainly understandable, but the latter chapters are much less open for the reader and seem to have been written in a much bigger hurry than the rest of the book.
   
   If you are interested in Bruce, this book is a must-read. The Fireside edition is bound with an introduction by the aforementioned Bogosian and with a preface by Kenneth Tynan.



5. You don't have to be a fan of Lenny Bruce to love this book, you don't have to really know who he is (I really only know him from a few recordings and by reputation). This book is funny. This book is still a valuable piece of social satire and criticism. This book is an interesting story. This book is a piece of history. This book is great. This book should be read.

5 comments about Make Your Voice Heard: An Actor's Guide to Increased Dramatic Range Through Vocal Training.

1. I can't praise this book highly enough!
   
   I'm a student at a conservatory actor training course in Australia and had struggled with my vocal training for the first year and a half, but after reading the reviews on Amazon I decided to buy this book and it has absolutely changed my acting.
   
   Jones sets out the daily vocal workout (warm-up) in a logical, easy-to-follow way and, more importantly, explains exactly WHY each exercise is important and how it will directly affect the voice. He also has excellent exercises that help with release and the connection of thought to breath and emotion, in a way that is natural and which bypasses the 'head'.
   
   While there are many other books on the market which cover similar ideas (Freeing the Natural Voice, The Right to Speak, Voice & the Actor), Jones' book worked for me because it is so simple and to the point.
   I found that this, along with Alexander movement training, completely changed my voice and allowed me to access parts of my vocal range that I had never been able to before, as well as making me a much more open and emotionally connected actor.
   
   If you're serious about your development as an actor and want an accessible and effective approach to voice training, then I'd highly recommend getting your hands on a copy of this book.



2. As a vocal train. teacher in Mexico, I must say this an enlighting book!



3. The information on the back cover of the book, especially the quotes, was great. I thought that it would help other readers to be able see it.
   
   
   During my time as a student of Chuck Jones, I learned more about acting than during any other period of my training. I can't say enough positive things about him as both a teacher and a person.
   Edie Falco
   
   Chuck's work is an extraordinary gift. It connects the voice to the imagination and emotion every actor prays for - I am so grateful.
   Jessica Hecht
   
   Chuck Jones is a major American voice teacher whose work actively implements careers.
   Michael Howard
   
   A life saver. Chuck's exercises have not only greatly improved my breathing and vocal range, but have allowed me more freedom in my work. They have become an indispensable part of my daily ritual.
   Carla Gugino
   
   Chuck Jones is the most influential teacher I've ever had. He deepened and strengthened not only my voice but also my acting.
   Francie Swift
   
   
   
   Chuck Jones is a graduate of Cornell University and has taught voice at S.U.N.Y. Purchase, New York; California Institute of the Arts; Playwrights Horizons, New York University; University of California, Berkeley; Circle In The Square, New York University; Circle Repertory Company; The Working Theater (Kristin Linklater, Joseph Chaikin), Caymichael Patten Studio; and the Michael Howard Studios. He has fifteen years of professional acting credits on and off Broadway, in England at the Royal Court Theatre, South America, and in British and American television. In addition, he has been a vocal coach on many films and Broadway productions. Among the successful actors he has coached or taught are: Edie Falco, Keanu Reeves, William Hurt, Holly Hunter, Carla Gugino, Wesley Snipes, Jessica Hecht, Marisa Tomei, Parker Posie, Jennifer Jason Leigh, Steven Weber, Stanley Tucci, Francie Swift, Kathleen Chalfont, Ellen Barkin, and Jeff Daniels.



4. A very interesting book!

   The Chuck Jones' method is efficient, very effective, and clear. An expressive voice can be developed doing the exercises just 10 minutes a day.

   He has coached many actors including Edie Falco, Keanu Reeves, Jennifer Jason Leigh, William Hurt, Stanley Tucci, Jeff Daniels, Wesley Snipes, and Parker Posey.




5. This small book, only 141 pages in length, offers a most refreshing, lively and accessible guide to practical voice training written for actors and voice students who strive for honest performances using a voice that responds naturally to their inner selves. Chuck Jones, a remarkable teacher, has pioneered his voice training practices through many years of acting and teaching experience, guiding innumerable voice students and performing arts professionals to integrate fully expressive voices into their work.
   Jones' approach to vocal training is unique since he clearly and very convincingly focuses on the relationship between vocal training and acting, thereby supporting American actor training in which actors are encouraged to draw on their own emotional lives and resources. Jones explains that "....voice training does more than solve vocal problems: Voice training allows actors to extend their range, develop power, and create that mysterious quality known as presence....helps put actors in touch with their deepest emotional states and allows them to connect to their roles in a profound way....helps actors to develop the capacity to reveal the full range of their inner lives." (page 23)
   In the first half of the book Jones examines fundamental acting issues that relate specifically to the vocal instrument such as, being heard, character choices, and vocal power. In the second half of the book, Jones introduces a very specific, logical sequence of exercises as part of a daily vocal workout that release, stretch, strengthen, increase the expressive range, resonance and flexibility of the vocal anatomy and physical instrument leading to a heightened physical and emotional awareness.
   Jones brings the book to a close by defining how to connect the voice to the emotional life, breathing as part of acting, and finally, how to get used to the new sound that results from his vocal training practices; thus Jones addresses practically the full integration of the expressive voice into acting work based on an honest connection that includes the physiological, the physical and the emotional aspects of the actor's instrument eliminating the "mystery" from voice training.
   I first met Chuck Jones about 15 years ago when I attended his voice class as a student and his work and who he is as a teacher changed my life and my work as an actress! He took the "mystery" out of voice production for me as an actress and he is my inspiration for becoming the voice teacher I am today.

1 comments about How to be a Working Actor, 5th Edition: The Insider's Guide to Finding Jobs in Theater, Film, & Television (How to Be a Working Actor: The Insider's Guide to Finding Jobs).

1. Getting started in many careers is undeniably the hard part. "How to Be a Working Actor: The Insider's Guide to Finding Jobs in Theater, Film, and Television" is a comprehensive and through guide to help actors get started on the right foot and not be waiting tables for the rest of their lives. With essential advice on how to put together a professional wardrobe, creating a solid resume, communicating the right way with ones agent, working on and improving ones weaknesses in the craft, and so much more. "How to Be a Working Actor: The Insider's Guide to Finding Jobs in Theater, Film, and Television" is a must have for any aspiring actor and for community library collections on Theater and Cinema.

No comments about A Death in the Family: A Restoration of the Author's Text (Collected Works of James Agee).