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Drawing on previously untapped archival materials including letters, interviews, and more, Bernard F. Dick traces the history of Columbia Pictures, from its beginnings as the CBC Film Sales Company, through the regimes of Harry Cohn and his successors, and ending with a vivid portrait of today's corporate Hollywood. The book offers unique perspectives on the careers of Rita Hayworth and Judy Holliday, a discussion of Columbia's unique brands of screwball comedy and film noir, and analyses of such classics as The Awful Truth, Born Yesterday, and From Here to Eternity. Following the author's highly readable studio chronicle are fourteen original essays by leading film scholars that follow Columbia's emergence from Poverty Row status to world class, and the stars, films, genres, writers, producers, and directors responsible for its transformation. A new essay on Quentin Tarantino's Once Upon a Time...in Hollywood rounds out the collection and brings this seminal studio history into the 21st century.

Amply illustrated with film stills and photos of stars and studio heads, Columbia Pictures is the first book to integrate history with criticism of a single studio, and is ideal for film lovers and scholars alike.

Table of Contents

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  1. Cover
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  1. Title page, Copyright, Dedication
  2. pp. i-vi
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  1. Contents
  2. pp. vii-viii
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  1. Preface
  2. pp. ix-x
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  1. Part I. The History of Columbia, 1920-1991
  1. From the Brothers Cohn to Sony Corp.
  2. pp. 2-64
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  1. Chronology
  2. pp. 65-68
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  1. Part II. The Art of Columbia
  1. 1. Frank Capra at Columbia: Necessity and Invention
  2. pp. 70-88
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  1. 2. Columbia's Screwball Comedies: Wine, Women and Wisecracks
  2. pp. 89-105
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  1. 3. Film Noir at Columbia: Fashion and Innovation
  2. pp. 106-117
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  1. 4. Rita Hayworth at Columbia: The Fabrication of a Star
  2. pp. 118-130
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  1. 5. Judy Holliday: The Star and the Studio
  2. pp. 131-144
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  1. 6. An Interview with Daniel Taradash: From Harvard to Hollywood
  2. pp. 145-151
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  1. 7. On the Waterfront: "Like It Ain't Part of America"
  2. pp. 152-168
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  1. 8. Anatomy of a Murder: Life and Art in the Courtroom
  2. pp. 169-181
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  1. 9. Columbia and the Counterculture: Trilogy of Defeat
  2. pp. 182-190
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  1. 10. Taxi Driver: Bringing Home the War
  2. pp. 191-199
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  1. 11. Lawrence of Arabia, 1962, 1989: "It Looks Damn Good"
  2. pp. 200-207
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  1. 12. A Soldier's Story: A Paradigm for Justice
  2. pp. 208-217
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  1. 13. The Last Emperor: A Subject-in-the-Making
  2. pp. 218-230
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  1. Filmography: The Columbia Features, 1920-1991
  2. pp. 231-285
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  1. Contributors
  2. pp. 286-287
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  1. Index
  2. pp. 288-293
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  1. Illustrations
  2. pp. 294-309
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