Stardust Monuments: The Saving and Selling of Hollywood

Notes

Notes Introduction 1. Hortense Powdermaker, Hollywood, the Dream Factory: An Anthropologist Looks at the Movie-Makers (Boston: Little, Brown, 1950), 16. 2. “Hollywood” circa 1950s. Brochure prepared by the Hollywood Chamber of Commerce with the cooperation of the Association of Motion Picture Producers. “Hollywood Tours and Tourism,” General Subject Files, AMPAS. This brochure poses and answers ten frequently asked questions about Hollywood, suggesting another attempt to offer behind-the-scenes access to film production and Hollywood glamour. 3. Bob Sehlinger and Arthur Frommer, The Unofficial Guide to Walt Disney World 1998 (New York: Macmillan, 1998), 163. 4. Sarah Banet-Weiser, Authentic™: Political Possibilities in Brand Cultures (New York: New York University Press, forthcoming). 5. Robert Sklar, Movie-Made America: A Cultural History of American Movies (New York: Vintage, 1975), 69. 6. In both the late 1970s and 2010, Hugh Hefner unleashed a media frenzy in support of preserving the sign. In 2010, he funded the remaining nine hundred thousand dollars needed to purchase the land around the sign and restore it. For more on the Hollywood Sign, see Leo Braudy, The Hollywood Sign: Fantasy and Reality of an American Icon (New Haven: Yale University Press, 2011). 7. Douglas Gomery, Shared Pleasures: A History of Movie Presentation in the United States (Madison: University of Wisconsin Press, 1992); Gregory Waller, Moviegoing in America: A Sourcebook in the History of Film Exhibition (Malden, MA: Blackwell, 2002); Gregory Waller and Charles Musser, eds., Main Street Amusements: Movies and Commercial Entertainment in a Southern City (Washington, DC: Smithsonian, 1995); Kathryn Fuller, At the Picture Show: Small-Town Audiences and the Creation of Movie Fan Culture (Washington, DC: Smithsonian, 1996); Janna Jones, The Southern Movie Palace: Rise, Fall, and Resurrection (Gainesville: University Press of Florida, 2003); Barbara Wilinsky, Sure Seaters: The Emergence of Art House Cinema (Minneapolis: University of Minnesota Press, 2001); David E. James, The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles (Berkeley: University of California Press, 2005); Haidee Wasson, Museum Movies: The Museum of Modern Art and the Birth of Art Cinema (Berkeley: University of California Press, 2005); Peter Decherney , Hollywood and the Culture Elite: How the Movies Became American (New York: Columbia University Press, 2005); Barbara Klinger, Beyond the Multiplex: Cinema, New Technologies and the Home (Berkeley: University of California Press, 2006); William Boddy, New Media and Popular Imagination: Launching Radio, Television and Digital Media in the United States (New • 195 • N O T E S T O P A G E S 6 – 1 1 • 196 • York: Oxford University Press, 2004). Ina Rae Hark’s anthology Exhibition: The Film Reader (New York: Routledge, 2002) also includes essays from the 1980s, such as Russell Merritt ’s on nickelodeon theaters and Charlotte Herzog’s on architectural styles in early movie palaces. Other work on the subject of contemporary exhibition includes Janet Wasko, Hollywood in the Information Age: Beyond the Silver Screen (Austin: University of Texas Press, 1995); Charles R. Acland, Screen Traffic: Movies, Multiplexes, and Global Culture (Durham, NC: Duke University Press, 2003); and Anne Friedberg, The Virtual Window: From Alberti to Microsoft (Cambridge, MA: MIT Press, 2006). Other work that tangentially considers exhibition in the home includes Frederick Wasser, Veni, Vidi, Video: The Hollywood Empire and the VCR (Austin: University of Texas Press, 2001); and Chuck Tryon, Reinventing Cinema: Movies in the Age of Media Convergence (New Brunswick, NJ: Rutgers University Press, 2009). 8. Tony Bennett, “Museums and ‘the People,’” in The Museum Time Machine: Putting Cultures on Display, ed. Robert Lumley (London: Routledge, 1988), 63; Carol Duncan, “Art Museums and the Ritual of Citizenship,” in Exhibiting Cultures: The Poetics and Politics of Museum Display, ed. Ivan Karp and Steven D. Lavine (Washington, DC: Smithsonian, 1991). For a discussion of personal collections, see James Clifford, “On Collecting Art and Culture,” in The Predicament of Culture: Twentieth-Century Ethnography, Literature and Art (Cambridge, MA: Harvard University Press, 1988), 218. 9. Brian Wallis, “Selling Nations: International Exhibitions and Cultural Diplomacy,” in Museum Culture: Histories, Discourses, Spectacles, ed. Daniel J. Sherman, Irit Rogoff (Minneapolis : University of Minnesota Press, 1994), 265–81. 10. Spencer Crew and James Sims, “Locating Authenticity: Fragments of a Dialogue,” in Exhibiting Cultures: The Poetics and Politics of Museum Display, ed. Ivan Karp and Steven D. Lavine (Washington, DC: Smithsonian, 1991), 168–69. 11. Tony Bennett, The Birth of the Museum: History, Theory, Politics (New York: Routledge, 1995), 10, 177–86. Bennett comments that the museum was frequently conceived as (if not directly named) a “machine of...