Henry's Attic provides fascinating documentation of some of the one million artifacts in the Henry Ford Museum and Greenfield Village. The items represent both Henry Ford's passion for collecting Americana and the astonishing array of gifts—some of great historic value and others of a distinctly homegrown variety—that account for almost half of the museum's collections. It was the quantity of these gifts and the unusual and even unique nature of many of them that provided the inspiration for this book. Henry Ford Museum and Greenfield Village, which Ford established in Dearborn, Michigan in the late 1920s, was intended to recreate the slow-paced, rural character of America before the advent of the automobile. The purchases he made and the gifts he was given reflect his desire to document and preserve the lifeways of common people and to emphasize middle-class rural history, as represented by the tools of agriculture, industry, and transportation.

Originally published in 1977 and long out of print, Maurice Yacowar’s Hitchcock’s British Films was the first volume devoted solely to the twenty-three films directed by Alfred Hitchcock in his native England before he came to the United States. As such, it was the first book to challenge the assumption that Hitchcock’s “mature” period in Hollywood, from the late 1940s to the early 1960s, represented the director’s best work. In this traditional auteurist examination of Hitchcock’s early work, author Maurice Yacowar considers Hitchcock’s British films in chronological order, reads the composition of individual shots and scenes in each, and pays special attention to the films’ verbal effects. Yacowar’s readings remain compelling more than thirty years after they were written, and some—on Downhill, Champagne, and Waltzes from Vienna—are among the few extended interpretations of these films that exist. Alongside important works such as Murder!, the first The Man Who Knew Too Much, Secret Agent, The Lady Vanishes, and Blackmail, readers will appreciate Yacowar’s equal attention to lesser-known films like The Pleasure Garden, The Ring, and The Manxman. Yacowar dissects Hitchcock’s precise staging and technical production to draw out ethical themes and metaphysical meanings of each film, while keeping a close eye on the source material, such as novels and plays, that Hitchcock used as the inspiration for many of his screenplays. Yacowar concludes with an overview of Hitchcock as auteur and an appendix identifying the director’s appearances in these films. A foreword by Barry Keith Grant and a preface to the second edition from Yacowar complete this comprehensive volume. Anyone interested in Hitchcock, classic British cinema, or the history of film will appreciate Yacowar’s accessible and often witty exploration of the director’s early work.

Analyzes the unique satirical social and political commentary offered by Hogan’s Heroes during a volatile period in American history.

In Hollowed Ground, author Larry Lankton tells the story of two copper industries on Lake Superior—native copper mining, which produced about 11 billion pounds of the metal from the 1840s until the late 1960s, and copper sulfide mining, which began in the 1950s and produced another 4.4 billion pounds of copper through the 1990s. In addition to documenting companies and their mines, mills, and smelters, Hollowed Ground is also a community study. It examines the region’s population and ethnic mix, which was a direct result of the mining industry, and the companies’ paternalistic involvement in community building. While this book covers the history of the entire Lake Superior mining industry, it particularly focuses on the three biggest, most important, and longest-lived companies: Calumet & Hecla, Copper Range, and Quincy. Lankton shows the extent of the companies’ influence over their mining locations, as they constructed the houses and neighborhoods of their company towns, set the course of local schools, saw that churches got land to build on, encouraged the growth of commercial villages on the margin of a mine, and even provided pasturage for workers’ milk cows and space for vegetable gardens. Lankton also traces the interconnected fortunes of the mining communities and their companies through times of bustling economic growth and periods of decline and closure. Hollowed Ground presents a wealth of images from Upper Michigan’s mining towns, reflecting a century and a half of unique community and industrial history. Local historians, industrial historians, and anyone interested in the history of Michigan’s Upper Peninsula will appreciate this informative volume.

An in-depth look at the portrayal of Asian characters by non-Asian actors in classical Hollywood film.

Brings together highly regarded scholars of Jewish and Christian mysticism in Eastern Europe to analyze the overlap of mysticism in the two religions.

The follow-up to Pulling Down the Barn, House of Fields is a collection of evocative personal essays that recall the many facets of a young girl’s formal and informal education in rural Michigan.

Set against the violently fragmented matrix of Detroit in 1973, Dobyns' novel is an unlikely fusion of love and violence. The plot centers around the lives of fifteen people—and three dogs—who live in a Cass Corridor rooming house. When an innocent Ontario farm boy comes to Detroit in search of his runaway sister, he provides a temporary focus for the other residents. They include a bartender/writer, an avant-garde composer and his wife, a former policeman, a female artist whose rent is being paid by two men, and a pair of elderly ex-convicts—one a panhandler, the other a locksmith. Robbery, murder, a stabbing, a poisoning, and a fire serve to bring about a profound emotional transformation among the characters. Against this hostile urban landscape, Dobyns weaves his extrordinary human tapestry. By the novel's close, the housemates "unite" to form a rich though volatile world.

Prolific director Howard Hawks made films in nearly every genre, from gangster movies like Scarface to comedies like Bringing Up Baby and Monkey Business and westerns like Rio Bravo. In this new edition of a classic text, author Robin Wood explores the ways in which Hawks pushed the boundaries of each genre and transformed the traditional forms in new, interesting, and creative ways. This reprint also contains an exciting new introduction by Wood, which shows how his thinking about Hawks has deepened over time without fundamentally changing. Since its original publication in 1972, Wood's Howard Hawks has set the terms for virtually all subsequent discussions of the director. The provocative chapters demonstrate the ways in which Hawks's films were affected by the director's personality and way of looking at and feeling things, and by his celebration of instinct, self-respect, group responsibility, and male camaraderie. Wood's connections between the professionalism of Hawks's action films and comedies, with their “lure of irresponsibility,” has become a standard way of conceptualizing Hawks's films and the model to which all later critical work has had to respond. This book remains as contemporary as when it was first released, although it is grounded in the auteur period of its publication. Robin Wood has stubbornly resisted the trends of academic film studies and in so doing has remained one of its most influential voices. Certain to be of interest to film scholars and students, this book will also be particularly useful as a text for university courses on Hawks, popular cinema, and authorship in film.