Art History Books

This book covers a lot of territory and is essential to learning the fundamentals of space suit engineering. Not only does Mr. Harris trace the history of the space suit, he also discusses practical engineering matters. This book contains rare photographs in addition to drawings by the author that illustrate the space suit components, assemblies, and concepts. I have read most other popular books on space suits, but this one packs the most information by far. This book is logically segmented and can be used as an excellent reference. For a true appreciation for the challenges of space suit engineering, this is the book to get.

If you want to REALLY learn a lot about the development of suits, the technical tradeoffs and see how the bidding process and internal conflicts helped and hindered the US suit evolution, BUY THIS BOOK.

Hardcover is the choice, as you'll read this over and over. There's a lot here, you'll want to read it in installments. Rockets are flashy, but spacesuits protect the men that went into space.

I work for Caterpillar and we deal with these: the advantage (and trade-offs) of choosing a set technical path / solution and how this impacts the later generations of any product. It applies to everything we use and buy, but it's REALLY intersting to see for a spacesuit.

Mr. Harris has written an excellent book on the history of the EVA suit. I would recommend it to anyone who is interested in the design of EVA suits and how they got to where they are today. Mr. Harris goes into enough detail to allow you to understand how the various suits work (both pros and cons) but not so much as to bore the reader. For those who want more detail, there is an extensive list of resources in the book. In short, if you want to learn about EVA suits, buy this book and read it.

The author also outlines the intricate procedure followed by NASA in contracting a space suit. NASA doesn't select a space suit; it selects a conractor. It involves a whole range of considerations such as cost, integration of the PLSS and suit, who were the contractor's key personnel, design and test philosophy of the contractor, certfication method, prior experience, who the subcontractors were, scheduling and delivery, and how compatible the suit system is with the spacecraft. In addition, blatant national political factors more than likely affected contractor selection; how much money was NASA already spending in the respective states of the suit competitors, who were the states' representatives and did NASA owe the representative any potical favors?

This volume is Bible of the space suits, covered in over 500 pages in fine print. It addresses almost all issues relating to the EVA suit in one volume. It is perhaps the only source book of space suits. It is rare occassion that an entire volume of the AAS History Series is devoted to a single topiuc, which indeed is an honor to the author. In Indian context, may be the ISRO has no plans to design a space suit, since there are no plans of any manned space mission as of today, but eventually it will have. This book will serve as a reference in design specification and technical details of the various types of EVA suits and their suitability for a particular mission.

Bound in blue hard cover as usual, the book has a illustration of the Litton RX-5A hard suit being demonstrated on a simulated lunar surface.

Gary Harris wrote the most precise and complete space suits book ever. I thought I knew some about space suits design, but after reading "The Origins and Technology of the Advanced Extra-Vehicular Space Suit" I learned a lot more. This book is so interesting and passionate about the history and development of advanced EVA suits. Full of good photos and explanatory drawings it is a MUST for any serious reader interested in space suits. The book also cover technical issues, so it is useful for the engineer, scientist and student.
I predict this book will become a classic for life support systems and EVA engineers in the years to come.

I had the pleasure of meeting Anthony Winkler and his wife at the 2007 Caribbean Literary Festival held in Antigua. The author has a wry humour, a very intriguing outlook and philosphy on life, and an obvious love for his homeland. Winkler has brought these together in a deeply engrossing novel about a poor and defornmed fisherman Zacariah, and his life. The story is moving, humorous, telling as to the vagaries of human nature and insightful about the Jamaican, of an earlier era. I heartily recommend this novel. It's very well done.

This book is a real gem and deserves a much wider readership. It focuses on a poor, ugly Jamaican fisherman named Zachariah Pelsie who has a jaw disfigured from disease. Zach is an exceptionally proud, stubborn, honorable and determined man. His wife, Carina, is strong, rash, and passionate about her husband. The other major character in the book is Archibald Richardson, a British medical doctor who serves the rural poor. Other notable characters include the pompous parson, the compliant constable, the resentful nurse, the antagonistic Mr. and Mrs. Lewis, and a relentless hammerhead shark. They are all very strong and memorable characters. Lucy P - the painted canoe - could be considered as a major (albeit inanimate) character too.

The Painted Canoe is more serious and not as relentlessly humorous as The Duppy or The Lunatic, also by Winkler, but clearly his best (and first) work. The middle section, when Zach is lost at sea, is a masterpiece of epic drama. I was uncomfortable with the binary opposition between Zach, who loves life, his wife and children, his canoe, and his livelihood, and the cynical, pessimistic white doctor who wants a divorce from his wife, abuses his black girlfriend, and sees no reason for him or anyone else to live.

My edition of the book was published by Macmillan Caribbean. I was surprised by the many misspelled words, and some misused words - "emancipated" rather than "emaciated" body, for example. It needed an editing.

The Painted Canoe is a wonderful introduction to rural Jamaican life. It will be enjoyed by everyone and loved by many.

The painted canoe is excellent reading with emotionally gripping chapters to hold your interest. The scenario is Jamaica 1970?s and a poor Black fisherman named Zacariah who is deformed UGLY. Poor Zachariah , who?s name means ?God remembers?,ends up lost at sea where we learn many things about him and ourselves. In this book the human spirit is exposed and the traits that define it explored. In addition, we see Jamaica from a poor citizens view and experience exactly what that means. There is a quote by Calvin Coolidge that I thought of after reading this book:
? Press on: nothing in the world can take the place of perseverance. Talent will not; nothing is more common than unsuccessful men with talent. Genius will not; unrewarded genius is almost a proverb. Education will not; the world is full of educated derelicts. Persistence and determination alone are omnipotent.? Great book.

This book is a great read. The Jamaican fisherman, Zachariah, reminds us how an eccentric nature can lead us throught life and how the human spirt will fight to survive. There is more to life than what we can see in front of us because there are times when we must step out on faith alone, as Zachariah did.

As a native of Jamaica, living in the USA, this book brought back fond memories of the Island. The main character, a fisherman is typical of the "older' Jamaican native in his beliefs and value system. He exhibits a trait rare in my adopted homeland, but common in Jamaica, where ones personal circumstances are not allowed to dictate your inner personality. A great read for both Jamaicans and non Jamaicans. Also a good intro to the native language and culture.

As a creative director, I've found this book to be very inspiring. Great photographic studies of Paris' most stylish homes (some owned by the famous, some are not) drip from these pages. Huge full-page and sometimes double-page images, printed on nice thick semi-matte stock, draw you right in. Like her book on Provence, its a great escape into another world. If you are a student of the esthetic, you will love it! PS. The cover is coffee-table ready too.

I don't actually own this book; I found it by chance in my college's art library. Instantly, I fell in love with it's straight-forward photography. I have been renewing it for two months, and it has given me boundless inspiration for decorating my new apartment. This book is a jewelbox of decor and interior style. The full-page spreads offer tantilizing shots of the personal apartments of Parisian society-- both of the known and unknown; of large dimensions and of miniscule-- expousing beautiful decor that only a Parisian could pull off. Junk shop havens, classical boudoirs, catch-all collecting dens, and the odd moderne loft-- each interior is a true joy to see. Read, view, and enjoy and be inspired.

I own this book, Morroccan Interiors, Provance Interiors and Seaside Interiors. I will eventually own the whole lot of them. Why-- the books are a marvelous look into the interiors of people who are most rarely interior designers. They are artists, old people, young people, even gypsy caravans are given their due. I have gleaned better decorating ideas from these books than any "decorating" magazine or book. There was a story about letting the person who just moved from your apartment help you place your furniture as you move it- they know what fits where from their expericance. This and these books are great for "just making sense" in a vairety of gorgeous settings documented in gorgeous full color photos.

Of all of my interior design and style books this is one of my VERY favorites... I sink into my favorite chair with this book again and again. I just love it! Wether you prefer old world style or sleek modern this book has it all (but far from ordinary!)... lots of inspiration with LOTS of gorgeous photos. A treat for your eyes whatever your taste!

If you are looking for a picture book of Parisian interiors to inspire your decorating, this will work very well. I am constantly searching for books like this--which are full of illustations of those interior details which seem to be uniquely Parisian. Every page is illustrated with photographs and includes just enough commentary to keep it interesting without getting descriptively heavy. This is definitely a pictoral reference/beautiful parlour table book.

Beatiful illustrations. Everything you need to know about France. Awesome book to keep for generations. I love it!!!

This book was absolutely excellent, of the highest quality. This is the greatest picture book i've ever seen.

This is more of a reference book than the standard "tour book"; it is a history of Art in Paris, and that is saying a lot! Very LARGE, HEAVY volume for art history buffs that have already visited Paris. Beautiful photography.

BY FAR THE BEST BOOK ON THE HISTORY OF ART OF ONE OF THE GREATEST CITIES IN THE WORD, WHEN IT COMES TO ART. THE HIGHEST QUALITY OF PAPER AND VIBRANT CRISP ILLUSTRATIONS.IF SELECT IT , IS REALLY AN INVESTMENT.

This book IS beautiful, and of top quality. It is about half illustration and half text, covering the history of art and architecture in Paris. There are some exterior and interior shots of different structures and buildings. However, most of the photographs are of architectural details, or are color reproductions of paintings, statues, and artifacts, similar to what you would see in an art book. There are also a lot of simple blueprints, and pen-and-ink type drawings of different structures. This makes sense, given the title of the book. However, based on some of the reviews, I thought it would contain more photographs of the city, and of the beautiful buildings in Paris. When I received it, it wasn't quite what I expected. Overall, I think it's a good value. I wish I could find a book of similar quality, but a little more like a photographic tour of the well-known and obscure corners of one of my favorite cities.

Accessories, even more than complete costumes, rarely get scholarly attention. This book is one of the few to address the subject in a systematic, historical way. Much needed.

This book has helped me immensely to make smarter additions to my own purse collection because there are so many clear examples of each genre. As a reference book, this is the go-to volume when you need to be SURE of a time period, the correct name for a style, etc... Yet it is such a beautiful book, my mother purchased one for her bookshelf and she has no interest in purses!

What a wonderful accomplishment for Paula and Lori! The information pertaining to early purses such as misers, pockets, chatelaines, textiles and needlework purses! I especially enjoyed the chapter on purse restoration. The photos of the figural & scenic purses are absolutely amazing. The celluloid and compact purse examples were also a delight.
For everyone who knows these two lovely ladies, they know that they truly have a passion for purses. Many times I have heard of Paula donating her time to deliver public presentations, printing and passing out breakthrough information on early purses and donating them to interested parties, as well as contributing to other books including mine. If anyone deserves a pat on the back for this groundbreaking book, it is these two ladies, Paula Higgins and Lori Blaser. Congratulations ladies! Well done!

What a beautiful book; filled with glorious bags of the past, historical information and current values. There are hundreds of bags, created using techniqes such as beading, embroidery, tapestry, netting, crochet, knitting, tambour, loom, petit point and various stitchery. Gorgeous bags are displayed - eye-smacking delicious- that I have not seen in other collectible publications; a real plus for collectors. There is a chapter dedicated to restoration of vintage bags, with instructions for repair and cleaning, plus photos; tips when purchasing bags; and choosing the right purse frames. At the back of the book, page 256, I was delighted to see the two contemporary bags by Katerina Musetti, an artist and established opera singler; the bags are exquisite. It is obvious this book is a culmination of Paula and Lori's purse obsession, historical studies and labor. I highly recommend this inspiring book for collectors, as well as, bag enthusiasts; a book not to be missed. Review by Lydia F. Borin, The Beadwrangler

'Passion for Purses' is a beautiful, quality reference book for all purse lovers & collectors; from novice to the serious collector. The book has special emphasis on very early antique purses by one of the most knowledgeable persons around today. Contains previously unseen purses from private collections that have never before been published. Hundreds of pictures on quality paper, excellent information on the many catagories of purses that are included. I highly recommend this book to anyone who has a passion for purses. Great book for study or pleasure.A Passion for Purses, 1600-2005

What a gorgeous book. I've recently become involved in hotglass work myself and picked this book up out of curiousity. Not only is the book full of beautiful pictures and prose but the author also allows us a peek into Paul's techniques, which for me, is incredibly helpful and well worth the price of the book.

Even though it made me late I had to stop and soak in every page from start to finish as soon as I got it in the mail. I think at just about every page a smiling, "Oh my god!" came bounding out of my lips in admiration for this man's extreme talent.

Most of my art books end up on my studio shelf, but this one is so gorgeous and such a joy to view I think I'm going to make it a permanent fixture on the coffee table.

You will not be able to stop the "oohs" and "aahs" . The artist has developed a style unlike anyone else and the photographs are so detail you feel like you have become part of the piece. A work of art in and of itself.

It is a book that every glass lover must have.

Filled with beautifully detailed photographs of Paul Stankard's paperweights as well as excellent closeups of the making of his flowers and other paperweight inclusions. It also includes an interesting background on Paul's career and philosophy, but the multitude of wonderful color photographs of his extraordinary work are what make this book truly special.

While I wouldn't consider myself a "paperweight" fan, I admire Paul Stankard's work immensely.

For so long I've wondered, "how does he accomplish such wonderful things?". This book cannot show his unique genius nor how his imagination works, but it does show just enough of his techniques to sate my never ending curiosity.

You can see how a thistle is built. There are gorgeous pictures of how a glass bee is build and attached to a honey comb. Here are the dragonflies, the orchids and those amazing root people!

The book is filled with full color pictures, and many wonderful detail views. In Paul Stankard's case, "God is in the details".

I admired Paul Stankard's work before I read this book. I admire his ability ever so much more now that I've seen the immesurable detail that goes into each piece.

I am Jael... and I'm so thrilled with the overwhelming success of my first book, _Perceptualistics_! This book, packaged and designed so beautifully by Paper Tiger, contains not only wonderful samples of my illustrative work through the last twenty years, but the "now discovered" Perceptualistic pieces, that I've been painting throughout my entire lifetime. I thank everyone who has supported this, my first publication, and encourage you to keep traveling within your mind. Dream your dreams of worlds and journeys that are real, but perhaps as yet unexplained. Nurturing, personal, comforting realms in which to retreat, are very much needed for us in this world today. Jael

"Perceptualisitics" is a magnificent gift to the reader. But beware, you "won't find a banana in the middle of each painting..."

That quote captures the essence of a Perceptualistic painting, if such an exercise is even possible. There is nothing literal about these paintings, and a casual observer, expecting to "see" a clearly defined image or a pictorial story in them will be challenged. And that, dear reader, is exactly why you should own this book and drink in the intoxicating visions it contains.

But let me segue for just a moment, for while the Perceptualistic paintings alone are an experience that will engage and enthrall you, there is so much more to this book that make it a compelling "must have."

It is eminently readable. John Grant's prose is both succinct and lyrical, and his biographical rendering of Jael invites one into her world in a way that is palpable and enjoyable. Rarely does one find oneself wanting to finish the text in an artbook before viewing the illustrations. Reading about Jael through Grant's eyes and ears made me want to know more. If there is a shortcoming here, it is because one finds onself wanting an even more intimate and extensive portrait of the artist.

Jael's paintings, regardless of the genre, are superb. Those seeking to view her Science Fiction and Fantasy illustrations will not be disappointed. Her work is among the best in the field and begs comparison to no one. Jael stands among the pantheon of "great ones" in the SF&F area.

However, dear reader, Jael stands alone with her Perceptualistic paintings, and she stands on a lofty plane indeed.

Each Perceptualistic painting beckons the viewer to explore. That exploration might be an inner vision, a transporting to another world or level of awareness, an opening to endless possibilities and insights. In a way, these paintings are gateways to perception, and that perception may change with every viewing. Can you think of any other artist who can offer you such a journey? I cannot.

I thank John Grant for his warm and vibrant words, obviously written with much caring. I thank Jael for this incredible gift to the public, and for opening her heart and her life, if only for a glimpse, to those of us who can only dream of such creativity.

Final thanks must go to the publishers, not so much for having the boldness to go beyond the trite and conventional nature of many "artbooks," but for recognizing creative genius and giving the world an opportunity to share in it.

Jael is a genius. Her genius comes from the heart, the dwelling place of all true genius, and that is a wondrous gift to us all.

Open your heart and prepare to expand your universe, dear reader, and buy this book!

As a former webmaster for the Association of Science Fiction and Fantasy Artists, I had the pleasure of working with Jael to produce one of ASFA's Chesley brochures. This led to my becoming her webmaster. Until that time I thought she was a very talented illustrator having only seen the images that she has painted for covers and interiors of science fiction and fantasy publications.

While putting together her webpage she introduced me to examples of artwork that were unlike anything I had seen with the SF/F genre. These images cannot be considered illustrations. They are more than that as they evoke emotions and thoughts that transcend the physical plane; transporting one into higher planes of existence and depicting mindscapes of such vast and incredible beauty that the mind finds itself at a loss for words. These vistas can not be described. They can only be experienced.

With the publication of this book everyone can now own reproductions of these of these pieces of 'Fine Art', painted by one of the finest artists alive today. A must own book for every collector.

I've been familiar with Jael's super illustrations for a long time, but nothing prepared me for this book of her work, which concentrates largely on her fine art -- fabulously imaginative paintings that have almost all never been seen in print before. It's nearly impossible to describe them, because they don't obey any of the inhibiting rules that other fantasy artists tend to adhere to. This is a real breakthrough book, and the kind you'll want to buy extra copies of to give to your most special friends. It's lovely!

This book may be your only chance to see an extraordinary body of work from fantasy and sf artist Jael. Well known for her bookcovers, Jael (who goes by only her first name), had been doing an series of personal works over the last 40 years while she fulfilled the demands of motherhood and a busy artistic career. Not abstracts, not realistic paintings either, she calls them "meditations" or "journeys". They are unlike any other major paintings done in the 20th century; and while this book is beautiful, it doesn't do the original works complete justice--I had the privilege of seeing a couple first-hand, and they are stunning. Since Jael considered these personal works and "too odd" for public consumption, she had never publicised them before or even kept good track of the occasional times when she would sell one of these amazing works. The reproductions on page 40 and 54 hint at the splendor of the originals, but many of the illustrations of the perceptualistics were re-created from small slides, though Jael herself worked to restore them to something close to the original. The text is also delighful, since Jael has had a long, interesting (and rather inspiring) life. My hope is that this book will inspire a sequel, and that some of the owners of the perceptualistics will come forward for new scans of the treasures they own.

Being a film buff, and the latest Phantom of the Opera now my favorite flick, I wanted to garner some history of the various film adaptations and this was very interesting.

This is THE MOST comprehensive book to date on the 1925 film, 'The Phantom of the Opera'. It has countless articles, interviews, facts, newspaper clippings, screencaps, photographs, etc. Amazing. 'Nuff said.

Shame on the editor of this book! The incredible research that went into this book is belittled by the fact that it is not very well written. Spelling and grammatical errors abound in this otherwise-excellent volume. This is the only book I own from this series; I sincerely hope that these problems were absent in other titles.

Other than that, I can say that this is the definitive book about Chaney's Phantom. Facts in this book are repeated in the "ultimate edition" 2-disc DVD, which includes the best-they-could-do of the 1925 original, which eluded the original authors of this book.

Regardless of my own personal pickiness, if you are a fan of silent films and/or Chaney's Phantom, please get this book. It's a wonderfully immersive read.

I had thought Riley's work on MagicImage's THE BRIDE OF FRANKENSTEIN was the be-all end all coverage of a classic film until I'd picked this up. And just like the other reviews have stated, this is comprehensive and *THE* book on the original Phantom whether for casual interest or serious study. It's like compiling EVERY single article that you've seen or heard of on the film into this one rather large compendium. Forget Famous Monsters (Devil rest its soul) . This ... is serious and you will walk away with a new appreciation for the craft that was involved in creating this and other old films. Yes, the pressbook is here, scripts, interviews and other insights to this film that would otherwise be lost. There's a ton of stills that are quite rare and just as rarely seen. The pressbook is just incredible, being a total movie-promo snapshot of times gone by. It was cool to see, albeit small, a shot of Chaney and his wife (!) showing up at the premiere. There are scene comparisons betweeen the releases via text and pictures (the unmasking scene) as well as visual reconstruction of scenes deleted from the movie premier that none will ever see in moving form (likely) EVER again, but here, we see them sequentially by way of actual stills, adding some understanding as to why the reissue is oftimes a confusing flick. Another really welcome part was the overview of Chaney's changing makeup throughout the film to accomadate the drama. This is the first time I think I've ever seen a commentary (AND with photos) on what I'd noticed while watching the film, at least one this thorough. But here, stills illustrate the changing nose, forehead, cheekbones, and totally puts into perspective Chaney's mastery of the medium that he'd worked in and what he was trying to convey with these changes. If you want in-depth, this is it. If you are a Chaney Phantom geek, this is it. Pick it up, and don't think about it too long, since this will likely go out of print and be a pain to find, much like the BRIDE OF FRANKENSTEIN edition. If you're serious about Chaney, also check out LON OF 1000 FACES, by Forrest J Ackerman, which is a rerelease of the title, that just came out (9/03). It provides a VISUAL/PHOTOGRAPHIC overview of Chaney's films that would be a good companion to Riley's or any other Chaney book. That one draws from Ackerman's massive stills collection, ...

THE PHANTOM OF THE OPERA (1925) is one of the most famous silent films ever made, and this book follows the making of the film from beginning to end. Riley starts with the story of the Paris Opera house, Gaston LeRoux, and the novel. Then he follows the complicated production, with problems over Lon Chaney's participation, many rewrites, previews, and re-edited versions. When sound films came along, it was re-cut and opera sequences were added. This book has reprinted the entire pressbook, the original script, plus sections of the different script versions. Riley interviewed heroine Mary Philbin and several of the technical crew-members for this book. If you are a fan of Lon Chaney Sr., you will want this book.

Photojournalism reached its peak in the years immediately following the Second World War. These were the years when Robert Capa, Henri Cartier-Bresson, David Seymour, Ernst Haas and Werner Bischoff wandered the world taking photos for the Magnum Photo Agency. David Douglas Duncan was one of their contemporaries. Instead of taking photos for the more glamorous Magnum, he worked for Life Magazine. Interestingly, his reputation is not as great as the Magnum photographers. One has to wonder whether it was his talent or the place he worked for that caused him to be consigned to the role of a lesser master of Twentieth Century photography.

"Photo Nomad" is a collection of Duncan's work from the late 1930's to the late 1970's. Duncan like his peers was everywhere during this time period. If something important was happening in the world, Duncan was there taking photographs. His photographs of the Korean and Vietnam Wars are especially powerful. However, if he will be remembered for any images, it will be for his wonderful photographs of Pablo Picasso. "Photo Nomad" is as much a history book as it is a collection of first rate photographs. Highly recommended.

Great photo history of the wars and their effect on our country. A good book for young audience viewing.

The photographs in this book are fantastic and fascinating. However,the author's wordiness (comments on almost every page, written in a sort of notehand style) detracted from them. I would have liked to have seen a lot fewer words, letting these marvelous photographs speak for themselves.

David Douglas Duncan's book is an extraordinary collection of photographs documenting a range of events in this interesting man's life. Of special interest to me were the photographs and images he captured in Korea during the war. That was a place I served during the last year of that conflict,and the book brought back many memories of a time long ago.

This book I treasure, and it is my intent to return to it often in the years that remain in my life.

How happy I am that I was able to locate it through Amazon.com.

David Douglas Duncan LIVED the twentieth century. The wars, the celebrations and celebrities, the places and times--HE WAS THERE, and he captured it on film. As page twenty-four introduces, "My 20th Century". Photo Nomad is a photographic autobiography of his life, a life of such far-reaching adventures, experiences, and travels that is almost impossible to fully comprehend. In a time when most photo books have the lifespan of the latest pop song, this book is an epic. Beautifully printed in Italy, it is a quality volume that will last many lifetimes and provide endless inspiration.

The end, on post-production, is priceless. Especially the material about adding the score. But I think Louis B. Mayer comes out as the true hero, because of his skill at balancing commercial and artistic considerations.

Lillian Ross's books "Picture" and "Portrait of Hemingway" were listed as two of the top 100 best-of-the-century works of Journalism compiled by 36 judges working under the aegis of New York University.

Lillian Ross made her name with this New Yorker series about a half century ago. It was startling in its cynical and very humerous view of the self important and self delusional power players at MGM. With all that we have learned about this industry during the intervening 50 years the story has lost much of its potency, but is still a classic of the genre.

I read it in its original form all those years ago. It was a wonderful and hilarious read. But the protagonists, of course, were extremely upset and hated it. Happily,Lillian has survived; still writing for New Yorker.

Lillian Ross has given movie fans and those with a serious interest in film an extraordinary book about the final days of the studio system--and shows exactly why it collapsed. A few years later the independent film-maker emerged, and another book details that experience. Interestingly enough, both books deal with Audie Murphy. Like the Ross book, A THINKER'S DAMN by William Russo recounts the foibles of movie-making, this time in Saigon with Joe Mankiewicz in 1957. Each provides a timeless impression of a bygone movie era.

Lillian Ross, a writer for the New Yorker, heads to Hollywood in 1950 to watch John Huston make his next picture, "The Red Badge of Courage" at MGM, and manages to capture a horrifying snapshot of the studio system at its worst during a difficult time of transition for the film industry. She happens to be on hand to see Louis B. Mayer forced out and Dore Schary installed as studio head while the film is in mid-production. There are several scenes of Huston grinning and bearing it as Schary pompously lectures the great director of "The Maltese Falcon," "Treasure of the Sierra Madre" and "The African Queen" on how to make a movie. Schary pompously cites how he "solved story problems" in several of his own stodgy, now-forgotten pet projects as producer, like "The Next Voice You Hear." In one hillarious scene we see Arthur Freed, MGM's great producer of musicals, playing yes-man to Schary, and we glean, perhaps, how Freed, by appeasing the new boss, managed to keep some autonomy for his own expensive production unit through much of Schary's cost-cutting reign.

Then come the ill-conceived (or deliberately rigged) sneak previews. This serious war drama is screened at a local theater for an audience that came to see a Ginger Rogers romantic comedy, and the audience response is... (surprise!) vociferously negative. They find the film depressing, and many walk out. The old adage that new executives try to kill the projects put into the works by their predecessors may apply. Schary uses these preview results to justify having the movie re-cut while Huston is out of the country working on another film.

Anyone who suspects that there never was a golden age of Hollywood without inept executives and corporate committees will enjoy this book. You wonder how anything good ever gets made. Cynics will chuckle, film lovers will just shake their heads in sorrow. Of course, there is that other adage about not wanting to see how the sausage gets made...