Christoph Irmscher

Cooper C. Graham

In 1919, Florence Deshon—tall, radical, and charismatic—was well on her way to becoming one of Hollywood's brightest stars. Embroiled in a clandestine affair with Charlie Chaplin, she continued to remain romantically involved with the well-known writer and socialist Max Eastman. By 1922, she was found dead in a New York apartment, rumored to have committed suicide. Love and Loss in Hollywood: Florence Deshon, Max Eastman, and Charlie Chaplin uses previously unpublished letters between Deshon and Eastman to reconstruct their relationship against the backdrop of the "golden age" of Hollywood. Deshon's tragic life and her abuse at the hands of powerful men—including Chaplin, Eastman, and Samuel Goldwyn—resonate with the concerns of today's MeToo movement. Above all, though, this is a book about an extraordinary woman unjustly forgotten: a brilliant writer and campaigner for women's rights, driven both by her ambition to succeed and a boundless desire for life. Rich in tantalizing detail, Love and Loss in Hollywood chronicles crucial years of American film history, overshadowed by the pervasive fear of Bolshevism after World War I, the Red Riots, and the emergence of the big studios in Hollywood. This beautiful edition features dozens of unpublished photographs, among them six mesmerizing full-length portraits of Deshon by Adolph de Meyer, Vogue's first fashion photographer.

Florence Deshon, Max Eastman, and Charlie Chaplin

Love and Loss in Hollywood

João Luiz Vieira

Steven Higgins

Elaine Mancini

"Document[s] all the films created by Griffith as both a director and production supervisor at the American Biograph Studios from 1908 through 1913"--Foreward.

D.W. Griffith and the Biograph Company

Graham C. Cooper

Leni Riefenstahl's four-hour film Olympia deals with the major propaganda achievement of Nazi Germany in the 1930's, the Eleventh Olympic Games that were held in Berlin in 1936. Graham has scrutinized the history of the film and shows that it was deeply involved with the regime, both in its stages of production and in its later distribution. He also argues that the film can be regarded as a masterpiece of propaganda, and further, that virtually any work of this nature is bound to have a propaganda effect, whether intended or not. The author relates the film's subsequent history against the background of the worsening political situation in Europe. The book will be of value to film historians, sports scholars and those interested in the history and culture of Nazi Germany.

Cooper C. Graham

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