By Neal Gabler
Publish 12 months note; First released September 1st 1988
Winner of the Los Angeles Times booklet Award for historical past, this "wonderful background of the golden age of the motion picture moguls" (Chicago Tribune ) is a provocative, unique, and richly unique staff biography of the Jewish immigrants who have been the relocating forces in the back of the production of America's movie industry.
From the alternate Paperback edition.
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Additional resources for An Empire of Their Own: How the Jews Invented Hollywood
Here the dialogues enable Amelia and myself, as critical theorists, to engage with artists’ narrations of their work, and their perceptions of the mechanisms of their work’s historicization. But importantly this zone also allows for the voices of others in exchange, for the acknowledgment of dialogue as a generator of the artwork, and as a performance form in and of itself. Every archive has its outsides, every book draws boundaries that are exclusive, some known to us as editors, others not. Both Amelia and I could swiftly think of the work of scores of contemporary artists, aesthetic trajectories, and critical voices whose absence here is regrettable.
17 As Derrida has noted in his work on the archive, one of the unfortunate consequences of the archival impulse is to “place” that which it holds under “house arrest,” a consignment that threatens to fix and extract from performance its vitalities, and potentially its cultural, political, and epistemological forces. One answer to such operations within the logic of the archive that this volume (indeed any volume, necessarily) follows is to produce archival forms whose containment is questioned by their evident divergence and fragmentation, by their presentation of paradox, forms that present their inevitable contingency, opening themselves to what they are not.
45 Chapter 1 The Performativity of Performance Documentation Philip Auslander C onsider two familiar images from the history of performance and body art: the documentation of Chris Burden’s Shoot (1971), the notorious piece for which the artist had a friend shoot him in a gallery, and Yves Klein’s famous Leap into the Void (1960), which shows the artist jumping out of a second-story window into the street below. It is generally accepted that the first image is a piece of performance documentation, but what is the second?