100 Books Like An Empire of Their Own

This book gripped me with a host of difficult questions and sorrowful insights into women’s health, racism, science, and medical systems in the USA. It reveals the impact of a previously unknown woman, Henrietta Lacks, who died in 1951, and whose cervical cancer cells were taken without her consent, and then, without any acknowledgement, used by researchers and laboratories to develop numerous treatments, drugs, and experiments.

It made me confront hard questions about class, race, gender, medical ethics, profit, and confidentiality. It is a brutal and detailed read, enhanced by the involvement of her family story, as they later discovered the theft and were to confront her immortality. A must-read by a plucky author. 

Harris focuses on Oscar night 1968 as four of the five films nominated for Best Picture evinced Hollywood’s reluctant affirmation of the American counterculture. These “pictures at a revolution,” as he terms them—Bonnie and Clyde, The Graduate, Guess Who’s Coming to Dinner, and the Oscar winner In the Heat of the Night—signaled a necessary industry re-think, away from bloated old-Hollywood blockbusters (like Dr. Dolittle, the fifth nominee) and towards something more politically savvy and more hip. Harris does well to chronicle the backstage/behind-the-scenes histories of all five of these films.

Until I read Wasson’s provocative book, it was my understanding that Robert Towne crafted his Oscar-winning Chinatown script with guidance from his star (Jack Nicholson), producer (Robert Evans), and director (Roman Polanski), all of whom urged Towne to find a cogent narrative inside a sprawling concept embedded with powerful metaphors.

Then Wasson debunked the romantic myth of the genius scribe working in isolation by revealing not just the extent of Polanski’s notes but, even more explosively, the involvement of Edward Taylor as Towne’s “editor” and possible uncredited co-writer. I didn’t think it was possible for me to be shocked anymore by discoveries about my chosen field, but Wasson’s book reminded me that solo screenwriting credits are, at best, abstractions and, at worst, misnomers.

I abhorred Robert Moses from the first time I opened this book 20 years ago.

This power-grabbing bureaucratic functionary made me ill on some level, mad as hell on another, and want to take a shower after each time I opened the book.

In the end, I still hated Moses for his gall and immoral audacity, but you could not deny his accomplishments, as he saw them. Nevertheless, I had to love a book that could take such a scoundrel whom I grew to loathe and make me glad I read it.

When I first read this book over twenty years ago, I thought, finally, someone who sees what I see in classic Hollywood films—dynamic and exciting women. She traces American women onscreen: from the flappers of the 1920s (It girl Clara Bow) to the European goddesses Greta Garbo and Marlene Dietrich to the sultry Mae West in the 1930s, to the fast-talking Dames Barbara Stanwyck, Katharine Hepburn, Carole Lombard, and to Marilyn Monroe and her postwar millionaire-seeking pals.

Her multi-decade analysis contemplates what changed in the 1970s-80s; as American women earned greater equity in real life, their onscreen representation paled compared to their pre-WWII sisters. A quarter into the twenty-first century, female star-driven Hollywood films remain an anomaly. Read this book to find out why it was the inverse more than ninety years ago.

This book opens with an absolutely breathtaking passage, one of my favorite openings in any book ever. One imagines Niven narrating his memoir poolside, gripping a cigarette and a martini in the same fist, his pince-nez mustache dancing up and down while he describes, in sordid detail, old-school Hollywood at its most louche. If you want a book that brings alive the atmosphere of a bygone era, this is it.

Isenberg has explored all the Hollywood archives and has produced a delightful and fascinating story of the actors, the director and producer, the writers, and all the technicians who created the film. A splendid guide to Casablanca and a great example of an in-depth, how-it-was-made history of a single film. 

Among U.S. immigrants and racially and culturally marginalized peoples, Asian Americans have a particularly complicated history in our national culture. Chinese and other ethnic Asians are still less than 7% percent of the U.S., a modicum at least partly conditioned by Chinese Exclusion, a federal law that for more than sixty years (from 1882-1943) severely restricted ethnic Asians from immigrating to and settling within the U.S.

But just as Neil Gabler and Lin-Manuel Miranda emphasize the migrants and racial-ethnic minorities at the core of America’s founding myths, novelist Lisa See details an eclectic group of artists, movie stars, and other creatives who gathered in Los Angeles Chinatown since the 1930s. This multimedia, multicultural milieu included both whites and ethnic Asians and spanned Hollywood, fine art, and commercial design.

Now a classic Asian American history, See's bestselling 1995 family history documents the enduring impact of the Chinatown residents and creatives who… show more.

This book was my first foray into social and political history of Hollywood.

Sklar covers early film industry battles with Thomas Edison, the impact of censorship in Hollywood, the monopoly-like integration of the studios, and the overarching mythology that Hollywood sold through their movies.

I read it as an undergraduate when I had no clue what I wanted to do with my life. Looking back as an author and professor, I can see this book as planting seeds that continue to blossom through my own work in the classroom as well as in books and articles that I publish. 

I should first point out that Tom Doherty has been a mentor of mine for nearly a decade.

Before I met him, however, his book on Pre-Code Hollywood and censorship was pivotal for me understanding the machinations and implications of censorship. Hollywood and Hitler woke me up to the significant influence the film colony has had in both fighting fascism as well as others who turned a blind eye to it. It was Tom who sparked my interest in the relationship between Hollywood and antisemitism.

In fact, it was also Tom who first suggested I write a book on the 1941 Senate Investigation into Hollywood’s anti-Nazi films. Long story short, Hollywood and Hitler is a great book and Tom is a great scholar and even better mentor. Read all his work.