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City of Nets: A Portrait of Hollywood in the…
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City of Nets: A Portrait of Hollywood in the 1940's (1986)

by Otto Friedrich

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Epigraph
Een portret van de filmwereld in de jaren veertig.
People of the same trade seldom meet together, even for merriment and diversion, but the conversation ends in a conspiracy against the public...."  -Adam Smith
Every morning, to earn my bread, I go to te market where lies are bought.  Hopefully I take up my place among the sellers. -Bertolt Brecht
It is not unusual in human beings who have witnessed the sack of a city or the falling to pieces of a people to desire to set down what they have witnessed for the benefit of unknown heirs or of generations infinitely remote; or, if you please, just to get the sight out of their heads.  Someone has said that the death of a mouse from cancer is the whole sack of Rome b the Goths. -Ford Maddox Ford
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Voor Liesel en Molly
To Liesel and Molly
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In 1939, the year of Gone With the Wind, or Ninotchka, of Wuthering Heights and The Wizard of Oz, the leading moviemakers of Hollywood could with some justification regard themselves as conquering heroes. (Foreward)
To the Chamber of Horrors, says the sign.  (I, Welcome-1939)
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Mensen die in hetzelfde vak zitten komen zelden bij elkaar, al is het maar ter ontspanning, maar de conversatie eindigt altijd met een samenzwering tegen het publiek. (Adam Smith). Op een ochtend ga ik Om mijn brood te verdienen Naar de markt, waar leugens worden verkocht. Vol goed hoop Neem ik mijn plaats in tussen de verkopers. (Bertolt Brecht). Het is niet ongewoon dat mensen die getuige zijn geweest van het verval van een stad of het uiteenvallen van een volk, het verlangen voelen om vast te leggen wat ze hebben meegemaakt, ten behoeve van onbekende nakomelingen of van generaties in een eindeloos verre toekomst; of, zo u wilt, om het meegemaakte van zich af te schrijven. Iemand heeft gezegd dat de dood van een muis aan kanker even erg is als de plundering van Rome door de Gothen. (Ford Madox Ford).
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Amazon.com Amazon.com Review (ISBN 0520209494, Paperback)

The late Otto Friedrich enlivened the pages of many newspapers and magazines with his vigorous prose. His journalistic ability to convey complex material in a vivid, accessible manner is evident in City of Nets, a mordant portrait of Hollywood in the 1940s. (Originally published in 1986, it's the middle volume in a trilogy of superb urban histories that also includes Before the Deluge: A Portrait of Berlin in the 1920s and Olympia: Paris in the Age of Manet.) Friedrich drew on his voluminous reading of everything from celebrity bios to trade-union history to create a unique synthesis that, for a change, depicts Tinseltown not as a dreamland floating above American reality, but as a city subject, like any other, to economic and political forces. Friedrich mingles enjoyable gossip with hardheaded analysis of Hollywood's often unsavory industrial underpinnings, including studio heads' willingness to rely on gun-wielding gangsters to solve their labor problems. There's no other movie book quite like it; Rita Hayworth's divorce proceedings against Orson Welles follow hard on the heels of a gruesomely detailed description of Bugsy Siegel's execution. The '40s were the decade of Hollywood's decline: a blacklist prompted by anticommunist hysteria shut out some of its best talent, while a 1948 antitrust consent decree ended many of the business practices that made the studio system so profitable. Friedrich's brilliantly selective use of colorful anecdotes and revealing details perfectly captures a decaying, but still glamorous, culture. --Wendy Smith

(retrieved from Amazon Thu, 14 Feb 2013 13:41:53 -0500)

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