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Fine in fine dust jacket. excellent in excellent jacket, first printing, as new. Sewn binding. Cloth over boards. With dust jacket. 496 p. Audience: General/trade.
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Near Fine in Fine jacket. First edition. Octavo. 422pp. Illustrated from black and white photographs. Pages evenly age-toned, near fine in a fine dust jacket.
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John Groo (Author Photograph) and Jerome Zerbe (Ja. Very good in Very good jacket. xxiv, [2], 422 pages. Illustrations. Includes Introduction, In Memorium, Acknowledgments, Notes, Bibliography, and Index. Includes chapters on the first Gay Idols, 1910-1925; Designing Men and the Gay-Straight Split, 1916-1933; Girls with Imagination, Hollywood's First Lesbians, 1919-1935; Sex without Sin: The Gay Subculture of Early Hollywood, 1922-1935; Wild Pansies: Hollywood's Sissies and the Production Code Clampdown, 1930-1941; Auteur Theories: The Gay Directors and Producers of Hollywood's Golden Age, 1935-1955; Queer Work: The "behind-the-scenes Queens" of the Hollywood Studios, 1935-1955; War Spirit: The Gay Awakening During World War II and the Post-War Years, 1941-1955; Pinkos, Commies, Queers, Hollywood's Gays and the Cold-War Inquisitions, 1945-1960; The Bold Ones: The Stonewall Generation and the End of the Studio Era, 1953-1969. William J. Mann (born 7 August 1963) is an American novelist, biographer, and Hollywood historian best known for his studies of Hollywood and the American film industry, especially his 2006 biography of Katharine Hepburn, Kate: The Woman Who Was Hepburn. Kate was named one of the 100 Notable Books of 2006 by The New York Times. William J. Mann also used the pseudonym Geoffrey Huntington under which he wrote the Ravenscliff Series. Derived from a Kirkus review: Mann intriguingly chronicles the experience of gay men and lesbians in Hollywood during the studio era: "a haven for homosexuals, a place to thrive and, within parameters, live and work with a degree of personal authenticity." While the Hollywood studios from the 1920s to the '60s were hardly committed to gay rights, writes the author in this engrossing study, they did provide a milieu in which gays and lesbians worked as actors, directors, writers, costumers, decorators, and journalists, openly during the best of times, and never less than an open secret during the bad times. Mann sets the homosexual subculture within the larger social context: the freedom of the '20s, the crackdown by the self-appointed ethics police and the imposition of the Production Code of the '30s, the burgeoning of a gay community and consciousness during the war years, the anti-progressive lunacy of the '50s, and the liberation of the '60s. Working from primary sources and thousands of interviews with gay and lesbian movie people and their families, Mann's analysis is complex but illuminating: he is at home discussing the class circumstances of gay expression as he is with shaping the notion of gay sensibilities at work in design and costuming. He handles with ease the gay subtexts in George Cukor's work, the tangy feminism of Dorothy Arzner, the evolution of a gay culture with its own language, customs, and folk history. He treats with intelligence and without mercy both the sorry result of Catholic reformers getting their fingers into Hollywood in the post-Prohibition years, as well as the equally pathetic reason gays and lesbians were not more prominent on the blacklists: "The discrimination gays faced at the hands of the Communist Party." A unique and sophisticated understanding of Hollywood's indispensable gay and lesbian culture.
