Download An Empire of Their Own: How the Jews Invented Hollywood by Neal Gabler PDF

By Neal Gabler

Publish 12 months note; First released September 1st 1988
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Winner of the Los Angeles Times publication Award for historical past, this "wonderful background of the golden age of the motion picture moguls" (Chicago Tribune ) is a provocative, unique, and richly wonderful staff biography of the Jewish immigrants who have been the relocating forces in the back of the construction of America's movie industry.

From the alternate Paperback edition.

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Extra resources for An Empire of Their Own: How the Jews Invented Hollywood

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Alan Bass, Chicago, Illinois: University of Chicago Press, 1978.  Philip Auslander, Presence and Resistance: Postmodernism and Cultural Politics in Contemporary American Performance, Ann Arbor: University of Michigan Press, 1994.  Amelia Jones, “‘Presence’ in absentia: Experiencing Performance as Documentation,” Art Journal, Winter 1997, vol. 56, no. 4, pp. 11–18.  Ibid. p. 12.  Jacques Derrida, Archive Fever: A Freudian Impression, Chicago, Illinois: University of Chicago Press, 1996, p. 12.

In his important 1977 essay “Signature Event Context,” Derrida critiques Austin by exposing the assumption of intentionality built into speech-act theory as impossibly invested in the “presence” of the source of utterance. Derrida makes use of written communication to point to the absence of the addressee for the writer, and of the writer for the later reader. Derrida argues that this schism evident in writing exposes the contingency of the performative, and the impossibility of confirming a unified source of meaning: “[T]he performative’s referent […] does not describe something which exists outside and before language.

2 These official histories – which have themselves constituted the field of performance art proper as a separate discipline (of making and of study) – have been dominated by a visual arts (art historical) rather than theater studies perspective, although both function as the twin “parent” disciplines of the practices of performance and live art. The “art” perspective in official histories has encouraged the focus on determinable lineages and individual authors, as the art market demands these in order to turn cultural into economic value.

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