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This is a comprehensive career study and filmography of the pioneering film producer and Academy Award winner Mack Sennett, cofounder of Keystone Studios, home of the Keystone Kops and other vehicles that showcased his innovative slapstick comedy. The filmography covers the more than 1,000 films produced, directed, written by, or featuring Sennett between 1908 and 1955, including casts, credits, synopses, production and release dates, locations, cross-references of remade stories and gags, footage excerpted in compilations, identification of prints existing in archives, and other information. The book also contains biographies of several hundred performers and technical personnel connected with Sennett. There are 280 photographs and a huge index.

Triple Blu-ray set. The Keystone Film Company, under the guidance of pioneering producer and director Mack Sennett, was the birthplace of classic American slapstick comedy. This historic studio was at one time home to a staggering number of silent screen luminaries. Hollywood icon Charlie Chaplin, still the world's most recognized actor, introduced his beloved Tramp character under the auspices of Keystone. Later, under the Mack Sennett Comedies banner, Sennett went on to produce a new generatio

"The Fall of Public Man" is a book in the great tradition of sociological scholarship. Sennett writes first of the tension between the public and private realms in which we live, arguing that different types of behavior and activity are appropriate in each. He argues that the barrier between these different realms has been eroded, and that this breakdown is so profound that public man has been left with no certain idea of his role in society. Sennett sees the development of the city as the single most important element of the social change he describes, and puts his argument in its historical perspective through an analysis of the changes in our built environment from the 18th century to the present day.

The distinguished sociologist Richard Sennett surveys major differences between earlier forms of industrial capitalism and the more global, more febrile, ever more mutable version of capitalism that is taking its place. He shows how these changes affect everyday life how the work ethic is changing; how new beliefs about merit and talent displace old values of craftsmanship and achievement; how what Sennett calls the specter of uselessness” haunts professionals as well as manual workers; how the boundary between consumption and politics is dissolving.In recent years, reformers of both private and public institutions have preached that flexible, global corporations provide a model of freedom for individuals, unlike the experience of fixed and static bureaucracies Max Weber once called an iron cage.” Sennett argues that, in banishing old ills, the new-economy model has created new social and emotional traumas. Only a certain kind of human being can prosper in unstable, fragmentary institutions: the culture of the new capitalism demands an ideal self oriented to the short term, focused on potential ability rather than accomplishment, willing to discount or abandon past experience. In a concluding section, Sennett examines a more durable form of self hood, and what practical initiatives could counter the pernicious effects of reform.”

When young Betty Braley (Bernice Claire) returns home at 5 a.m. in the company of mysterious newcomer Steve Alden (Lawrence Gray), her father (Ford Sterling, a Mack Sennett veteran) is furious! Steve is banished from the grounds of the family estate while the rest of the Braleys demand to know what happened to Betty's date from the night before, the much more suitable Terry Clayton (Alexander Gray). Alas, Betty is bored with nice guy Terry, and bad boy Steve makes her swoon after some moonlight

Warwick Easton is a cop - a movie cop, that is. When this vaudevillian lands in California, his screen prospects look bleak. But a bathtub meeting with Mack Sennett, lands him a stunts-and-chases job. Danger is to be expected in the work of Keystone Cops - but murder is quite another thing.

The book's subtitle is helpful because Lyon is not exactly a household name. He won an Oscar, deservedly, for his editing of Body and Soul (1948). The book contains his recollections of his career and the "twists of fate"' that took him from Paramount to Mack Sennett Studios to London Films to the Office of Emergency Management (during World War II) to Disney and television. Written in a conversational style, with numerous passing references and anecdotes involving major names in the film industry of the 1930s through 1950s, the book presents an almost naively simple passage through the industry. Lyon includes a lay reader's explanation of editing, directing, and producing and offers an overall pleasing picture of a career he obviously enjoyed. While an enjoyable contrast to the bitter and scandalous volumes that abound, this is only appropriate for libraries with extensive film collections.- Sherle Abramson, Williamsburg Regional Lib., Va.Copyright 1993 Reed Business Information, Inc.

Craftsmanship, says Richard Sennett, names the basic human impulse to do a job well for its own sake, and good craftsmanship involves developing skills and focusing on the work rather than ourselves. The computer programmer, the doctor, the artist, and even the parent and citizen all engage in a craftsman’s work. In this thought-provoking book, Sennett explores the work of craftsmen past and present, identifies deep connections between material consciousness and ethical values, and challenges received ideas about what constitutes good work in today’s world. The Craftsman engages the many dimensions of skill—from the technical demands to the obsessive energy required to do good work. Craftsmanship leads Sennett across time and space, from ancient Roman brickmakers to Renaissance goldsmiths to the printing presses of Enlightenment Paris and the factories of industrial London; in the modern world he explores what experiences of good work are shared by computer programmers, nurses and doctors, musicians, glassblowers, and cooks. Unique in the scope of his thinking, Sennett expands previous notions of crafts and craftsmen and apprises us of the surprising extent to which we can learn about ourselves through the labor of making physical things. 

“[Sennett] has ended up writing the best available contemporary defense of anarchism. . . . The issues [he] raises are fundamental and profound. His book is utopian in the best sense―it tries to define a radically different future and to show that it could be constructed from the materials at hand.” –Kenneth Keniston, New York Times Book Review The distinguished social critic Richard Sennett here shows how the excessively ordered community freezes adults―both the young idealists and their security-oriented parents―into rigid attitudes that stifle personal growth. He argues that the accepted ideal of order generates patterns of behavior among the urban middle classes that are stultifying, narrow, and violence-prone. And he proposes a functioning city that can incorporate anarchy, diversity, and creative disorder to bring into being adults who can openly respond to and deal with the challenges of life.

The book's subtitle is helpful because Lyon is not exactly a household name. He won an Oscar, deservedly, for his editing of Body and Soul (1948). The book contains his recollections of his career and the "twists of fate"' that took him from Paramount to Mack Sennett Studios to London Films to the Office of Emergency Management (during World War II) to Disney and television. Written in a conversational style, with numerous passing references and anecdotes involving major names in the film industry of the 1930s through 1950s, the book presents an almost naively simple passage through the industry. Lyon includes a lay reader's explanation of editing, directing, and producing and offers an overall pleasing picture of a career he obviously enjoyed. While an enjoyable contrast to the bitter and scandalous volumes that abound, this is only appropriate for libraries with extensive film collections.- Sherle Abramson, Williamsburg Regional Lib., Va.Copyright 1993 Reed Business Information, Inc.

Introducing Irish-born cop turned private investigator Tom Collins in the first of a brand-new historical mystery series. February, 1922. Hollywood is young but already mired in scandal. When a leading movie director is murdered, Irish-American investigator Tom Collins is called in by studio boss Mack Sennett, whose troubled star, Mabel Normand, is rumoured to be involved.But Normand has gone missing. And, as Collins discovers, there’s a growing list of suspects. His quest leads him through the brutal heart of Prohibition-era Los Angeles, from speakeasies and dope dens to the studios and salons of Hollywood’s fabulously wealthy movie elite, and to a secret so explosive it must be kept silent at any cost ... Inspired by the unsolved real-life murder of movie director William Desmond Taylor, The Long Silence is the first in a richly evocative, instantly compelling series of new noir mysteries set in Hollywood’s early days."Readers will hope this marks the start of a long-running series"Publishers Weekly Starred ReviewofThe Long Silence

During the 1910s, motion pictures came to dominate every aspect of life in the suburban New Jersey community of Fort Lee. During the nickelodeon era, D.W. Griffith, Mary Pickford, and Mack Sennett would ferry entire acting companies across the Hudson to pose against the Palisades. Theda Bara, "Fatty" Arbuckle, and Douglas Fairbanks worked in the rows of great greenhouse studios that sprang up in Fort Lee and the neighboring communities. Tax revenues from studios and laboratories swelled municipal coffers.Then, suddenly, everything changed. Fort Lee, the film town once hailed as the birthplace of the American motion picture industry, was now the industry’s official ghost town. Stages once filled to capacity by Paramount and Universal were leased by independent producers or used as paint shops by scenic artists from Broadway. Most of Fort Lee’s film history eventually burned away, one studio at a time.Richard Koszarski re-creates the rise and fall of Fort Lee filmmaking in a remarkable collage of period news accounts, memoirs, municipal records, previously unpublished memos and correspondence, and dozens of rare posters and photographs―not just film history, but a unique account of what happened to one New Jersey town hopelessly enthralled by the movies.Distributed for John Libbey Publishing

EDGAR KENNEDY appeared in over 400 Hollywood films spanning four decades. An original Keystone Kop for Mack Sennett, he went on to support such film luminaries as Charlie Chaplin, Laurel & Hardy, the Marx Bros. John Wayne, Lucille Ball and Doris Day. Billed as "The Average Man," Edgar starred in his own short comedy series at RKO for 17 years. Bill Cassara was born and raised in San Jose, California where his love for the movies began while attending weekly programs at the Garden Theatre, a neighborhood cinema. A graduate of San Jose State University, Cassara dedicated himself to a career in law enforcement. This 25-year veteran of the Monterey County Sheriffs Office currently holds the rank of Sergeant and is assigned to patrol on the Monterey peninsula. In 1984, Cassara founded "The Midnight Patrol" chapter for the Sons of the Desert, the Laurel and Hardy appreciation society. He has also been a board member for the Monterey County Arts Habitat and the Monterey County Film Commission. Cassara chaired film events featuring appearances by Doris Day and Clint Eastwood. Cassara also hosted the Edgar Kennedy Celebration in Monterey in 1997.

In this sequel to his influential work The Craftsman, Richard Sennett explores how we can learn to cooperate in the intensely tribal, competitive, and self-interested cultures we inhabit Living with people who differ—racially, ethnically, religiously, or economically—is the most urgent challenge facing civil society today. We tend socially to avoid engaging with people unlike ourselves, and modern politics encourages the politics of the tribe rather than of the city. In this thought-provoking book, Richard Sennett discusses why this has happened and what might be done about it.Sennett contends that cooperation is a craft, and the foundations for skillful cooperation lie in learning to listen well and discuss rather than debate. In Together he explores how people can cooperate online, on street corners, in schools, at work, and in local politics. He traces the evolution of cooperative rituals from medieval times to today, and in situations as diverse as slave communities, socialist groups in Paris, and workers on Wall Street. Divided into three parts, the book addresses the nature of cooperation, why it has become weak, and how it could be strengthened. The author warns that we must learn the craft of cooperation if we are to make our complex society prosper, yet he reassures us that we can do this, for the capacity for cooperation is embedded in human nature.

The powerful case for a society of mutual respect. As various forms of social welfare were dismantled though the last decade of the twentieth century, many thinkers argued that human well-being was best served by a focus on potential, not need. Richard Sennett thinks differently. In this dazzling blend of personal memoir and reflective scholarship, he addresses need and social responsibility across the gulf of inequality. In the uncertain world of "flexible" social relationships, all are troubled by issues of respect: whether it is an employee stuck with insensitive management, a social worker trying to aid a resentful client, or a virtuoso artist and an accompanist aiming for a perfect duet. Opening with a memoir of growing up in Chicago's infamous Cabrini Green housing project, Richard Sennett looks at three factors that undermine mutual respect: unequal ability, adult dependency, and degrading forms of compassion. In contrast to current welfare "reforms," Sennett proposes a welfare system based on respect for those in need. He explores how self-worth can be nurtured in an unequal society (for example, through dedication to craft); how self-esteem must be balanced with feeling for others; and how mutual respect can forge bonds across the divide of inequality. Where erasing inequality was once the goal of social radicals, Sennett seeks a more humane meritocracy: a society that, while accepting inequalities of talent, seeks to nurture the best in all its members and to connect them strongly to one another.

Song And Dance: The Musicals Of Broadway by Sennett, Ted. Folio. 2d ptg.

A fascinating study of the search for shelter and the fear of exposure to strangers and new experiences in Western culture and how these two concerns have shaped the physical fabric of the city. Sennett's exploration of the development of urban society and structure jumps back and forth from the ancient world to the present: from the assembly hall of Athens to the Palladium Club; from Augustine's City of God to the Turkish baths of the Lower East Side. Annotation copyright Book News, Inc. Portland, Or.

Life in Fragments is a continuation of the themes and motifs explored in Zygmunt Bauman's acclaimed study, Postmodern Ethics (Blackwell, 1993). Described by Richard Sennett as a major event in social theory, Postmodern Ethics subverted the pieties of subversion which rule the postmodern imagination, arguing for an ethic of being with the Other, beyond the fashionable imperative of anything goes or the deconstruction of identity through difference.

It's 1912 in Hollywood, the birth of the Movies, and Mabel Normand, the talented prototype of the contemporary comedienne, is shocking the world. Mabel Normand -- the visionary who turned Charlie Chaplin into a movie star, enchanted Mack Sennett, and became the first actress to have her name emblazoned in the title of a motion picture -- is the funniest woman on earth. And she is undoubtedly the most beguiling.Mabel and Me takes us deep inside the earliest days of motion pictures, and together with the Queen of Comedy, we become obsessed with motion pictures, caught in the web of their mesmerizing power. We meet Jack, a young man coming of age with the Movies. And with Mabel. As Jack evolves in a formative Hollywood, he shares his relentless, destructive, and ultimately liberating love for Mabel and the Movies. It's an equilateral triangle whose points teach us not just about the realities and the fiction of film, but about the complex meaning of passion.Author Jon Boorstin captures the most exciting period of film history -- the silent era. Sharply observant and historically accurate, Boorstin brings us to another world, and we are able to see why film developed as it did. We may never look at the Movies the same way ever again.

"The Fall of Public Man" is a book in the great tradition of sociological scholarship. Sennett writes first of the tension between the public and private realms in which we live, arguing that different types of behavior and activity are appropriate in each. He argues that the barrier between these different realms has been eroded, and that this breakdown is so profound that public man has been left with no certain idea of his role in society. Sennett sees the development of the city as the single most important element of the social change he describes, and puts his argument in its historical perspective through an analysis of the changes in our built environment from the 18th century to the present day.