Hollywood Studio Magazine (October 1968)

Page scan 0007 from Hollywood Studio Magazine

Record Details:

Title:
Hollywood Studio Magazine
Date:
October 1968
Publisher:
San Fernando Valley Pub. Co.
Volume:
Hollywood Studio Magazine (October 1968)
Leaf #:
0007
Language:
English
Subjects:
Motion Pictures, Recorded Sound",Vaudeville,Theatre,Broadcastin
Collection:
Fan Magazines and Hollywood Studio System
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Hollywood Studio Magazine was published out of the San Fernando Valley in various iterations (and various titles) from 1966 until 1992. What started as a local organ aimed at the workers of Hollywood ended as a nostalgic fan magazine about Hollywood Then and Now. The various title changes and revisions to its mission reflect not just the economic realities of magazine publishing, but a changing relationship to Hollywood and the industry itself. The earliest issues of Studio Magazine read like a house organ of a steady, entrenched industry documenting the comings and goings and notable events of the San Fernando Valley, with special emphasis on Universal. Fandom first became part of the discourse of the magazine through collecting. The Collectors’ Column page beginning in the early 1970s allowed memorabilia collectors to advertise their wares to each other. In 1983, the founder of the magazine, Dorothy Denny gave over the reins to Ralph Benner, the founder of Tiger Beat. This marks the clear separation between the original publication and its focus on Hollywood production culture and the move toward a publication centered on star narratives and fan culture. In covering the two and a half decades from the collapse of the system to the point where classical movie stars were phantoms instead of living people, the magazine offers insight into the transformation of old Hollywood from a lived reality to a memory to a myth.
-- Luci Marzola
Date Added:
September 29, 2022
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GORDON BAU Steiger’s wife, Claire Bloom. Bau, who took 5 Vi hours to make up Charles Laughton for “The Hunchback of Notre Dame,” regards the tatooing of Steiger as the most challenging assign¬ ment of his career. Three months of intensive research were spent before a paint brush touched Steiger’s skin. In the well-equipped War¬ ner Bros.-Seven Arts’ cosmetic labora¬ tory, Bau experimented with various non -toxic dyes that would not easily run off the body. Dyes selected were then tested in a Glendale laboratory on the shaved skins of guinea pigs and rabbits to be certain they were not harmful. A life-size model was made of Steiger’s body, on which artist Jim Reynolds painted the vivid tattoos in 10 different colors. This model was placed in the makeup room to guide makeup men in tattooing Steiger. Sketches were made of the various tattoos and photographed. These were put on a silk screen under the supervision of Ernest Brock, head of the studio sign shop. Another transfer was then made to polyetheylene strips, which were applied to Steiger on makeup day. Fifty separate silk screen designs are being used in tattooing his torso. After applying the inked outlines to the actor’s skin, makeup artists fill in the colors with paint brushes. Steiger, who has won many honors for acting, is now shattering records for his endurance in the makeup department. During the operation he cannot read or sleep. And Steiger spurns director Smight’s suggestion that he take tranquil¬ izers for the gruelling ordeal. The only relaxers are music piped into the room and a five minute walk every hour. One observer of the makeup marathon remarks, “With such patience he. should be called Saint Rod.” Page 8