Hollywood Studio Magazine (August 1969)

Page scan 00015 from Hollywood Studio Magazine

Record Details:

Title:
Hollywood Studio Magazine
Date:
August 1969
Publisher:
San Fernando Valley Pub. Co.
Volume:
Hollywood Studio Magazine (August 1969)
Leaf #:
00015
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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TWO GENERALS - George C. Scott and Carl Maldin play generals, Patton and Bradley in "Patton ’’for 20th Century-Fox. BATTLE SCENES - Two tanks clash with North African soldiers during the invasion of North Africa. Over 200 tanks were loaned by the Spanish government for the film. like to be prophets without profits. I found myself woefully ignorant of General Patton and his accomplishments having been too young for both WW II and the Korean conflict. But McCarthy was kind enough to loan me a personal copy of an autobiography, “General George S. Patton, Jr.,” and I set down to find out something about him. Later I plowed through Ladislas Farago’s monumental volume (831 pages of fine print) “Patton: Ordeal and Triumph”. Boggled by the reams of print and glowing accounts of Patton’s military victories and public scandals, I gradually became fascinated with the man and his life. Certainly heroics seem to be falling on hard times and patriotism is on the skids, but “Patton” might remind a few people at least, even though such sentiments are old fashioned, they are worthwhile virtues after all. Patton came from Pasadena of all places and prior to his march through Europe and Africa practiced in the desert east of Indio, California. So it is fitting a California based movie studio is doing his life during WW II, I suppose. Flambouyant in life, and a hallowed legend in death Patton would have had a ball working with the movie makers. Not only has McCarthy rounded up an impressive list of real generals including General of the Army, Omar Bradley, he assembled an impressive array of men and materials. His press releases read like a quartermaster’s requisition sheet. The re-construction of the battle of El Guettar, in Tunisia for example goes like this: Personnel, 350 Americans, 370 Germans, 60 officers, (both sides) 300 artillery men, (both armies) 26 drivers, 305 men for the tank crews, 34 German tanks, 33 American tanks, 4 Heinkel fighter-bombers, 30 German lugers, etc. A few people have accused McCarthy of runaway production, but he has a ready answer for them, although it is a bit involved. He had planned to bring “Patton” to the screen 18 years ago but the General’s widow was still alive and the Army refused to help. While McCarthy waited for proper military assistance, Mrs. Patton passed away. But by this time the Army had gotten rid of its tanks. The government had given Spain vast amounts of surplus WW II equipment for bases in that nation, and much to McCarthy’s relief, the Spaniards were willing to loan out men and materials for the production. Combined with the fact Spain has nearly duplicate terrain for almost every locale Patton fought in, it seemed like the logical place to shoot the movie. But 2A