Background
Koszarski, Richard was born on December 18, 1947 in New York City. Son of Casimir and Janina (Orzechowski) Koszarski.
(In this revised and expanded edition of Richard Koszarski...)
In this revised and expanded edition of Richard Koszarski's The Man You Loved to Hate, about a third of the material is completely new or significantly rewritten. It includes information recently unearthed in France and Austria and makes use of documents, scrapbooks, photographs and correspondence belonging to the Stroheim family. Reshaped and enriched, Von becomes once again what Sight and Sound called " . . . the best biographical treatment of Stroheim that we are likely to get - intelligent, judicious and a pleasure to read".
http://www.amazon.com/gp/product/0879109548/?tag=2022091-20
(Thomas Edison invented his motion picture system in New J...)
Thomas Edison invented his motion picture system in New Jersey in the 1890s, and within a few years most American filmmakers could be found within a mile or two of the Hudson River. They planted themselves here because they needed the artistic and entrepreneurial energy that D. W. Griffith realized New York had in abundance. But as the going rate for land and labor skyrocketed and their business grew more industrialized, most of them moved out. The way most historians explain it, the role of New York in the development of American film ends here. In Hollywood on the Hudson, Richard Koszarski rewrites an important part of the history of American cinema. During the 1920s and 1930s, film industry executives had centralized the mass production of feature pictures in a series of gigantic film factories scattered across Southern California, while maintaining New York as the economic and administrative center. But as Koszarski reveals, many writers, producers, and directors also continued to work here, especially if their independent vision was too big for the Hollywood production line. East Coast filmmakers-Oscar Micheaux, Rudolph Valentino, Ben Hecht, Charles MacArthur, Paul Robeson, Gloria Swanson, Max Fleischer, and others-quietly created a studio system without back-lots, long-term contracts or seasonal production slates. They substituted "newsreel photography" for Hollywood glamour, targeted niche audiences instead of middle-American families, ignored accepted dramatic conventions, and pushed the boundaries of motion picture censorship. Rebellious and unconventional, they saw the New York studios as laboratories, not factories-and used them to pioneer the development of new technologies (from talkies to television), new genres, new talent, and ultimately, an entirely new vision of commercial cinema.
http://www.amazon.com/gp/product/0813547784/?tag=2022091-20
(This important contribution to cinema scholarship-publish...)
This important contribution to cinema scholarship-published in association with the Astoria Motion Picture and Television Foundation-traces the rise, development, transition and renaissance of the Astoria Studio. Over 200 crisp black-and-white stills and production shots (with identifying captions)from Astoria's own extensive archives celebrate some of the greatest talents and films of the American cinema. By Richard Koszarski. 1983 Paperback Edition.
http://www.amazon.com/gp/product/048624475X/?tag=2022091-20
( During the 1910s, motion pictures came to dominate ever...)
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
http://www.amazon.com/gp/product/086196652X/?tag=2022091-20
Koszarski, Richard was born on December 18, 1947 in New York City. Son of Casimir and Janina (Orzechowski) Koszarski.
Bachelor, Hofstra University, 1969. Master of Arts, New York University, 1974. Doctor of Philosophy, New York University, 1977.
Lecturer, School Visual Arts, New York City, 1974-1984; lecturer, New York University, 1976, 97; lecturer, Columbia University, New York City, 1980-1986; historian, Astoria Motion Picture & television Foundation, New York City, 1977-1981; curator of film, American Museum Moving Image, New York City, 1981-1992; exhibition curator Masterpieces of Moving Image Technology, American Museum Moving Image, New York City, 1988; head collections and exhibitions, American Museum Moving Image, New York City, 1992-1996; senior historian, American Museum Moving Image, New York City, 1996-1997; assistant Professor of English, Rutgers University, since 1998.
(This important contribution to cinema scholarship-publish...)
(Thomas Edison invented his motion picture system in New J...)
(In this revised and expanded edition of Richard Koszarski...)
( During the 1910s, motion pictures came to dominate ever...)
(He was the most brilliant, obsessive, secretive, far-sigh...)
Member Polish Institute Arts and Sciences, Antique Wireless Association, Domitor, Association Moving Image Archivists. M C.
Married Diane Kaiser, 1975. 1 child, Eva.