Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your mobile phone number.
Other Sellers on Amazon
+ $3.99 shipping
+ $3.75 shipping
+ $3.90 shipping
King of Jazz: Paul Whiteman's Technicolor Revue Hardcover – November 21, 2016
"Neverworld Wake" by Marisha Pessl
Read the absorbing new psychological suspense thriller from acclaimed New York Times bestselling author Marisha Pessl. Pre-order today
Frequently bought together
Customers who viewed this item also viewed
"In the wake of their milestone book The Dawn of Technicolor, Layton and Pierce have produced another exceptionally handsome, oversized book full of rare photos and background information. ... If you love King of Jazz or early talkie musicals you will want to own this." (Leonard Maltin)
King of Jazz: Paul Whiteman's Technicolor Revue is "weighty and sumptuous" and "a model of ambitious research, writing, and publishing. ... The book is an in-depth contextualization of the film, the studio, and the tradition of musical revues, both on stage and in film. It records the production and reception, with rich documentation throughout. [The authors have] given us both a lush picture book and a serious, always enjoyable piece of scholarship." (David Bordwell, Observations on Film Art)
"Layton, Pierce and the newly established Media History Press have achieved a book glamorous enough to match the film itself. The complex story is told with shared delight and in unsparing detail. The illustrations alone afford a comprehensive history of the production, with [Herman] Rosse's vivid designs shown side by side with their realisation on film, and exquisite colour images, directly from the original negative." (David Robinson, Sight & Sound)
"Truly impressive" (Kenneth Turan, Los Angeles Times)
"A magnificently illustrated volume ... a real treasure for collectors" (Jan-Christopher Horak, director, UCLA Film & Television Archive)
About the Author
James Layton is Manager of the Museum of Modern Art's Celeste Bartos Film Preservation Center. Prior to this he worked at George Eastman House in Rochester, NY, where he curated two gallery exhibitions and the website Technicolor 100, and co-wrote the book The Dawn of Technicolor (2015) with David Pierce. Layton has also acted as Cataloguer and Workflow Coordinator at the East Anglian Film Archive in Norwich, UK, and is co-author of the Image Permanence Institute's informational poster Knowing and Protecting Motion Picture Film (2009).
David Pierce is an independent film historian and archivist. He was formerly the Head of Preservation and Curator of the National Film and Television Archive at the British Film Institute. His articles have appeared in numerous journals, and his report on the survival of American silent feature films was published by the Library of Congress in 2013. He founded the Media History Digital Library, providing free online access to millions of pages of motion picture magazines and books. Pierce co-wrote The Dawn of Technicolor (2015) with James Layton.
Top customer reviews
There was a problem filtering reviews right now. Please try again later.
Great edition to any film historian's library!
Cannot wait for the actual restored version of the film to be released! (March 2018)
One of the best books on the making, releasing and restoring a film has been researched
and written in KING OF JAZZ by James Layton and David Pierce. With limited studio records
and utilizing the trade papers and newspapers and a few interviews, the authors have pulled
together all this incredible information. Simultaneously as the book was in production, Universal
was restoring the film digitally to almost its' complete original release length in sound and two-
color Technicolor. Universal in 1930 was a second rate studio making money with serials and
westerns, with an occasional bigger picture. When sound came in Universal cut back on the
number of westerns they made. This made the big pictures they made even more important
to the bottom line.
The book starts with the background story of Paul Whiteman, and the development of Jazz
in America. Whitman was at his peak in 1928. Universal was a family business with Carl Laemmle,
Sr. at its' head. Sr. let his son Carl Laemmle, Jr. produce 4 features and the second series of
Collegions shorts for the 1927-28 season. Junior ended up as the head of production of all
Universal production (June, 1929) by the time he was 21, not by ability, but by blood.
Paul Whiteman was signed for the film October 18,1928 and Paul Fejos was assigned to
make the film. Fejos was pulled off the film and John Murray Anderson, from Broadway, was
hired to make the film (signed September 7, 1929). After much trouble with the script the film
went into production November 11, 1929 finishing March 20, 1930. Production problems and
shooting two-color Technicolor problems are detailed.
The book then lists a scene-by-scene chapter on the correct order of the scenes in the film
included a color story board and original music from the Walter Lantz cartoon sequence at the
beginning of the film. The film was not well received and was released after the first wave of
musical films were released. It simply did not sell enough tickets.
Many foreign language versions were made which actually helped increase the foreign film
rental. These versions were shorter and different from the American version and are detailed.
The book goes into the rediscovery of the film staring in the sixties, and then Universals' 2016
digital restoration. There are oodles of appendixes in the back of the book.
Throughout the book there are black and white production stills and scenes and two-color
frame blowups showing the amazing two-color Technicolor process, also pre-productions
This book will probably never be equaled in pulling together information on a film and
presenting it in a well written and interesting way.