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By William Goldman

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No one understands the writer's Hollywood extra in detail than William Goldman. Two-time Academy Award-winning screenwriter and the bestselling writer of Marathon Man, Tinsel, Boys and women Together, and different novels, Goldman now takes you into Hollywood's internal sanctums...on and behind the curtain for Butch Cassidy and the Sundance Kid, All the President's Men, and different films...into the lush workplaces of Hollywood producers...into the operating lives of appearing greats reminiscent of Redford, Olivier, Newman, and Hoffman...and into his personal specialist stories and inventive notion approaches within the crafting of screenplays. You get a firsthand examine why and the way movies get made and what components make an excellent screenplay. Says columnist Liz Smith, "You'll be involved.

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Extra resources for Adventures in the Screen Trade: A Personal View of Hollywood and Screenwriting

Sample text

Yet, this abundance is of a single type. If there is any area where the country fails to deliver, it is in providing a full range of multicultural programming options. Foreign language services (in Canada, that means other than French or English) are as limited on television as they are elsewhere in the culture, and significantly trail the options available in many other countries. Canadian television, therefore, does not work to disseminate di erence so much as to repatriate it. When notions of plurality and di erence become part of the hegemonic system of state control over national identity, they are revealed to be little more than commodities to be deployed in the interest of the governing and the industry elite.

One does not worry about the homogenizing influence of Beethoven because his works are regarded as canonical and upli ing, while those of Spelling, the producer of programs such as Charlie’s Angels, Dynasty, and Beverly Hills 90210, are condemned as deadeningly commercial. The class privilege delineated by a cosmopolitanism that can be had only by those who can speak other languages, appreciate other cultures, and travel to other countries has, in recent years, been usurped by the ethnoscape of IN T RODUC T ION : C A N A DI A N T ELE V I SION T ODAY 19 immigrants and migatory labourers, substituting, in the minds of conservative commentators, bad forms of globalized popular culture for good forms of elite culture.

From this standpoint, Canadian identity is defined by a fervent desire to be not-American, and this sensibility fuels much of the cultural policy that currently defines television in this country. In this sense, television is made doubly low. First, by its connection to a nation that is seen as the arbiter of all things crass, tacky, and overblown. Second, by its status as a mass medium that strives for popularity over edification. The goal, for cultural nationalists, has long been to raise the stature of television by ensuring that it is provided with content that is more in keeping with the aesthetic and nationalist values of Canada.

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