Search Results: Media and Journalism from Royal Books, Inc.

Springfield, MA: Willey, 1891. First Edition. First Edition. A history of African American newspapers beginning in 1827 and continuing through to the book's publication, with over 70 biographical sketches of editors and journalists, including a separate chapter dedicated to female African American journalists, and essays on the state of the Black press and its relationship to "Anglo-Saxon" newspapers. Rare. About Very Good in maroon cloth boards with titles and design in gilt, white, and black. Boards soiled and toned, with fraying to the spine ends and corners, and slightly shaken spine.

N.p.: N.p., 1976. Vintage borderless reference photograph from the 1976 film, showing actor Robert Redford stepping out of a taxi, with the US Capitol in the background. With manuscript ink annotations on the verso. From the archive of film historian and author Joel Finler. Based on the 1974 book by Carl Bernstein and Bob Woodward. The iconic New Hollywood account of the Watergate investigation, starring Redford and Dustin Hoffman in exceptionally strong performances, as the Washington Post reporters who uncover the details of the Watergate scandal that leads to President Richard Nixon's resignation. Winner of four Academy Awards, including Best Screenplay, and nominated for four others. 7.5 x 10 inches. Near Fine. National Film Registry. Spicer US Neo-Noir.

N.p.: N.p., 1976. Vintage reference photograph, with horizontal margins, of director Alan J. Pakula, Dustin Hoffman, and Robert Redford on the set of the 1976 film. Based on the 1974 book by Carl Bernstein and Bob Woodward. The iconic New Hollywood account of the Watergate investigation, starring Robert Redford and Dustin Hoffman in exceptionally strong performances, as Washington Post reporters Bob Woodward and Carl Bernstein, respectively, who uncover the details of the Watergate scandal that leads to President Richard Nixon's resignation. Winner of four Academy Awards, including Best Screenplay, and nominated for four others, including Best Picture and Best Director. 8 x 10 inches. Near Fine. National Film Registry. Spicer US Neo-Noir.

N.p.: N.p., 1960. Archive of 22 single weight and 7 double weight photographs of newspaper columnist Inez Wallace circa 1940s-1960s, tipped onto the pages of a large format photo album, complete with a manuscript marker title page and mimeograph caption list at the front. Featuring seven oversized photographs of Wallace, as well as several photographs and other ephemera related to the photographs of Wallace. Several of photographs have become loose, and have captions or stamps on the verso, most reading "Return to Inez Wallace" with her Cleveland address. Inez Wallace was an entertainment columnist for the Cleveland "Plain Dealer," as well as a magazine feature and short story writer, whose work also appeared in "Collier's," "This Week," and "American Weekly Standard," where her story "I Walked with a Zombie" was adapted into the classic 1943 Val Lewton horror film. A mixture of professional and vernacular photography, the archive features photographs of trips Wallace took to Trinidad and… Read More

N.p.: N.p., 1966. Archive of photographs, newspaper clippings, and various ephemera belonging to a Kenny Aumont Brown (1943-2016), of Burlington, North Carolina, largely relating to automobiles and automobile accidents, 1963-1966. The archive, assembled by Brown when in his early twenties, documents his preoccupation with automobiles, automobile accidents, and racing, at a time when Brown was first employed as a tow truck driver for Cobb Motor Company, and later as part of a rescue unit (as seen in one of the newspaper clippings). In his later years, Brown would serve as an Alamance County Deputy Sheriff for 34 years. A copious and insightful vernacular documentation of the relationship of Southern culture and automobiles in the early to mid 1960s. The archive contains 37 standard size black and white photographs, one 8 x 10 inch black and white photograph, four color photographs, 25 newspaper clippings, two newspaper issues, and twelve various documents, all housed in a photo album. The archive… Read More

Los Angeles: Paramount Pictures, 1948. Two vintage pressbooks from the 1948 film noir. Based on the 1946 novel by Jonathan Latimer. The editor-in-chief of a crime magazine finds himself at the center of a brutal murder, and must hide from his own investigative reporters, who believe that he is the killer. One pressbook 12.25 x 15 inches, the other 9.75 x 14.75 inches. Both pressbooks Very Good plus, lightly faded and soiled, with wear at the corners. Grant US. Selby US. Selby US Canon. Silver and Ward Classic Noir. Spicer US.

N.p.: N.p., 2000. Third Draft script for the pilot episode of the 2002 television series, which originally aired on July 17 on the Bravo Network. The series aired for a brief, one-season run, and followed the team members of a fictional 24-hour cable news television network named "I-24." Set in Milwaukee, and shot on location in Vancouver, British Columbia. Self wrappers. Title page integral with front wrapper, dated February 15, 2000, noted as Third Draft, with credits for screenwriter Gardner Stern. 64 leaves, with last page of text numbered 63. Xerographic duplication, rectos only. Pages Near Fine, bound with two gold brads. Full provenance available.

N.p.: N.p., 1986. Second Draft script for the 1987 film. An early draft, seen here without a title. With copied manuscript annotations noting the date on many pages. Laid in with the script is a single page of notes, ribbon copy typescript, regarding the script, likely from an agent or producer. A beautiful, talented young television producer is torn between the affections of two rival news anchors-one a talented but cynical older reporter, the other a charismatic, inexperienced anchorman. A breakthrough role for actress Holly Hunter. Set and shot on location in Washington DC. White untitled two-color production company (Gracie Films) wrappers. Title page present, dated April, 1986, noted as Second Draft, with credits for screenwriter JAMES L. BROOKS. 159 leaves, with last page of text numbered 151. Xerographic duplication, rectos only. Pages Near Fine, wrapper Near Fine, bound internally with two gold brads. National Film Registry. Criterion Collection 552.

London: British Lion, 1959. Draft script for the 1959 film, seen here under the working title "The Big Birthday." Copy belonging to producer Alec Snowden, with his name in manuscript ink on several leaves, and his extensive annotations in manuscript pencil and ink on virtually every page (and many page versos as well). Bound in before and after the script are approximately 50 production documents, including crew contact sheets, shooting schedules, post-production notes, and documents regarding soundtrack. Laid in with the script is a promotional booklet for Ireland-based production studio Ardmore Studios. Based on Hugh Leonard's 1956 play "The Big Birthday," about a BBC producer's troubled attempts to make a documentary about an Irish supercentenarian's upcoming birthday. Actor Barry Fitzgerald's final film. Set in Ireland. Housed in a tall blue spring binder. Lacking title page, presumably as issued. 96 leaves, with last page of text numbered 82. Mimeograph duplication, rectos only, with green… Read More

Hollywood: Paramount Pictures, 1949. Post-production Release Dialogue script for the 1949 film. Based on Tiffany Thayer's 1947 novel "One Woman." A South Side reporter discovers the body of a dead call girl, and tries to track down her killer using her address book. Set in Chicago. Tall white titled wrappers, noting 10 reels, dated February 21, 1949. Title page integral with the front wrapper, as issued. Mimeograph duplication, rectos only. Pages Very Good plus, bound with two gold brads at the top edge.

Hollywood: Paramount Pictures, 1948. Post-production Censorship Dialogue script for the 1949 film noir. Based on Tiffany Thayer's 1947 novel "One Woman." A South Side reporter discovers the body of a dead call girl, and tries to track down her killer using her address book. Set in Chicago. Tall white titled wrappers, noting 11 reels, dated December 20, 1948. Title page integral with the front wrapper, as issued. Mimeograph duplication, rectos only. Pages Very Good plus, unbound.

N.p.: N.p., 1984. Two Draft scripts for an unproduced television film. A two-part biopic about wealthy businessman and newspaper mogul William Randolph Hearst, with particular focus on his less-than-savory journalistic practices. Set in New York. Part 1: White untitled wrappers. Title page present, dated January 1984, with credits for screenwriter James Costigan. 119 leaves, with last page of text numbered 117. Mechanical duplication. Pages Near Fine, wrapper Near Fine bound internally with three gold brads. Part 2: White untitled wrappers. Title page present, dated February 1984, with credits for screenwriter James Costigan. 107 leaves, with last page of text numbered 105. Mechanical duplication. Pages Near Fine, wrapper Near Fine bound internally with three gold brads.

New York: Duell, Sloan, and Pearce, 1944. First Edition. First Edition. The novelist and noted film director's third book, basis for the 1952 film noir "Scandal Sheet," directed by Phil Karlson. Near Fine in a Near Fine example of the rare dust jacket. Several small closed tears and evidence of carefully removed tape mends on the verso, with just a touch of restoration work to same. The Dark Page II, p. 68.

Chicago: Covici-McGee, 1923. Later printing. INSCRIBED by the author on the title page to American journalist Edgar Mowrer: "To Mr. and Mrs. Edgar Ansel Mowrer / with sincere friendship / Henry Justin Smith / Oct. 21, '23." Considered by many to be "the dean of American foreign correspondents," Edgar Mowrer was born in Bloomington in 1892. He began working as a reporter in France in 1914, having been pressed into service alongside his brother, the first journalist to receive a Pulitzer Prize for Correspondence in 1929. Perceiving the growing power of the Nazi Party, Mowrer began reporting on the rise of Adolf Hitler, publishing day-by-day dispatches from Berlin that would win him a Pulitzer Prize in 1933. Viewed as a serious threat to Nazi power, Mowrer became the first American correspondent to be driven from Germany, taking a post in Paris, where he remained until France's defeat by German forces in 1940. An outspoken antifascist, Mowrer returned to the US and gave lectures about the dangers of… Read More

New York: Cameo / Midwood, 1971. First Edition. No. M-195-30. First Edition, a paperback original. Very Good plus in wrappers, slightly cocked, and lightly edgeworn. Not in Holroyd.

New York: Alfred A. Knopf, 1977. First Edition. First Edition. A foundational work of New Journalism, describing the author's experiences in Vietnam as a war correspondent for "Esquire." Some paper residue on the top edge of the rear pastedown (see image), else Fine in a Fine dust jacket.

N.p.: N.p., 1931. Vintage oversize reference photograph from the 1931 pre-Code film, showing actor Edward G. Robinson surrounded by newsroom staff. From the archive of film historian and author Joel Finler. Based on the 1930 play by Louis Weitzenkorn. The beleaguered managing editor of a flagging tabloid newspaper attempts to resurrect the publication's readership by reinvestigating a decades-old murder case. Newspaper magnate William Randolph Hearst interpreted the film as a personal attack, pressuring theaters not to show the film and forcing film critics for his papers to review it negatively. 8 x 10 inches. Very Good, lightly toned overall, with a small bruise to the top left corner.

N.p.: N.p., 1984. Second Draft script for the 1985 film. Internally duplicated script, made from a previous copy, with copied hole shadows and a few copied annotations to the first few pages, but also with manuscript ink annotations throughout regarding casting. A newspaper reporter working undercover is offered $50,000 by a wealthy businessman in exchange for killing the businessman in a few days' time. Shot on location in Santa Monica, Los Angeles, Palmdale, and Beverly Hills, California; Ogden, Utah; and Rio de Janeiro, Brazil. Self wrappers. Title page present, dated March 29, 1984, noted as SECOND DRAFT, with credits for screenwriters Andrew Bergman and Jerry Belson. 107 leaves, with last page of text numbered 106. Xerographic duplication, rectos only. Pages Very Good plus, with a few splashes to the three leaves, bound with three gold brads.

Universal City, CA: Universal Pictures, 1939. Continuity and Dialogue script for the 1940 film. A young journalist finds himself unjustly accused of murder. White titled self-wrappers, production No. 1033, dated December 19, 1939, with credits for director Harold D. Shuster. Approximately 130 leaves, with last page of text numbered 19. Mimeograph duplication, rectos only. Pages Near Fine, with tearing to the last three leaves along the top edge, wrapper Very Good plus, with some tearing to the back self-wrapper along the top edge, bound with two gold brads along the top edge.

Los Angeles: Twentieth Century-Fox, 1989. First Revision Draft script for an unproduced film, with a copied "(1st) Revision" stamp on the titled page. OCLC locates three copies. An early draft, dated "June 1989," written by screenwriters Nora Ephron and Alice Arlen (who had been previously nominated for an Academy Award for their screenplay for the 1983 Mike Nichols' film "Silkwood") about the passionate affair between the Pulizer Prize winning reporters Keyes Beech (Chicago Sun) and Maragite Higgins (New York Herald Tribune) during their time as correspondents during the Korean War. The promising screenplay bounced between three studios-Fox, United Artists, and New Line Cinema-between 1990 and 2000, and had repeatedly gone into pre-production, with Michelle Pfeiffer and Richard Gear originally reported to star, only to stall in production due to costs and logistical problems in re-creating the Korean War. Yellow titled Twentieth Century-Fox wrappers, dated June 1989. Title page present, with a… Read More