Leo Braudy: is among America’s leading cultural historians and film critics. A professor at USC, he is the author of “Jean Renoir,” a National Book Award finalist. Braudy’s “From Chivalry to Terrorism” was named a “Best of the Best” book by the Los Angeles Times. His latest book is “The Hollywood Sign.”
John Buntin: is a staff writer at Governing magazine, where he covers crime and urban affairs. He has also worked as a case writer for Harvard’s School of Government. He is the author of two books, “Governing States and Localities” and “L.A. Noir: The Struggle for the Soul of America’s Most Seductive City.”
Steven J. Ross: is chairman of the History Department at USC. He has written extensively in the areas of working-class history, social history and film history. Ross’s latest book is “Hollywood Left and Right.”
D.J. Waldie: received the California Book Award for nonfiction for his book “Holy Land: A Suburban Memoir.” His work, “California Romantica,” became a Los Angeles Times Bestseller in 2007. Recently, he wrote the forward to “Los Angeles in Maps.”
The following is my interpretation of the panel discussion. There are probably errors and such.
Waldie: We have a sketchy sense of Los Angeles history. We need a workable and useable history of Los Angeles so that we can make good public policy. The Hollywood sign was initially for real estate. New York stories are consoling while Los Angeles stories are apocalyptic.
Buntin: Creating the legend/mythology does a disservice to Los Angeles.
Los Angeles was intentional, created by powerful people. There are many stories to sort out. In 1999, many police archives were destroyed. No city has been shaped by police like Los Angeles.. We can only hope that documents come to light.
Braudy: There are so many layers. Folks originally came for gold and then health and then fame. New York doesn’t care about their past as much as Los Angeles, we’re more connected to our past. The Hollywood sign goes from a real estate advertisement to a sign of aspiration. New York has a linear narrative; Los Angeles is back and forth. “That’s how I become my real self, I act.”
Ross: Los Angeles creates our own history. What is Hollywood’s impact on politics? The Hollywood Left is more visible, but the Hollywood Right has had more impact.
Our history is not taken seriously. New York has the financial markets. Pittsburgh has steel. Detroit has cars. This is serious work. Los Angeles, we have weather and culture.
Hollywood politics are more varied. Movie stars pick an issue: issue politics such as Darfur. Or we have movement politics. We also have image politics: politicians who could win based on the image they’ve created. On the right: John Wayne or Jimmy Stewart. On the left: Oprah Winfrey or George Clooney.
Folks often say about actors, they’re just movie stars, what do they know? Arnold Schwarzenegger used the entertainment media as a way to reach out. Bill Clinton went on Arsenio Hall, but was still on the outskirts of the entertainment media. Arnold knew he didn’t have a chance with mainstream media. Arnold broke out of conventional wisdom. Only 50% vote. The country is split 40/40 with 20% up for grabs (me breaking in: percentages probably don’t work in California). Arnold went after the 50% who don’t vote. He knew he could get on Access Hollywood whenever he wanted. He used those outlets to layout his ideas. He got them to vote.
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