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Dionne Quintuplets: Unsuccessful Experiment of a Noble Society
AD AMERICAM Journal of American Studies Vol. 9, 2008 ISSN 1896-9461 ISBN 978-83-233-2689-2 Magdalena Paluszkiewicz-Misiaczek DIONNE QUINTUPLETS: UNSUCCESSFUL EXPERIMENT OF A NOBLE SOCIETY The famous Dionne quintuplets: Annette, Emilie, Yvonne, Cecille and Marie were bom in Canada on May 28, 1934. The girls became national celebrities, wards of the state in a special hospital-home, studied constantly by doctors and scientists. The paper describes Dionne girls’ life story in the context of Anglophone-Francophone tensions and the ever present question: how far can state interfere in the lives of their citizens and when such interference proves to be harmful what kind of compensation measures should be imple mented? Life story of Dionne Quintuplets even now, over seven decades after their birth, reads like a sensation which could make the headlines of tabloid press. Yet, below this superficial layer of sheer sensation life story of the famous five sisters remains tightly knit with certain meanders of Canadian history with Anglophone- Francophone tensions and the ever present question: how far can state interfere in the lives of their citizens and when such interference proves to be harmful what kind of compensation measures should be implemented? The famous quintuplets: Annette, Emilie, Yvonne, Cecille and Marie Dionne were born on May 28, 1934 on a farm near Callender or, as some sources state, near Cor- beil, Northern Ontario, Canada. The chances of having one egg, identical quintuplets are one in 57 million, and so far no other set of identical quintuplets has been born. In 1934 the chances that the children would survive were probably similar, as they were born two months prematurely, so small that they could be held in a human palm and their total weight together was only 6.5 kg. -
Iimillion Dollar Babies" and the National
IIMillion Dollar Babies" and the National ~--- 11 "L7S~"11 .l~1147 My concern in what follows will be with the family as "national treasure." Taking the event of Million Dollar Babies, a made-far-TV movie (1994) about the Dionne quints-world-famous for being the first quintuplets to survive more than a couple of days -I will investigate the "family rama" that surrounded the birth of the French-Canadian sisters in the 1930s as well as its repre sentation in the 1990s. That investigation will be informed by two main points. A first line of questioning addresses how the quints served as an emblem of the commodification of femininity in the representation of the Canadian nation; a second line of investigation offers a critical stance from which to interrogate the cultural links between sexuality and colonialism and women's role as breeders of the nation within this narrative. Million Dollar Babies: A stunt? Why another movie about the quints sixty years after their birth? Cinema already has its share with three Hollywood films produced by Twentieth Century Fox1 and miles of newsreel shot by Pathe. Media and magazine covers have displayed over 100,000 pictures of the famous darlings and advertising campaigns for a multitude of commodities including Carnation Milk, Colgate's Dental Cream, and Remington typewriters have used their image. Finally, the Dionne quints are no longer five, but three -The Dionne Trio. After a pile of scientific, popular and academic papers have been written about them, and a recent special issue of the Journal of Canadian Studies2 was entirely devoted to their sixtieth anniversary, the made-for-TV movie came as the icing on the cele bratory cake of this "classic of Canadian history" (as the network voice-over proclaimed at each commercial break). -
In 1925, Eight Actors Were Dedicated to a Dream. Expatriated from Their Broadway Haunts by Constant Film Commitments, They Wante
In 1925, eight actors were dedicated to a dream. Expatriated from their Broadway haunts by constant film commitments, they wanted to form a club here in Hollywood; a private place of rendezvous, where they could fraternize at any time. Their first organizational powwow was held at the home of Robert Edeson on April 19th. ”This shall be a theatrical club of love, loy- alty, and laughter!” finalized Edeson. Then, proposing a toast, he declared, “To the Masquers! We Laugh to Win!” Table of Contents Masquers Creed and Oath Our Mission Statement Fast Facts About Our History and Culture Our Presidents Throughout History The Masquers “Who’s Who” 1925: The Year Of Our Birth Contact Details T he Masquers Creed T he Masquers Oath I swear by Thespis; by WELCOME! THRICE WELCOME, ALL- Dionysus and the triumph of life over death; Behind these curtains, tightly drawn, By Aeschylus and the Trilogy of the Drama; Are Brother Masquers, tried and true, By the poetic power of Sophocles; by the romance of Who have labored diligently, to bring to you Euripedes; A Night of Mirth-and Mirth ‘twill be, By all the Gods and Goddesses of the Theatre, that I will But, mark you well, although no text we preach, keep this oath and stipulation: A little lesson, well defined, respectfully, we’d teach. The lesson is this: Throughout this Life, To reckon those who taught me my art equally dear to me as No matter what befall- my parents; to share with them my substance and to comfort The best thing in this troubled world them in adversity. -
The Swedish Film and Post-War American Films 1938
THE MUSEUM OF MODERN ART 14 WEST 49TH STREET, NEW YORK TEUEPHONE: CIRCLE 7-7470 FOR IMMEDIATE RELEASE Legends to the contrary notwithstanding, the negative of Erich von Stroheim's much-discussed film, Greed, has been preserved in Metro-Goldwyn-Mayer's vaults and it has therefore been possible to include this celebrated "masterpiece of realism" in the Museum of Modern Art Film Libraryfs current Series IV, The Swedish Film and Post-War American Films, Greed will be shown to Museum members on Wednesday, February 23rd, at 8:45 P.M. in the auditorium of the American Museum of Natural History, 77th Street and Central Park West. Thereafter it will be available to students of the film in i colleges and museums throughout the country. Greed, a faithful transcription into pictorial terms of Frank Norris1 novel, "McTeague," was created under unusual circumstances and met with a curious fate. It was not made in a studio, but on location in San Francisco. Whole blocks and houses were purchased as settings , walls knocked out to make the photography of real in teriors practicable. Every detail of the novel was reproduced at considerable expense of time and money, with a passionate and un compromising care for veracity. Eventually von Stroheim offered his producers his finished work, a final cut print twenty reels long which he proposed they should issue in two parts, and which bore no perceptible trace of those elements usually reckoned as "box office. The film was taken from him, cut down to the present ten reel ver sion and so released. -
A Conversation
A short list of interesting selections from our inventory. View this email in your browser Between The Covers Rare Books illustration by Tom Bloom a Conversation with Tom & Ashley A: [scream-singing] “There’s No Business Like Show Business…!” T: Now what? A: [Ethel Merman impression] An e-list representing the Business of Show! [manic flurry of Jazz Hands] T: Are the extra histrionics absolutely necessary? A: Of course! No extra charge… T: Well, I guess I’ll count my pennies and my blessings. A: [raucously sings] “Takin’ Care of Business…!” T: I’ll leave now. e End ... ? eCatalog 52: Show Business 1. [Original Movie Poster]: "His Jazz Bride" Adapted from "The Flapper Wife" Story by Beatrice Burton with Marie Prevost [and] Matt Moore. A Warner Bros. Production [No place]: Warner Bros. [1926] $1000 A striking and whimsical image of a cavorting "Jazz Baby." Released in 1926 and directed by Herman C. Raymaker, the film is today thought to be lost. Read More 2. The Wonder Album of Filmland: A Complete Pictorial Survey of Screenland London: The Amalgamated Press 1933 $75 Lovely illustrated portraits of film stars, many with unusual tinting in green, blue, and other tones. Read More 3. [Two Radio Scripts]: The Special Service Division of the War Department Presents "Bob Hope Show #8" [and] "Bob Hope Show #9" [No place: 1942?] $1200 Scripts have the printed admonition "Restricted for Army Use Only" and both are stamped as "Master Copy as Recorded." Both episodes have elements of a Christmas theme, and starred Frances Langford, Jerry Colona, and Skinny Ennis and his Orchestra. -
ACAD'--T.A. Sctences Library, L.Oi Anples, C.1If
AMPAS PUBUCA TIONS Academy of Motion Picture Arts and ACAD'--T.A. Sctences library, l.oI Anples, C.1if. TO THE MEMBERS OF THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES VOL. 6, NO. 4 HOLLYWOOD, CALIFORNIA DECEMBER, 1961 Veteran \OscarJ Show ETHICS POLICY STATEMENT PRAISED Staff Growing; Green, Hope, Dunlap Added BY MAJORITY OF INDUSTRY, PRESS Work on the 34th Annual Academy The clear-cut statement of policy decrying " electioneering" for the annual Awards Show is progressing smoothly " Oscar" Awards and nominations recently released by the Academy'S Board of with many of the key production staff Governors, has been praised by many segments of the press and motion p icture positions filled and planning well un industry. derway, according to Arthur Freed, its Typical of observations in the press across the nation was this one by "Los producer. Angeles Mirror" Drama and Entertainment Editor Dick Williams: " Will th is official recommendation solve the problem of flagrant violations Johnny Green will be musical direc of good taste in trade-paper advertising by " Oscar" nominees? I bel ieve there tor and Bob Hope, master of cere is a good chance that it will . monies. The American Broadcasting " I found a majority of the members both embarrassed and irritated by last System, which will televise the Show, year's excesses." has named Richard Dunlap to again The Academy is currently preparing a booklet reprint of the statement of serve as its producer-director. policy which will be sent to its entire "All three of the appointees have membership; press; studios; advertis contributed substantially to the success ing and publ icity firms; and to all of past ' Oscar' programs ," Freed nominees when known. -
MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953). -
The Five L Ittle Dionnes—And
The Five L ittle Dionnes—And : ’< »w They Grew PLACE TO GO BUT BED MADEMOISELLES DIONNE THAT INTRUDING ON A LADY’S BATH?* ALL SLICKED UP, AND NO .BEAUTY TREATMENT FOR ^—M'“"Tfci®"IS NICE, ■ ^. ft ft * * tt I ^.ir' Mk. ft it 7 il H tl I e ... (Copyright. l?»3t, NKA Service. Inc.) Yvonne is to there is nowhere else to go camera into the The bath completed, Mias ready go—but even if, like Annette appears just a bit resentful at the intrusion of a privacy The daily bath ia a beauty necessity for every well-behaved quintuplet, Nurse De Kiriline her on the «*now* with deft and touch the but back into the mcnbator. gently deposits heaviest and strongea-t of the of her bath, while Nurse De Kiriline practised applies Yvonne here, the awakening is resented Yvonne, a sort woolen with an attached delicate for and water Tin- white towel to be dressed In her "gertrude,” garment hands as Nurse Louise Dv soothing oil which is used on skin that is too soap babies, even makes a show of resistance with her tiny hood, which the all wear. nurse's mask protects against possible infection. quintuplets Kiriline prepares her for her “oil sponge." MILK— MrfrgL AND A BROTHER / i CORBEIL FOOD FOR FIVE , / ; If Corbeil. Ontario, nearest town to j the Dionne (arm. and so small it " hasn't even a "Main Street The j small white church with'the dark cupola just to the right of the cen- ter is that of the Rev Daniel Routhier, parish priest and advisor to the Dionnes. -
The Dionne Quintuplets Legacy: Establishing the "Good Doctor and His Loyal Nurse" Image in American Culture
The Dionne Quintuplets Legacy: Establishing the "Good Doctor and His Loyal Nurse" Image in American Culture ifty years ago, on May 28, 1934, in a poor farmhouse in rural Canada F in the wilds of rural :'-lorthern BEATRICE J. KALISCH and were kept alive by a modest Ontario, Canada, the miraculous physician uSing rather primitive & PHILIP A. KALISCH birth of five identical baby girls had measures [2]. • world-wide repe rcussions for the im T he press hastened to brighten the ·• age of physicians and nurses. It also gloo my Depression timu with this affected the economy of Canada; it physician is nearly standard now, cheery bit of news, and the public affected the way people raised their such was not always the case. In mo responded with almost unprece children; it even affected, to Ih is very tion pictures of the 1920s, for in dented enthusiasm. Nearly 3 m ill ion day, the nature of the physician· stance, physicians were frequently people drove the long trek north to heroes portrayed in movies and pori rayed negatively, as criminal, "Quintland" to see the babies, their tdcvision series. avaricious, promISCUOUS, and/or tourist expenditures helping rescue Viewers growing up in the 19605, foolish. But news of the birth of the the depressed economy of the Pro '70s, and '80s probably take for Dionne quintuple Is, and most vince of Ontario. Newspapers found granted the al most a rchetypal ~good especially of the modest country doc an almost insatiable audience for a ny doctor,~ as represented by such me n tor who delivered them, changed that mention of the quints, and they kepI as Drs. -
American Heritage Center
UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO ENTERTAINMENT INDUSTRY RESOURCES Child actress Mary Jane Irving with Bessie Barriscale and Ben Alexander in the 1918 silent film Heart of Rachel. Mary Jane Irving papers, American Heritage Center. Compiled by D. Claudia Thompson and Shaun A. Hayes 2009 PREFACE When the University of Wyoming began collecting the papers of national entertainment figures in the 1970s, it was one of only a handful of repositories actively engaged in the field. Business and industry, science, family history, even print literature were all recognized as legitimate fields of study while prejudice remained against mere entertainment as a source of scholarship. There are two arguments to be made against this narrow vision. In the first place, entertainment is very much an industry. It employs thousands. It requires vast capital expenditure, and it lives or dies on profit. In the second place, popular culture is more universal than any other field. Each individual’s experience is unique, but one common thread running throughout humanity is the desire to be taken out of ourselves, to share with our neighbors some story of humor or adventure. This is the basis for entertainment. The Entertainment Industry collections at the American Heritage Center focus on the twentieth century. During the twentieth century, entertainment in the United States changed radically due to advances in communications technology. The development of radio made it possible for the first time for people on both coasts to listen to a performance simultaneously. The delivery of entertainment thus became immensely cheaper and, at the same time, the fame of individual performers grew. -
The Jean Hersholt Collection of Anderseniana at the Library of Congress
The Bridge Volume 29 Number 2 Article 35 2006 The Jean Hersholt Collection of Anderseniana at the Library of Congress Kristi Johnson Taru Spiegel Follow this and additional works at: https://scholarsarchive.byu.edu/thebridge Part of the European History Commons, European Languages and Societies Commons, and the Regional Sociology Commons Recommended Citation Johnson, Kristi and Spiegel, Taru (2006) "The Jean Hersholt Collection of Anderseniana at the Library of Congress," The Bridge: Vol. 29 : No. 2 , Article 35. Available at: https://scholarsarchive.byu.edu/thebridge/vol29/iss2/35 This Article is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in The Bridge by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. The Jean Hersholt Collection of Anderseniana at the Library of Congress by Kristi Johnson and Taru Spiegel Introduction Hans Christian Andersen was already well known in the United States during his lifetime. Though he wanted to meet his American admirers, fear of accidents at sea kept Andersen from crossing the Atlantic. Three quarters of a century after the author's death, another Dane ensured that a part of Andersen's legacy would remain permanently in America. The Danish American actor, author, and humanitarian, Jean Hersholt, together with his Danish born wife, Via, donated a treasure trove of Anderseniana to the Library of Congress in 1951. The Library's preeminent collection of Scandinavian materials is often overlooked amidst the institution's 130 million items in more than 400 languages. Andersen scholars in the United States, however, may want to explore the American Hersholt riches before venturing overseas for their research. -
Hollywood: Her Story July 2021 Enewsletter Patriotic Movies
Hollywood: Her Story July 2021 ENewsletter Patriotic Movies On July 4th, we celebrated Independence Day and the ideals of the founders of the United States of America. For our newsletter this month, we decided to focus on the female filmmakers and stars of the movies that told us patriotic stories about events and people that strove to achieve those ideals – that all men and women are created equal and that they are endowed with the unalienable rights of life, liberty and the pursuit of happiness. In the 1939 movie Mr. Smith Goes to Washington, Jimmy Stewart played a newly- appointed U.S. Senator who fought corruption, aided by his seasoned and capable secretary, played by Jean Arthur. The movie was nominated for eleven Academy Awards, winning the Best Original Story Oscar, and was selected in 1989 for the National Film Registry at the Library of Congress. Arthur began her movie career in the silent film era and was named a WAMPAS Baby Star in 1929. She was a major film star during the 1930s and 1940s and her career continued into the decade of the 1950s. Her standard character was a tough working woman who had a heart of gold. Arthur was nominated for a 1944 Best Actress Oscar for her work in The More the Merrier. Her final movie role was as the homesteader’s wife inS hane, the only color film in which she appeared and the biggest box office movie of her career. The 1992 movie A League of Their Own, directed by Penny Marshall, has a story told by flashback to 1943.