DOCSLIB.ORG

Florence ',Nightingale

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Florence ',Nightingale -.. ~ .~. HEROINE , OUT OF ,,; FOCus: media images of . '. Florence ',Nightingale :::~r:-T II: RADIO, ~ lIl.V\JLvU\TIZA nONS BEATRICE J, KAUSCH and PHIUP A, KAUSCH ilm, radio, and television dramatizations of Florence myth. This process is the· result of both conscious FNightingale's life are particularly important in pro­ design on the part of actors, directors, and producers jecting a leading nurse's image to the public because and their unconscious integration and rep roduction of they dramatize her actions within he r social world and cultural paradigms. Through representations of Miss provide a role modeling effect that can be very useful in Nightingale, these productions have conveyed implicit acquiring support fo r the nursing profession. Such pro­ theories, beliefs, criticisms, and legitimations of the ductions do not "mirror" reality, but create an impres­ nursing profession's founder. Ideas about Nightingale sion of reality. like other forms of artistic and cultural arising in one generation are thus transformed and, in expression, they blend fact and fiction, history and turn, exert an influence on public perceptions within a changed historical setting. These forms of cultural ex­ pression provide resources of meaning about nursing Beatrice J. Kalisch. RN, EdD, FAAN, is Titus Professor of nursing and chairpe~n. parent·child nursing: Philip A. KlIlisch, PhD, is professor of that should be reinterpreted and adapted to new cir­ h;51ory, politics. lind economics of nursing. both at the University of cumstances. Michigan, Ann Arbor. This study was supPOrtlld by a research grllnt Florence Nightingale has inspired three feature fil m from the U.S. Public He~lth Service, Health Resources Administra· tion. Division 01 Nursing, as part 01 an overall study 01 the image of 'versions of her life - a remarkable record for a medium the nurse in the mass media. that rarely delves into full-scale biography. Given the 2701Nursing & /-/ea/ln CHe ability of filmmakers to create re alistic, powerful, and .....- lasting images, it is not surprising that, of all the dramatizations of Nightingale's life, the motion picture versions offer the best and most complete narratives. The first cinematic biography, entitled Florence Nightingale, appeared in 1915, just five years after Miss Nightingale's death, making it the first dramatization in any form [11. This four-reel, silent feature was produced in England and starred Elizabeth Risdon in the title role; promotional material declared it "biographical rather than dramatic" in nature[2J. Based on Sir Edward Cook's recently published biography, the film presented Nightingale's life in a series of scenes, beginning with her birth in Italy in 1820 and ending with Florence as an Elizabeth Risdon plilyed Florence Mghlmgale m the first dramauza­ old lady. This film,·· unfortunately lost to modern tion: a silen! film verSIOn. 1915. enmled flOl ence Nightingale. In this viewers, remains the only dramatic effort to have at­ still. Florence postures as a mor«1 crus«der. warning soldiers and C8mp fOllowers to cease their re\ff!/s. A caption $ubritfed rhe him. tempted such a comprehensive review of Nightingale's "Founder of rna Red Cross;" a/though Nightingale did not found the life. Yet, though the filmmaker emphasized the educa­ Red Cros.s, in popular imagination she was closely associated WIth It. tional rather than entertainment aspect of the work, we must hesitate over considering it a true documentary, as the film industry - contributed to a realistically por­ all the scenes were necessarily recreations of episodes trayed story. The medium of film, by its ability to pre­ suggested by Cook. Fu rthermore, those assigned the sent broad vistas and facial close-ups, and to rely on job of selling the film capitalized upon Nightingale's clever editing, can often suggest much more than wartime activities and her role as inspiration for the Red dialogue confined to the restrictions of a proscenium Cross in order to increase the film's relevance in the arch. 80th Reid and Berkeley cited the disrepute of early years of World War I. In fact, the film may have nurses in England at the time that Florence took up her served to encourage young women to volunteer their work, but Dieterle could show the contrast between the services to the British Red Cross. The film emphasized drunken, dirty, undisciplined women who worked in the the development of Florence's charitable nature and hospital and the dean hospital world envisioned by presented only highlights of her life of concern for Nightingale - without a spoken word. So too, the others. A still photograph from the film shows scenes of hundreds of men, realistically bandaged and Nightingale raising her hand, warning a group of scattered about the huge sets, conveyed more of dissolute soldiers and women to cease their revels. In Nightingale's challenge at the barracks hospital than all, the film clea rly kept intact the Nightingale lege nd; playwrights could ever attempt. The visual power of Risdon's Florence, whose rem arks had to be confined film in such efforts as The White Angel overcame many to periodic titles, necessarily emerged as a two­ flaws in other respects. One critic noted that the film dimensional, legendary character, despite the reliance was rather episodic in nature and not truly compeUing . on Cook for narrative detail. The most serious flaw in the film appeared to be the In 1936, Hollywood produced its version of Florence casting selection of Kay Francis. Nightingale's life, The White Angel, and legend, Kay Francis' popularity - at its height in 1936 - embellished by cinematic technique, dominated the ap­ rested upon her portrayal of well-dressed, big-city proach to Nightingale's life [3]. Full-scale film sophisticates. The role of Florence Nightingale called biographies have been rare in American film history, but for grea ter range and more nuance than Miss Francis during the 1930s, Warner Brothers enjoyed success possessed. She did her best to demonstrate righteous with the depiction of such famous men as Louis Pasteur indignation at needless suffering and to affect a noble, and Emile Zola, both produced and directed by William tranquil mien at other times. An unfortunate lisp and Dieterle. Dieterle's approach was, above all, inspira­ American accent did not help. The fact that the film tional: the deeds of great men and women would be re­ ends at Miss Nightingale's return from the Crimea did counted in exultation of the human spirit. Despite this aid Miss Francis' interpretation, as the demands of por­ frankly hagiographic approach, Dieterle insisted upon traying a middle-aged invalid might have destroyed all historic veracity. For The Whire Angel, somewhat credibility. As it was, Miss Francis appeared as a pretty, ironically, Dieterle's scena rist drew upon Strachey's enthusiastic, and likeable Florence Nightingale; if she essay, literally following it line for line in search of did not do justice to the role, she did not disgrace episodes to film. However, none of Strachey's herself. "demonic frenzy" touched Kay Francis' interpretation As noted earlier, Dieterle paid dose attention to the of the role of Florence Nightingale. historic record; nevertheless, certain deviations from it Set design, costuming. lighting - all the artifice of and the structure of the film itself did affect the au- MolY 19M) 271 dience's perceptions of Miss Nightingale's efforts. For The personal virtues and qualities exhibited by example, in The White Angel, Florence profits from an Dieterle·s Nightingale included the standard treasu re­ alliance with her father, who is depicted as a reform­ trove of womanly virtues as well as the not-sa-common minded, active man who supports his daughter's eHorts attributes of a determined reformer. As the title implies, to free herself from her mother's social world. Although Florence has no earthly faults, and others respond to the real William Nightingale did not offer the resistance her goodness with acts of devotion: soldiers kiss her that his wife did, he also did not help Florence to shadow as she passes by with her lantern; crowds in achieve her goals; he simply retired from the fight into a London cry during her sickness and cheer her recovery; world of books and hobbies. Thus, Dieterle downplayed good-hearted men and women all recognize her value the family conflict, letting Florence remain a good and and follow her lead. Florence also acts the surrogate appreciated daughter to at least one of her parents and mother for thousands of soldiers, She writes their dist· at the same time diminishing the struggle that she put ant mothers to tell of dying moments, She visits their up to achieve her independence. In addition, the film graves. She comforts their last hours, and she nurses ends with Florence's return from the Crimea, when she them with gentle touches and a soothing voice, Of receives the gratitude of both the common people and course, the energy and hard work required to turn a her sovereign, Victoria. 'The finale, where Florence fi1thy barracks into a clean hospital are shown, but recites her oath (a blatant anach ronism, since the oath Florence remains ever soft, gentle. and modest. She was written by an America n many years after Florence's can lead her nurses to storm the supply office for need­ meeting with Victoria} and is overheard by Victoria and ed blankets, and she can put her case to the military Albert, suggests that, as elJsily as the Queen and Prince authorities in noble words, but she never seems less Consort were won to Nightingale's cause, so, too, than womanly and never abuses her moral authority. would be others. Thus, the fil m ends on an unrealistic Dieterle's Florence exerts enormous self-descipline over note of triumph, failing 10 recognize that Nightingale's her own emotions and a tight control over her own life work really began only after her return from the chosen nurses.
Load more

Recommended publications
  • FY14 Tappin' Study Guide
    Student Matinee Series Maurice Hines is Tappin’ Thru Life Study Guide Created by Miller Grove High School Drama Class of Joyce Scott As part of the Alliance Theatre Institute for Educators and Teaching Artists’ Dramaturgy by Students Under the guidance of Teaching Artist Barry Stewart Mann Maurice Hines is Tappin’ Thru Life was produced at the Arena Theatre in Washington, DC, from Nov. 15 to Dec. 29, 2013 The Alliance Theatre Production runs from April 2 to May 4, 2014 The production will travel to Beverly Hills, California from May 9-24, 2014, and to the Cleveland Playhouse from May 30 to June 29, 2014. Reviews Keith Loria, on theatermania.com, called the show “a tender glimpse into the Hineses’ rise to fame and a touching tribute to a brother.” Benjamin Tomchik wrote in Broadway World, that the show “seems determined not only to love the audience, but to entertain them, and it succeeds at doing just that! While Tappin' Thru Life does have some flaws, it's hard to find anyone who isn't won over by Hines showmanship, humor, timing and above all else, talent.” In The Washington Post, Nelson Pressley wrote, “’Tappin’ is basically a breezy, personable concert. The show doesn’t flinch from hard-core nostalgia; the heart-on-his-sleeve Hines is too sentimental for that. It’s frankly schmaltzy, and it’s barely written — it zips through selected moments of Hines’s life, creating a mood more than telling a story. it’s a pleasure to be in the company of a shameless, ebullient vaudeville heart.” Maurice Hines Is .
    [Show full text]
  • Origen De La Enfermería En El Cine: El Género Histórico-Documental Y Biográfico
    ORIGEN DE LA ENFERMERÍA EN EL CINE: EL GÉNERO HISTÓRICO- DOCUMENTAL Y BIOGRÁFICO José Siles González Universidad de Alicante INTRODUCCIÓN El cine y las películas constituyen una herramienta fundamental para transmitir los fe- nómenos humanos en toda su complejidad, sin renunciar a ninguna de las dimensiones que intervienen en los acontecimientos. Ya Terencio y Shakespeare formularon la famosa frase: «Nada de lo humano me es ajeno». La enfermedad, el dolor, la muerte forman parte de la na- turaleza humana y, más tarde o temprano, de una u otro forma, acaban arribando a la existen- cia de todos los seres humanos que experimentan sus vivencias de forma tan diversa como compleja; es decir, mediante un determinado tipo de estética experiencial. Al cine, nada de lo humano le es ajeno y, particularmente, aquellos fenómenos vinculados a situaciones que producen cambios notables en quienes las viven (enfermedades, dolencias, pérdidas, etc.). Carper (1999) incluyó la dimensión estética como la cuarta integrante de los cuatro niveles del conocimiento enfermero (empírico-científico, ético, personal y estético). Otros autores desarrollaron modelos basándose en estos diferentes patrones y reinterpretando el conoci- miento estético desde las necesidades tanto del paciente como de la práctica profesional de enfermería partiendo de la base de la pertinencia de la estética ante situaciones –como el sufrimiento ante la enfermedad– donde el pensamiento subjetivo adquiere una gran intensi- dad (Chinn, 1994). Debido a su potencial de configuración ideológica (Lebel, 1973), el cine ha desempeña- do un papel determinante en el desarrollo de clichés, estereotipos y en una amplia gama de modelado de todos aquellos asuntos que forman parte de la realidad histórica.
    [Show full text]
  • J Ohn F. a Ndrews
    J OHN F . A NDREWS OBE JOHN F. ANDREWS is an editor, educator, and cultural leader with wide experience as a writer, lecturer, consultant, and event producer. From 1974 to 1984 he enjoyed a decade as Director of Academic Programs at the FOLGER SHAKESPEARE LIBRARY. In that capacity he redesigned and augmented the scope and appeal of SHAKESPEARE QUARTERLY, supervised the Library’s book-publishing operation, and orchestrated a period of dynamic growth in the FOLGER INSTITUTE, a center for advanced studies in the Renaissance whose outreach he extended and whose consortium grew under his guidance from five co-sponsoring universities to twenty-two, with Duke, Georgetown, Johns Hopkins, North Carolina, North Carolina State, Penn, Penn State, Princeton, Rutgers, Virginia, and Yale among the additions. During his time at the Folger, Mr. Andrews also raised more than four million dollars in grant funds and helped organize and promote the library’s multifaceted eight- city touring exhibition, SHAKESPEARE: THE GLOBE AND THE WORLD, which opened in San Francisco in October 1979 and proceeded to popular engagements in Kansas City, Pittsburgh, Dallas, Atlanta, New York, Los Angeles, and Washington. Between 1979 and 1985 Mr. Andrews chaired America’s National Advisory Panel for THE SHAKESPEARE PLAYS, the BBC/TIME-LIFE TELEVISION canon. He then became one of the creative principals for THE SHAKESPEARE HOUR, a fifteen-week, five-play PBS recasting of the original series, with brief documentary segments in each installment to illuminate key themes; these one-hour programs aired in the spring of 1986 with Walter Matthau as host and Morgan Bank and NEH as primary sponsors.
    [Show full text]
  • Spring 2011 Issn 1476-6760
    Issue 65 Spring 2011 Issn 1476-6760 Christine Hallett on Historical Perspectives on Nineteenth-Century Nursing Karen Nolte on the Relationship between Doctors and Nurses in Agnes Karll’s Letters Dian L. Baker, May Ying Ly, and Colleen Marie Pauza on Hmong Nurses in Laos during America’s Secret War, 1954- 1974 Elisabetta Babini on the Cinematic Representation of British Nurses in Biopics Anja Peters on Nanna Conti – the Nazis’ Reichshebammenführerin Lesley A. Hall on finding female healthcare workers in the archives Plus Four book reviews Committee news www.womenshistorynetwork.org 9 – 11 September 2011 20 Years of the Women’s History Network Looking Back - Looking Forward The Women’s Library, London Metropolitan University Keynote Speakers: Kathryn Gleadle, Caroline Bressey Sheila Rowbotham, Sally Alexander, Anna Davin Krista Cowman, Jane Rendall, Helen Meller The conference will look at the past 20 years of writing women’s history, asking the question where are we now? We will be looking at histories of feminism, work in progress, current areas of debate such as religion and perspectives on national and international histories of the women’s movement. The conference will also invite users of The Women’s Library to take part in one strand that will be set in the Reading Room. We would very much like you to choose an object/item, which has inspired your writing and thinking, and share your experience. Conference website: www.londonmet.ac.uk/thewomenslibrary/ aboutthecollections/research/womens-history-network-conference-2011.cfm Further information and a conference call will be posted on the WHN website www.womenshistorynetwork.org Editorial elcome to the spring issue of Women’s History This issue, as usual, also contains a collection of WMagazine.
    [Show full text]
  • Comes to Life in ELLA, a Highly-Acclaimed Musical Starring Tina Fabrique Limited Engagement
    February 23, 2011 Jazz’s “First Lady of Song” comes to life in ELLA, a highly-acclaimed musical starring Tina Fabrique Limited engagement – March 22 – 27, 2011 Show features two dozen of the famed songstresses’ greatest hits (Philadelphia, February 23, 2011) — Celebrate the “First Lady of Song” Ella Fitzgerald when ELLA, the highly-acclaimed musical about legendary singer Ella Fitzgerald, comes to Philadelphia for a limited engagement, March 22-27, 2011, at the Annenberg Center for the Performing Arts. Featuring more than two-dozen hit songs, ELLA combines myth, memory and music into a stylish and sophisticated journey through the life of one of the greatest jazz singers of the 20th century. Broadway veteran Tina Fabrique, under the direction of Rob Ruggiero (Broadway: Looped starring Valerie Harper, upcoming High starring Kathleen Turner), captures the spirit and exuberance of the famed singer, performing such memorable tunes as “A-Tisket, A-Tasket,” “That Old Black Magic,” “They Can’t Take That Away from Me” and “It Don’t Mean A Thing (If It Ain’t Got That Swing).” ELLA marks the first time the Annenberg Center has presented a musical as part of its theatre series. Said Annenberg Center Managing Director Michael J. Rose, “ELLA will speak to a wide variety of audiences including Fitzgerald loyalists, musical theatre enthusiasts and jazz novices. We are pleased to have the opportunity to present this truly unique production featuring the incredible vocals of Tina Fabrique to Philadelphia audiences.” Performances of ELLA take place on Tuesday, March 22 at 7:30 PM; Thursday, March 24 at 7:30 PM; Friday, March 25 at 8:00 PM; Saturday, March 26 at 2:00 PM & 8:00 PM; and Sunday, March 27 at 2:00 PM.
    [Show full text]
  • One Night with Fanny Brice
    The American Century Theater presents About The American Century Theater The American Century Theater The American Century Theater was founded in 1994. We are a professional presents nonprofit theater company dedicated to presenting great, important, and worthy American plays of the twentieth century—what Henry Luce called “the American Century.” A Robert M. McElwaine American Reflections Project production of The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to surrender the moorings to our shared cultural heritage. Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all Americans, of all ages, origins, and points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward. The Robert M. McElwaine American Reflections Project with Esther Covington as Fanny One Night with Fanny Brice Honorary Producers November 5–27, 2010 Andrew Scott McElwaine Ann Marie Plubell Rosslyn Spectrum Theatre Harry and Lucille Stanford 1611 North Kent Street, Arlington VA Anonymous Director Musical Director Producers Ellen Dempsey Tom Fuller Rip Claassen About the Robert M. McElwaine American Reflections Project Rhonda Hill “Reflections” is an American Century Theater initiative designed to inspire and produce new and original stage works that compliment the company’s Stage Manager Scenic Design Lighting Design repertoire of important American plays and musicals from the 20th century. Arthur Rodger Patrick Lord Steven L.
    [Show full text]
  • 2017 Annual Report
    Annual 2017 Report Our ongoing investment into increasing services for the senior In 2017, The Actors Fund Dear Friends, members of our creative community has resulted in 1,474 senior and helped 13,571 people in It was a challenging year in many ways for our nation, but thanks retired performing arts and entertainment professionals served in to your generous support, The Actors Fund continues, stronger 2017, and we’re likely to see that number increase in years to come. 48 states nationally. than ever. Our increased activities programming extends to Los Angeles, too. Our programs and services With the support of The Elizabeth Taylor AIDS Foundation, The Actors Whether it’s our quick and compassionate response to disasters offer social and health services, Fund started an activities program at our Palm View residence in West ANNUAL REPORT like the hurricanes and California wildfires, or new beginnings, employment and training like the openings of The Shubert Pavilion at The Actors Fund Hollywood that has helped build community and provide creative outlets for residents and our larger HIV/AIDS caseload. And the programs, emergency financial Home (see cover photo), a facility that provides world class assistance, affordable housing 2017 rehabilitative care, and The Friedman Health Center for the Hollywood Arts Collective, a new affordable housing complex and more. Performing Arts, our brand new primary care facility in the heart aimed at the performing arts community, is of Times Square, The Actors Fund continues to anticipate and in the development phase. provide for our community’s most urgent needs. Mission Our work would not be possible without an engaged Board as well as the efforts of our top notch staff and volunteers.
    [Show full text]
  • The Speaker's
    Sekou Andrews: The Speaker’s Bio Sekou Andrews is inspiring the business world one poem at a time with The Sekou Effect. As the world’s leading Poetic Voice, Sekou creates personalized poetic presentations that give voice to the messages and missions of organizations and help them tell their most powerful stories. He is the creator of this cutting-edge speaking category that combines strategic storytelling, inspirational speaking, spoken word poetry, and the power of theater and comedy to make events into experiences, and transform audiences of informed receivers into enrolled responders. Sekou does more than inspire us with his story; he inspires us with our story. An elementary schoolteacher turned actor, musician, national poetry slam champion, entrepreneur, and now award-winning Poetic Voice, any given day may now find Sekou presenting an original talk for international marketing executives, giving a keynote speech at a leadership conference, or performing pieces for Barack Obama in Oprah’s backyard and Hillary Clinton in Quincy Jones’ living room. His work has been featured on such diverse national media outlets as ABC World News, MSNBC, HBO, Good Morning America, Showtime, MTV and BET, and he has performed privately for such prominent individuals as Maya Angelou, Larry King, Norman Lear, Sean “P-Diddy” Combs, and Coretta Scott King and family. Companies and organizations that have experienced “The Sekou Effect” include Kraft, Nike, Time Warner, Global Green, Banana Republic, eBay, Microsoft, Google, LinkedIn, Express, Paypal, General Mills, TEDx, Wieden+Kennedy, NBA, NCAA, Chopra Center, Experient, Singularity University and the Million Dollar Roundtable to name but a few.
    [Show full text]
  • "When Hollywood Went to WAR
    P ROGRAM SOURCE INTERNATIONAL "When Hollywood Went to WAR When Hollywood Went to War is the real life story of nearly 90 celebrities who served in the United State Military during World War II. In our research, we collected hundreds of photographs, films and several interviews of men and women from the entertainment world. These 1940’s celebrities, young and some older, took time out in their successful careers to protect and preserve our freedom. This presentation will explain where they went to serve and what battlefields and/or naval battles they experienced. The most challenging facet of the project was finding photographs of these celebrities in uniform and in various theaters of the war. Most of the men served in the Army Air Corp. The Navy was the second most chosen service. As part of our research we found out what aircraft they were flying and if they were in the Navy, the ships they were on. Kirk Douglas was on a Sub-Chaser. Jimmy Stewart piloted the B-24 Liberator. Jonathan Winters was an Anti-aircraft gunner on the U.S.S. Wisconsin in the Battle of Okinawa. Henry Fonda served on a destroyer, the U.S.S. Satterlee. Mickey Rooney served in the Army under General Patton and earned a Bronze Star. Tyrone Power was a Marine Corp pilot flying missions at the Battles of Iwo Jima and Okinawa. Audie Murphy, the most decorated American soldier. Art Carney and Charles Durning were both wounded during the D-Day landing at Normandy, you will see that landing. Bea Arthur was a U.S.
    [Show full text]
  • Powerful Theatre
    Steven Connell is an acclaimed actor and renowned playwright, with work hailed by critics as “Powerful Theatre”, “Hilarious”, and “Brilliant”, but considering he is a Hollywood Slam Champion, a Los Angeles Slam Champion, a two-time HBO Def Poet and a National Poetry Champion (twice), he is perhaps best known for his work as a poet. Featured on ABC World News, Good Morning America, HBO Def Poetry and others, he has created work for such prestigious organizations as Global Green, TEDMED, Xprize Foundation, NIKE, Sony/Universal, Pioneer Electronics, American Cancer Society, Farmers Insurance, GAP, Banana Republic and Amnesty International, to name a few. Private highlights include performing at Oprah Winfrey’s celebration of Maya Angelou, the Quincy Jones Lifetime Achievement Award, and the Marion Anderson Gala (honoring Maya Angelou/Norman Lear); as well as special events for Secretary of State Hillary Clinton, (special request: Quincy Jones), and President Obama, (special request: Oprah Winfrey). In addition to being a poet, he served as creative director for the national spoken word tour and documentary, The Underground Poets Railroad, and as the artistic director for the Los Angeles Poetry Festival (Celebrate the Word). After that he was hired as poet and creative director for Norman Lear’s Declare Yourself. His work with Declare Yourself, and his partnership with Norman Lear, not only registered over a million voters it brought focus to the political facet of his work. This resulted in partnerships with Rock the Vote, Vote or Die, the ACLU, and the Pen Foundation, to name a few and led to his being published in the acclaimed anthology “Why Freedom Matters”.
    [Show full text]
  • Dave Gergen to Dave Parker Re
    MEf\IOR/\NIHJM THE WHITE HOUSE WASIIINGTON May 3, 1972 MEMORANDUM FOR: DAVE PARKER FROM: DAVE GERGEN SUBJECT: Prominent Wome~l Last year, you were int( rested in some recomrrj "c1ations of women who might be invited to a special dinner with the President. That idea never got off the ground, and I understand that there are no plans for such a dinner at :lis time. In looking through our past files, however, I have come upon the list which we compiled at that time, and it occurs to me that there Inay still be a number of opportunities when you would want to have prominent wom.en invited to st~~ dinners on an individual basis. For that purpose: I am sending along to you a copy of some other li i~S we once compiled. It would probably be an easy task to come up with additional nm, ~cs if you so desire. cc: Barbara Franklin r-------------------------------------------------------------- Acaflemic Hanna Arendt - Politic'al Scientist/Historian Ar iel Durant - Histor ian Gertrude Leighton - Due to pub lish a sem.ina 1 work on psychiatry and law, Bryn Mawr Katherine McBride - Retired Bryn Mawr President Business Buff Chandler - Business executive and arts patron Sylvia Porter - Syndicated financial colun1.nist Entertainment Mar ian And ",r son l Jacqueline I.. upre - British cellist Joan Gan? Cooney - President, Children1s Television Workshop; Ex(,cutive Producer of Sesaxne St., recently awarded honorary degre' fron'l Oberlin Agnes DeMille - Dance Ella Fitzgerald Margot Fonteyn - Ballerina Martha Graham. - Dance Melissa Hayden - Ballerina Helen Hayes Katherine Hepburn Jv1ahilia Jackson Mary Martin 11ary Tyler Moore Leontyne Price Martha Raye B(~verley Sills - Has appeared at "\V1-I G overnmcnt /Politics ,'.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]