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National Library Stardom 16 + Source Guide contents

IINFORMATION GUIDE STATEMENT ...... i BFI NATIONAL LIBRARY ...... ii ACCESSING RESEARCH MATERIALS ...... iii APPROACHES TO RESEARCH, by Samantha Bakhurst ...... iv

INTRODUCTION ...... 1

GENERAL REFERENCES ...... 2

JIM CARREY ...... 4

JAMES DEAN ...... 5

JANE FONDA ...... 7

MEL GIBSON ...... 9

MARILYN MONROE ...... 11

JULIA ROBERTS ...... 13

MERYL STREEP ...... 14

Compiled by: Emma Smart Victoria Crabbe Bronia Evers Sarah Currant

Design/Layout: Ian O’Sullivan Project Manager: David Sharp

INFORMATION GUIDE STATEMENT

“Candidates should note that examiners have copies of this guide and will not give credit for mere reproduction of the information it contains. Candidates are reminded that all research sources must be credited”.

BFI National Library i BFI National Library

All the materials referred to in this guide are available for consultation at the BFI National Library. If you wish to visit the reading room of the library and do not already hold membership, you will need to take out a one-day, five-day or annual pass. Full details of access to the library and charges can be found at: www.bfi.org.uk/filmtvinfo/library

BFI National Library Reading Room Opening Hours:

Monday 10.30am - 5.30pm Tuesday 10.30am - 8.00pm Wednesday 1.00pm - 8.00pm Thursday 10.30am - 8.00pm Friday 10.30am - 5.30pm

If you are visiting the library from a distance or are planning to visit as a group, it is advisable to contact the Reading Room librarian in advance (tel. 020 7957 4824, or email [email protected]).

BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel. 020 7255 1444 www.bfi.org.uk/filmtvinfo/library

The library’s nearest underground stations are Tottenham Court Road and Goodge Street. For a map of the area please see: www.bfi.org.uk/filmtvinfo/library/visiting

BFI National Library ii Accessing Research Materials

Copies of articles

If you are unable to visit the library or would like materials referred to in this guide sent to you, the BFI Information Service can supply copies of articles via its Research Services. Research is charged at a range of hourly rates, with a minimum charge for half an hour’s research – full details of services and charges can be found at: www.bfi.org.uk/filmtvinfo/services/research.html

For queries about article copying or other research, please contact Information Services at the above address or telephone number, or post your enquiry online at: www.bfi.org.uk/filmtvinfo/services/ask

Other Sources

Your local library

Local libraries should have access to the inter-library loan system for requesting items they do not hold and they may have copies of MONTHLY FILM BULLETIN and SIGHT AND SOUND. Some recent newspaper items may be held by your local reference library. Larger libraries will hold other relevant materials and should offer internet access.

Your nearest college/university

Universities may allow access to outside students, though you may not be able to borrow books or journals. Ask your reference librarian, who should be able to assist by locating the nearest college library holding suitable material. The BFI Film and Television Handbook lists libraries with significant media collections.

Your school library

Local bookshops

Some of the books mentioned in the bibliography will be in print and your bookshop should be able to order items for you.

The British Library Newspaper Library

The Newspaper Library will have all the newspaper items referred to in this guide. Contact the library first if you wish to visit. 16+ students under the age of 18 will need to make an appoint- ment.

The British Library Newspaper Library Colindale Avenue London NW9 5HE Tel. 020 7412 7353 Email:[email protected] www.bl.uk/collections/collect.html#newsBL

BFI National Library iii Approaches to Research by Samantha Bakhurst

Why do research?

You cannot simply rely on your existing knowledge when approaching essays in Media Studies. Although you will have some understanding of the area being explored, it is not enough to enable you to examine the area in depth. If you were asked to write about the people in your street in detail, you might have some existing information about names, faces, relationships, issues and activities but this knowledge would not offer you details such as every single one of their names, who knows who, who gets on with whom, how people earn a living, what has happened to them in the past and so on. This extra information could change your opinions quite dramatically. With- out it, therefore, your written profile would end up being quite shallow and possibly incorrect. The same is true of your understanding of media texts, issues and institutions.

Before researching any area, it is useful to be clear about what outcomes you are hoping to achieve. Research is never a waste of time, even when it doesn’t directly relate to the essay you are preparing. The information may be relevant to another area of the syllabus, be it practical work or simply a different essay. Also, the picture you are building up of how an area works will strengthen your understanding of the subject as a whole. So what outcomes are you hoping to achieve with your research?

A broad overview of the area you are researching: This includes its history, institutions, conventions and relationship to the audience. Research into these aspects offers you an understanding of how your area has developed and the influences that have shaped it.

An awareness of different debates which may exist around the area of study: There are a range of debates in many subject areas. For example, when researching audiences you will discover that there is some debate over how audiences watch television or film, ranging from the passive con- sumption of values and ideas to the use of media texts in a critical and independent way. Any discussion about censorship, for example, will be extremely shallow if you have no knowledge of these different perspectives.

Some knowledge of the work of theorists in the area: You need to demonstrate that you have read different theorists, exploring the relevant issues and investigating the area thoroughly in order to develop your own opinion based on acquired knowledge and understanding.

Information relevant to all key concept areas: You should, after research, be able to discuss all key concept areas as they relate to that specific subject area. These are the codes and conventions, representation, institutions and audience.

Types Of Research

Primary: This is first-hand research. In other words, it relies on you constructing and conducting surveys, setting up interviews with key people in the media industry or keeping a diary or log of data (known as quantitative information) on things such as, for example, what activities women are shown doing in advertisements over one week of television viewing. Unless you are equipped to conduct extensive research, have access to relevant people in the media industry or are thorough in the up-keep of your diary or log, this type of research can be demanding, complex and sometimes difficult to use. Having said that, if you are preparing for an extended essay, then it is exactly this type of research which, if well used, will make your work distinctive and impressive.

Secondary - printed sources: This is where you will be investigating information gathered by other people in books, newspapers, magazines, on radio and television. All of these sources are excellent for finding background information, statistics, interviews, collected research details and so on. This will form the majority of your research. Some of these will be generally available (in public libraries for example); others such as press releases and trade press may only be available through specialist libraries. BFI National Library iv Secondary - online sources: Online sources are also mainly secondary. You will need to be able to make comparisons between sources if you intend quoting online information, and to be wary of the differences between fact and opinions. Don’t necessarily assume something is a fact because someone on a website says it is. Some websites will be “official” but many will not be, so you need to think about the authority of a site when assessing the information found on it. The structure of a website address (URL) can indicate the site’s origin and status, for example, .ac or .edu indicate an academic or educational institution, .gov a government body, .org a non-profit organisation, .co or .com a commercial organisation. Websites sometimes disappear or shift location - make sure you can quote a URL reference for a site, and perhaps keep a note of the last date that you checked it.

Other Media: When considering one area of the media or one particular product or type of product, it is very important that you compare it with others which are similar. You will need to be able to refer to these comparisons in some detail so it is not enough to simply watch a film. You will need to read a little about that film, make notes, concentrate on one or two scenes which seem particularly relevant and write all of this information up so that you can refer to it when you need to.

History and development: Having an understanding of the history and development of the media text which you are researching will provide a firm foundation and context for contemporary analysis. There is a difference between generally accepted facts and how theorists use these facts.

Theory: This is the body of work of other critics of the media. Most of the books and periodical articles which you will read for research will be written by theorists who are arguing a particular viewpoint or position with regard to an issue within the media. It is this which forms the debates surrounding the study of the media, in which you, as a media student, are now becoming in- volved.

Using Research

Organising your research: Before rushing headlong to the local library or web search engines, the first stage of research is to plan two things. When are you able to do your research and how are you going to organise the information gathered? You may, for example, wish to make notes under the headings listed above.

Applying your research: Always return to the specific questions being asked of the text. The most obvious pitfall is to gather up all of the collected information and throw it at the page, hoping to score points for quantity. The art of good research is how you use it as part of your evidence for an analysis of the text. The knowledge you have acquired should give you the confidence to explore the text, offer your own arguments and, where appropriate, to quote references to support this.

Listing your research: It is good practice, and excellent evidence of your wider reading, to list all references to secondary research, whether mentioned within the essay or not, at the end of your work.

References are usually written in this way:

1. Len Masterman, Teaching About Television, London, Macmillan, 1980. 2. Manuel Alvarado and Bob Ferguson, “The Curriculum, Media Studies and Discursivity”, Screen, Vol.24, No.3, May-June 1983.

Other media texts referred to in detail should be listed, with relevant information such as the director, date of release or transmission, production company and, where possible, scene or episode number. Where you have compiled primary research, it is useful to offer a brief summary of this also at the end of your work.

BFI National Library v Introduction

iven that they’re often the help you with an overall view of Fonda). What you will realise with reason we hand over our the subject. Although dominated your own study and from the hard earned cash at the by debate about the Hollywood material collated in this guide, Gbox office each weekend model we have tried to be as even if you are a star as iconic as to watch their latest cinematic role inclusive of European and World James Dean it won’t always mean stars, and the systems that create Cinema as we can be. Following on critics have taken the time to write and sustain them, have for a long from this are 7 case studies of spe- about you at great length. There is time been inadequately addressed cific stars, with varying amounts still a great deal of work to be in film studies. Until Richard of criticism written about each. done in the field of star studies, a Dyer’s seminal work ‘Stars’ was These were chosen to represent great many more stars needing published in the late 1970s little contemporary stardom (in the analysis and intelligent inquiry. attention had been paid to the guise of Mel Gibson, Jim Carrey, Hopefully this guide will help you critical understanding of stardom. Meryl Streep and Julia Roberts) forge your own opinion and add to What had gone before were and to illustrate the stars that this very exciting and new debate. weighty tomes light on theory yet have entered into the iconography delved deep into the lives of the of our culture (such as Marilyn most popular stars of the Silver Monroe, James Dean and Jane Screen. From lurid biographical The Hollywood Walk of Fame accounts of the secret passions of Hollywood’s top names to syco- phantic tributes to the latest dar- ling of the studios there has always been a fervent interest in stardom, even if the results didn’t further the intellectual debate.

Now alongside the less theoretical examinations of stars and the culture they are born from we have a debate, kick-started by Dyer, which grows bigger and more important within film studies each year. As the very nature of stardom shifts from era to era so does the criticism change shape, to reflect the different ways you can answer the not so simple question – what makes a star a star? While still the majority of texts in this relatively new area of film theory are con- cerned with Hollywood systems and the stars they have created, work is emerging that addresses the question of ethnicity and race in terms of stardom. Debate is developing around British stars and French stars which is of equal importance as the American model, and there is an entirely new field of inquiry into the so called celebrity culture of today whereby you don’t even have had to have produced anything of artistic merit to be deemed a star (Paris Hilton springs to mind).

With these approaches to stardom in mind we have developed this guide as an introduction to the basic theory of stardom, in particular film stars and the systems that have helped create their images over the years. In the first section you’ll find general reference texts and journal articles to

BFI National Library 1 general references the subject, the essays can differ of their American counterparts, he in tone but are of equal impor- endeavours to uncover some for- books tance theoretically. gotten faces of the silver screen, USTIN, Thomas and BARKER, and explain the modest attempts Martin GLEDHILL, Christine of British cinema to create their Contemporary Hollywood Stardom: industry of desire. own star system. Stardom. London: Routledge, 1991. 340p. illus. London: Arnold, 2003. iv. 300p. tables. bibliog. index. McDonald, Paul bibliog. index. The star system: Hollywood’s pro- Another key text in the study of duction of popular identities. A collection of essays on the sub- stardom, covering everything from London: Wallflower, 2000. 134p. illus. ject, this text addresses the key the emergence of the star system, bibliog. index. questions and themes surrounding how audiences interpret and inter- contemporary stardom, and is act with the stars themselves, to Examining the development and essential reading for those looking questions of politics and meaning. changing organization of the at modern Hollywood and the With an anthology such as this the Hollywood star system this is an interdependency of media texts essays vary in density and lan- excellent introduction to the study i.e. television, film, internet. With guage but are all collated together of stars. By focusing on key histor- chapters on the star systems of in useful chapters, such as ‘The ical eras such as silent cinema, the today, star performances, stars and System’ or ‘Stars and Society’ 1940s, right through to the modern their audiences, each essay com- making it easy to find the topics internet generation, McDonald is pliments the other and manages you are interested in. able to examine how America has to cover the whole gamut of theo- produced and sold its stars with ry and criticism. HOLLINGER, Karen authoritative and well researched The actress: Hollywood acting and prose. Along with Dyer and DYER, Richard the female star. Gledhill this is an essential text to Stars: new edition. New York; London: Routledge, 2006. have for the study of stardom. London; British Film Institute, 1998. 257p. illus. bibliogs. index. vi, 217p. illus. bibliogs. index. NDALIANIS, Angela and HENRY, Often when studying stardom the Charlotte (eds.) When this seminal study first craft that plays a big part in mak- Stars in our eyes: the star appeared in 1979 it kick-started ing these people stars in the first phenomenon in the contemporary the theoretical consideration of place is overlooked. With her era. star studies in to another strato- engaging and well written text Westport, CT; London: Praeger, 2002. sphere. Not just focusing on the Hollinger puts the emphasis back xvii, 185p. illus. index. old Hollywood movie stars and on to studying the art of acting, their films, Dyer also examined and how it constructs and helps Challenging the preconception contemporary stars such as Jane define the star image. Focusing on that the star has throughout the Fonda and Robert Redford, and the contemporary actress also 20th century been primarily a phe- changed the emphasis of star brings the stardom debate firmly nomenon of the cinema, this text study somewhat examining every- into the 21st century. Case studies examines the star in the post thing from films, magazines, on Meryl Streep, Susan Sarandon, 1960s era, commenting that there advertising, as well as other criti- Jodie Foster, Angela Bassett and are a multitude of media signs in cism to help define what stardom Gwyneth Paltrow all prove illumi- the modern age that create stars, is. With a supplementary chapter nating, and certainly for some of and not all come from the big by Paul McDonald examining the these actresses it’s the first time screen. Using several theoretical development of star studies since their image has been critically models to expand their topic Dyer’s original work, you really assessed. (semiotics, ideology, cultural stud- can’t go wrong in reading this text. ies) but never getting weighed MACNAB, Geoffrey down by over analytical language, FISCHER, Lucy and LANDY, Marcia Searching for stars: stardom and this is a useful text when consid- Stars: the Film Reader. screening acting in British cinema. ering the nature of stardom today. New York; London: Routledge, 2004. London; New York: Cassell, 2000. vi- xvi 300p. illus. bibliog. index. vii, 216p.; [8] plates. bibliog. index. VINCENDEAU, Ginnette Stars and stardom in French cine- Bringing together key writings and Setting out with the intention of ma. new criticism on stardom in the casting a light on an oft-forgotten London; New York: Continuum, 2000. cinema what makes this text use- side of British cinema, the stars xxi, 275p. illus. bibliog. index. ful is the essays which address that made the films what they previously marginalized areas of were, this well written and engag- French cinema has produced its study, such as stars of the avant- ing text should prove essential fair share of bona-fide film stars garde and non-American stars, reading for those interested in that can rival the best that asking questions of ethnicity that British cinema. Although as Hollywood offers as world- have been left unanswered for too Macnab points out, the idea of the renowned names and this book is long. Grouped in thematic chap- ‘British film star’ is somewhat of a long overdue study of why exact- ters, each with an introduction to an oxymoron compared with that ly that is. Vincendeau, arguably the

BFI National Library 2 leading expert on French cinema, POST SCRIPT SCREEN has written an engaging and in- Vol. 12 No. 2. Winter 1993, pp.29-39 Vol. 43 No. 1. Spring 2002, pp. 41-56 depth analysis on the French star system with detailed studies on Dyer straits: theoretical issues in Crossing over: Performing as a such stars as Jean Gabin, Brigitte studies of film acting, by Marian lady and a dame, by Christine Bardot, Jean-Paul Belmondo and Keane Geraghty Catherine Deneuve. This article questions and assesses This is a really interesting article Richard Dyer’s semiotic approach that focuses on female perform- to his written theories of stardom. ance, examining both body and journal articles voice, to understand the difference AMERICAN FILM POST SCRIPT between notions of British and Vol. 2 No. 8. June 1977, pp.63-67 Vol. 19 No. 1. Autumn 1999, pp. 70-86 American female stars and how they can be placed in a context of Heartbreak Hollywood, by Bernard The Heroic Trio: Anita Mui, Maggie British ‘ladies’ and American Drew Cheung, Michelle Yeoh – self- ‘dames’. Geraghty uses Emma reflexivity and the globalization of Thompson, Kate Winslet and Drew investigates what can hap- the Hong Kong action heroine, by Gwyneth Paltrow and their per- pen to former stars when they are Anne T. Ciecko and Sheldon H. Lu formances in costume dramas as no longer considered stars in examples. Hollywood. He delves into the This article assesses the stardom often self-destructive nature of of three of the most celebrated SCREEN INTERNATIONAL aspiring stars and what draws female action stars in Hong Kong No. 1467 10 Sep 2004, pp.17-21 them to and often keeps them in cinema, and how these stars can’t Hollywood, whether their success really be considered in the context Can you wish upon a star?, by has passed or not. of traditional Hollywood concepts Darcy Pacquet et al. of stardom. It focuses on three CINEACTION particular films: HEROIC TRIO, IRMA An extended feature taking an No. 7. December 1986, [whole issue] VEP and TOMORROW NEVER DIES. overview of star systems in South Korea, Australia, Hong Kong, Japan, This whole issue is dedicated to PREMIERE Germany, US, UK, France, Italy and exploring the subject of stardom. It Vol. 18 No. 7. April 2005, pp.40-77 Spain. Rising stars from each includes articles on Kim Novak, country are also highlighted. Joan Bennet and Cary Grant. The 50 greatest movie stars of all time, by Kelly Borgeson et al. VELVET LIGHT TRAP FILM COMMENT No. 20 Summer 1983, pp.10-14 Jan/Feb 1979, pp.7-12 This section on great movie stars starts with a general article on Seeing Stars, by Janet Staiger A Star is made, by David Kehr stardom and the history of the star system. This is followed by a ‘fami- Staiger reviews various histories of This article notes how the nature ly tree’ that aims to link stars from the emergence of the star system of stardom in the 1970s had the beginnings of stardom, in order to attempt to form a more changed in its essence with televi- through the years to the present complete picture of the events sion, records and radio becoming day to show how similar personas that lead to its formation. integral to the formation of stars, or star images appear to continue. with specific reference to Henry After this, the choice of 50 greatest VELVET LIGHT TRAP Winkler and John Travolta to illus- movie stars is listed. No. 39. Spring 1997, pp. 1-96 [whole trate this point. issue] QUARTERLY REVIEW OF FILM MEDIA CULTURE AND SOCIETY STUDIES A very useful collection of article Vol. 12 No. 2 April 1990, pp.247-167 Vol. 4 No. 1. Winter 1979, pp.39-52 dealing with various aspects of stardom comprises this whole Social attributes of American An aesthetic defense of the star issue. There is a great opening movie stars, by Emanuel Levy system in films, by Maurice introduction to the issue and Yacowar detailed chapters on specific stars This is a great article that are also included. attempts to define the pre-requi- Drawing on many specific exam- sites that a star may need to pos- ples this article explores the WIDE ANGLE sess in order to be successful, impact of a star’s image on the Vol. 6. No. 4. 1984, pp. 4-13 (and using data from a number of exist- screen, and how their private lives whole issue) ing stars. Taking a ‘sociological- and public associations bring an historical perspective’, Levy out- extra dimension to screen roles, The emergence of the star system lines four attributes he considers which can be used to great effect in America, by Richard deCordova essential to the successful star; in many ways. attractiveness, youth, acting talent As part of a themed issue on and screen image. actors and acting, deCordova analyses the factors that lead to the beginning of the star system in America and queries more traditional histories.

BFI National Library 3 Jim Carrey KRUTNIK, Frank EMPIRE Hollywood comedians: the film No. 86. August 1996, pp.74-78 reader. London: Routledge, 2003. viii, 210 p. Dark side of the loon, by Jeff bibliog. index. (In focus: Routledge Dawson film readers) This article focuses on Carrey’s Chapter 13: Low Blows? financial success and how he has Theorizing performance in post- dealt with fame. The article is classical comedian comedy, by based on an interview conducted Philip Drake, p.187-198 with Carrey on the set of THE CABLE GUY, which was expected to An in-depth assessment of comic boost the declining success of performance, whereby Drake notes Sony’s Columbia TriStar and that central to the understanding earned Carrey a huge $20 million of any single performance is the fee. audience. He attempts to break- down the various elements of performance within Carrey’s comic EMPIRE characters in order to understand No. 113 November 1998, pp.72-82 their success with an audience and various failings according to It’s a wonderful lie, by Adam books more academic criticisms. Smith

Peter Weir and Jim Carrey talk BARON, Cynthia and CARSON, WILLIS, Andy about making The Truman Show. Diane and TOMASULO, Frank P. Film stars: Hollywood and beyond. Weir discusses the choice of Jim (eds.) Manchester; New York: Manchester Carrey as the leading actor after More than a method: trends and University Press, 2004. vii, 197 p. bib- becoming so well known for a traditions in contemporary film liogs. index. stream of highly successful come- performance. dy films. Both discuss the pros and Detroit, MI: Wayne State University Chapter 4: Jim Carrey: The cultural Press, 2004. xi, 355 p. illus. index. cons of fame, and the article politics of dumbing down, by briefly cites various fees Carrey Philip Drake, p. 71-88 Part 4: Postmodern film perform- has received for his roles. ance. Chapter 11: Thinking This is a useful chapter that analy- through Jim Carrey, by Vivian ses the difference between various Sobchack, p. 275-296 EMPIRE modes of performance on the May 1995, pp.94-98, 101 screen and examines Carrey’s style This chapter provides a detailed of acting. It attempts to outline Lift Off! by Jeff Dawson deconstruction of Carrey’s physical why his early popular comic per- performances to argue that he is a formances are often critically con- Just after the release of DUMB AND ‘real actor’. Analysing Carrey’s sidered a lower art than his later performances in his comedy roles DUMBER, this article tracks Carrey’s more serious role in THE TRUMAN rise to fame and how he arrived at and straighter roles, this chapter SHOW. concentrates on the postmodern his big breaks after years of doing aspects of his characters and stand up comedy. It highlights the explores exactly how carefully and money he can demand after just thoroughly planned his characters journal articles one year of enormous success. and their physical traits are. Inserted amongst the article is a listing of the US gross taken by the CINEACTION last three films of 31 stars and it No.55 July 2001, pp. 50-56 KNELMAN, Martin puts Carrey at number 5. The joker is wild: the trials and Jim Carrey: The king of embar- triumphs of Jim Carrey. rassment, by Tarja Laine Toronto: Viking, 1999. ix-xi, FILM COMMENT Laine assesses Carrey’s comedic 230p.;illus. filmog. index. Vol. 36. No. 1 Jan/Feb 2000, pp.12-15 performances as being successful in terms of the embarrassment This biography charts Jim Carrey’s The lives of Jim Carrey, by Dave identified by the audience upon rise to stardom focusing much on Kehr viewing his characters, and the sit- his early career and the ups and uations he finds himself in. downs of this journey that eventu- This is an interesting article that ally brought him major Hollywood examines Carrey’s characters on success. film and what they have in com- mon. Carrey and his portrayed characters are described as coming from television to film “in more

BFI National Library 4 ways than one”. about his drive to succeed and his absolute dedication to his portrayal of Andy Kaufman in MAN ON HOTDOG THE MOON. It also explores No. 4. October 2000, pp.62-68 Carrey’s own experiences of stand up comedy, provides various Crazy, mixed-up Carrey, by L. W. insights into his reaction to fame Gould and supplies comments from those who have worked with and This is an interview given by known him. Carrey just before the release of ME, MYSELF & IRENE. He talks about his love of playing a wide variety of characters and his work and James Dean career in general. A filmography follows. DeANGELIS, Michael Gay fandom and crossover stardom: James Dean, Mel Gibson and MOVIELINE Keanu Reeves. Vol. 9. No. 8 May 1998, pp.48-53, 86-87 Durham, NC; London: Duke University Press, 2001. 285p.; illus. The True Man in Jim Carrey, by notes. bibliog. index. Lawrence Grobel This book contains two significant Jim Carrey talks about how he chapters on Dean and his endur- feels towards the roles he has ing appeal to generations of gay played, and how fame has affected men, in terms of his rebellious, him. He also comments on his outsider image, as well as persist- personal life and upbringing as ent speculation about his sexuality well as his comedic tastes and by other writers. The text exam- influences. ines the concept of stardom from a queer audience perspective and provides in-depth textual analysis PREMIERE of Dean’s three films. Vol. 10. No. 7. Mar 1997, p.62-69, 100

Arrested development, by Josh books McCANN, Graham Rottenberg Rebel males: Clift, Brando and Dean. An in-depth interview-based arti- DALTON, David London: Hamish Hamilton, 1991. cle that explores aspects of James Dean: the mutant king: a 214p. [24]plates. bibliog. index. Carrey’s life and career up to the biography. release of LIAR LIAR. Including London: Plexus, 1983. 356p. illus. bib- This book focuses on the post-war notes on his salary potential, act- liog. index. ‘rebel’ or anti-hero persona in film, ing techniques and what his audi- and includes a good chapter on ence expects from him in his Former Rolling Stone journalist Dean, his life, and career. McCann Dalton’s biography is one of the roles. portrays Dean as a more callow, more well-known and definitive boyish successor to his acting SIGHT AND SOUND books about Dean. As well as the heroes, Clift and Brando. The final September 1996 usual sensationalist revelations chapter addresses the legacy that Money Supplement, p.2-3 about his private life, there is a all three actors and their distinc- thorough analysis of his short tive acting styles have left to 90s Name Game, by Nick Roddick career, including many interviews Hollywood. with those who knew or worked This is a revealing article that with him. The book attempts to briefly explains the reasons why evaluate the myth that has sprung SPOTO, Donald stars can earn such high fees for up around Dean since his untime- Rebel: the life and legend of James Hollywood films. Jim Carrey is ly death. Two final chapters Dean. highlighted for his quick rise to a attempt to analyse Dean’s mytho- New York: HarperCollins, 1996. 306p. very high earning potential. logical status and his long-term [32]plates. bibliog. index. cultural significance. Using previous biographies as a VANITY FAIR starting point, Spoto’s excellent, No. 471. November 1999, p. 128-134, detailed, and honest book takes a 181-184 more psychoanalytical approach to his personality, focusing on his Split personality, by Steven Daly traumatic childhood, his acting style and the persona that he cre- This article delves into Carrey’s ated for himself. Spoto also exam- approach to work. It reveals much ines how this persona has contin-

BFI National Library 5 ued to be a by-word in rebellion in HOWLETT, John FILMS ILLUSTRATED modern American culture. James Dean: a biography. Vol.5. No.50. October 1975, pp. 68-80 London: Plexus, 1975. 191p. illus. bibliog. Filmog. James Dean: puzzle of a downfall SPRINGER, Claudia child, by David Castell James Dean Transfigured: The HYAMS, Joe and Joy HYAMS Many Faces of Rebel Iconography James Dean: little boy lost. Interesting article which touches Austin: University of Texas Press, London: Century, 1993. 294p. [16] upon Dean’s level of stardom and 2007. 248p. illus. notes. bibliog. Index plates. bibliog. index. the reasons for it in wider discussion of his brief life and career. Taking its inspiration from the Suggests that although he excelled iconic figure of Dean, Springer’s in the role of the disenfranchised book casts an analytical eye over journal articles angry young man, in the author’s the enduring image of the rebel in opinion, prospects of a long career popular culture, and how that FILM REVIEW were bleak as that was the only image has been repeatedly used to No. 657 June 2005, pp 84-90 role he could play. sell products or certain lifestyles to contemporary youth over the “Being a good actor isn’t easy. past 50 years. A variety of texts Being a man is even harder. I PREMIERE are covered that include fiction want to be both before I’m done.”, Vol.15. No.6 February 2002, pp 36-39 prose, websites and advertise- by Nikki Baughan ments, as well as film. Dangerous rebel, by Aljean Useful article delving into Dean’s Harmetz background and rise to stardom, TANITCH, Robert commenting on his enduring Informative and well researched The unknown James Dean. appeal. Well researched and excel- article about the making of REBEL London: BT Batsford, 1997. 144p. lent use of stills to illustrate WITHOUT A CAUSE talking a lot illus. theatrog. teleog. filmog. index. Dean’s tragically short life and about Dean’s relationships with career, this article would be useful the rest of the cast, and in particu- Less of biography than an exhaus- as a starting point in the study of lar how he interacted with director tive pictorial and filmographical James Dean. Nicholas Ray. Although not partic- history of James Dean’s career, ularly helpful in directly talking Tanitch traces his career as an about Dean’s stardom, there are actor in theatre and television, FILM REVIEW useful passages to draw from to then later in the films that made Spec. No.59 August 2005, pp 44-52 discuss the reasons Dean is still him a star and later, an icon. such an iconic star. Interestingly, the book finishes Rebel without a cause, by Nikki with a look at various documen- Baughan taries, films and plays that have been made about, or inspired by Examines how Dean’s iconic role him. in REBEL WITHOUT A CAUSE insti- gated the teen movie genre, and influenced the performance of TRUFFAUT, François young male actors in the decades The films in my life. to come. Whilst focusing mainly New York: Simon & Schuster, 1978. on the film, the article does note 358p. index. the iconic star status of Dean and highlights how 50 years after the This collection of director, Francois film was made Dean’s star appeal Truffaut’s critical writings and is undiminished. reviews includes a short piece entitled “James Dean is dead”. Briefly talking about his work on FILMS AND FILMING Robert Steven’s ‘Giant’ before his No. 372 September 1985, pp. 6-8 death, Truffaut then moves on to Rebel Without a Cause (1955) an appraisal of Dean’s acting style James Dean: the rebel saint thirty citing his loss as “irreparable”. years on, by Terrence Pettigrew PREMIERE (UK) Vol.3. No.9.October 1995, pp. 104-111 Discusses Dean’s influence on further suggested youth culture since his appearance James Dean: Forty years on, by in REBEL WITHOUT A CAUSE Kim Newman reading embodying disaffected teenagers everywhere. Although not directly Although a brief article, it does FROME, Shelly discussing his stardom, the fact address directly Dean as star, link- The actors studio: a history. that his portrayal of Jim Stark in ing this to the fact he died so Jefferson, NC : McFarland, 2001 viii, REBEL has had such a huge cultur- young after making only three 216 p.; illus. notes. bibliog. index. al influence says something about films. Excellent use of stills to the nature of James Dean the star. illustrate the various points the author makes. Well worth reading.

BFI National Library 6 Jane Fonda

DYER, Richard HERMAN, Gary and DOWNING, Stars. [New ed.] David London: British Film Institute, 1998. Jane Fonda: all American anti- vi, 217p. illus. bibliogs. index. heroine. London: Omnibus, 1980. 144p. illus. In a chapter entitled ‘Stars as filmog. Specific Images’ Dyer uses Fonda to illustrate how different media Chronologically working their way texts, such as promotion, publicity, through Fonda’s first 20 years, the films and criticism, construct a authors use each film as a starting specific star image. Although often point to discuss more wider biog- weighty in its language Dyer’s raphical concerns regarding Fonda. treatise on stardom and specifical- They also provide astute analysis ly here Fonda’s type of stardom, is of each production addressing crit- essential reading. Looking at ical and theoretical concerns such Fonda’s image and uncovering the as the changing role of women in multiple meanings derived from it. Hollywood, the female producer, the woman as agitator rather than victim, which overall produces a FONDA, Jane biography than goes beyond the My life so far. mere biographical. books London: Ebury Press, 2005. xii, 599p. illus. filmog. index. journal articles CHAPMAN, James et al. Surprisingly honest and beautiful- The new film history: sources, ly written, Fonda’s own account of AMERICAN FILM methods, approaches. her divisive life on and off screen Vol.7 No.2 November 1981, pp.38-43 Basingstoke; New York: Palgrave makes for enlightening reading. MacMillan, 2007. xi, 256p. index. She recounts her rise to stardom, Jane Fonda banking on message the benefits and drawbacks of movies, by Mike Bygrave and Joan In a chapter entitled ‘When ‘Hanoi being part of Hollywood royalty, Goodman Jane’ conquered Hollywood: Jane her battles with bulimia and the Fonda’s films and activism, 1977- many other demons in her life, In depth article on the set of her 81’ author Peter Krämer considers and describes with painful sinceri- then new movie, ROLLOVER, Fonda as a star and filmmaker in ty the effect her anti-Vietnam whereby Fonda and her producing terms of the critical and commer- campaigning, the infamous Hanoi partner Bruce Gilbert talk about cial success of her films. He then Jane era, has had on her. With a the ‘message’ films their produc- compares thematic similarities in heartfelt candidness she details tion company IPC Films have her work and connects it with her exactly how she came to be sitting made over the years. A slightly notable political activism, particu- on that anti-aircraft gun in North more vociferous and passionate larly Vietnam. A very useful and Vietnam, and admits it was a mis- Fonda is reflected here, again her thoughtful essay well worth read- take that she has ‘paid and contin- acting and political persona inter- ing. ues to pay a heavy price’ for to this mingling until you really do not day. know where one stops and the other begins. Useful as a compari- ANDERSON, Christopher son with the later articles to ascer- Citizen Jane: the true story of Jane FRENCH, Sean tain how Fonda reacts to her own Fonda. Jane Fonda: a biography. publicity and status as a role London: Virgin, 1993. 396p. illus. bib- London: Pavillion, 1997. 192p. illus. model for women. liog. filmog. index. filmog. index. Not exactly an authorised biogra- A more critical biography than FILM COMMENT phy of the acting legend but an in most, the author avoids the lurid Vol.37. No.2. Mar/Apr 2001, pp. 29-36 depth and often scathing account sensationalistic approach in favour of Fonda’s controversial life and of examining Fonda’s life and American Beauty, by Lisa career. From unhappy childhood to career from an analytical perspec- Schwarzbaum the protests during Vietnam and tive. Focusing on her culturally subsequent activism, Anderson defiant work as an actress in her Interesting and well-written essay displays his exhaustive research 40s making hit movies like JULIA, focusing again on Fonda’s politics with easy to read prose, giving the COMING HOME and ON GOLDEN and agenda setting film roles. She reader a solid background in POND he positions Fonda as the is praised for her re-invention and Fonda’s life and helping draw con- most important woman in the his- hailed as a role model for women, clusions about her brand of star- tory of cinema ‘so far’, a lofty highlighting each key film and the dom. claim that is almost about justified character she embodied having an by the end of this fascinating read. effect on the cultural landscape for

BFI National Library 7 women at the time. FILMS IN REVIEW SIGHT AND SOUND Vol.38. No.3. March 1987, pp.156-163 Vol.14. No.10. October 2004, pp. 26-28

FILM COMMENT Jane Fonda’s most important part: Letter to Jane, by José Arroyo Vol.14. No.2. Mar/Apr 1978, pp.54-57 role model for young women of the 1980s, by Claudia Posner Thoughtful essay on the complexi- Fonda Jane, by Tracy Young ties of Fonda’s career, focusing on Despite the article being slightly the affect the changing sociologi- Not an easily digestible article dated in terms of the stars the cal landscape had on her choice in about Fonda’s star power and author references alongside Fonda, roles and vice versa. Posited as the appeal to a predominately liberat- it is still a useful analysis of her missing link between the sexually ed post-60s female audience, but a appeal as a cultural icon, and goes naïve roles of the earlier female worthwhile read nonetheless for some way to explain the longevity icon Doris Day and the overtly sex- the points the author makes of that appeal. A thorough account ualized persona of Madonna, the regarding her star image, and how of her dual career as actress/ article argues that each of Fonda’s that works in the favour of the activist the author argues that roles set an agenda for debate, her characters she plays, making her Fonda is the ideal role model for highly politicised personality film’s more successful and ‘worth- young women because of her reflected in her screen portrayals. while’ than her contemporaries. multi-faceted career, and the fact that she has had as many failures as successes but still remains the VANITY FAIR FILM REVIEW strong resolute woman of legend. No.440 April 1997, pp. 98-107 No.658 Summer 2005, pp. 20-21 Married…with buffalo, by Jennet Absence makes the heart grow INTERVIEW Conant Fonda, by Judy Sloane Vol.14 No.3 March 1984, pp.33-38 Illuminating article delving into Short but useful article from the Cause celebrity: Jane Fonda, by the marriage between Fonda and press junket for Fonda’s return to Maura Moynihan and Andy Warhol media mogul Ted Turner. Painting the big screen after a 15 year the female icon in a slightly less absence with the comedy MON- Long and amiable interview rosy light as it focuses not on her STER-IN-LAW. She talks about how between the always articulate socially challenging film roles, but it felt to be back in front of the Fonda and Warhol Girl Moynihan, her newfound role as devoted wife cameras and to work with her co- with the odd interjection from the and author of healthy living cook star Jennifer Lopez. pop cultural icon himself. Covering books. Includes an interview with her political activities, the famous a very circumspect Fonda, and biographical background about Workout enterprise she launched growing up the daughter of an act- FILMS AND FILMING to fund her second husband’s ing legend. No.425 March 1990, pp. 38-43 political career and ruminations on the nature of fame, the handi- Fun with Jane, by Brent Lewis cap of having a famous father and why she turned down the Julie Excellent interview with Fonda Christie role in DR ZHIVAGO. published after the release of what was her last film for 15 years, STANLEY & IRIS. She talks about working with Robert De Niro but also goes in to her entire screen career, segueing off to discuss her politics now and then, but mainly focusing on her work and the way she prepares for her roles. Interesting familial anecdotes and projects that she would like to make.

Barbarella (1968)

BFI National Library 8 Mel Gibson

FIGGIS, Mike (ed.) Projections 10: Hollywood film- journal articles makers on film-making. London; New York: Faber and Faber, EMPIRE 1999. 305p. illus. August 2000, pp.88-92

Gibson is one of 28 filmmakers Patriot Games, by Ian Nathan interviewed about their experiences of the Hollywood system. Interview on set with Mel Gibson Topics include Gibson’s shift from and Roland Emmerich who discuss actor to director/producer, and the the production of THE PATRIOT. casting process. The article is heavily illustrated and has a satirical tone. Much is made of the theme of family rela- FREDRIKSEN, Paula (ed.) tionships in the film, and this is On The Passion of the Christ: commented upon in relation to exploring the issues raised by the Gibson’s own family life. controversial movie. Berkeley, CA; Los Angeles: University of California Press, 2006. xxiii, 284p. EMPIRE April 1999, pp. 68-73 books Theologians, journalists, academics and clergy from Catholic, He don’t need another hero, by Protestant and Jewish traditions David Eimer CLARKSON, Wensley provide essays covering a range of Mel Gibson: man on a mission. views on THE PASSION OF THE London: John Blake Publishing, 2005. Interview in which Gibson discuss- CHRIST. Fredriksen’s critical pref- 348p. [16] plates. es the production of PAYBACK and ace outlines key issues such as the why director Brian Helgeland accusations of anti-Semitism, the The most recent biography of the refused to work on changing his film’s conservative Catholicism star. This is an updated version of early cut of the film. Topics include and its screen violence. Clarkson’s earlier book, Mel: the the screen violence in PAYBACK, inside story (1993). Gibson’s relationship with his directors, and his own experiences KAGAN, Jeremy of being in the director’s chair. Directors close-up: interviews DE ANGELIS, Michael with directors nominated for best Gay fandom and crossover star- film by the Directors Guild of dom: James Dean, Mel Gibson, EMPIRE America. April 1993, pp.68-73 and Keanu Reeves. Lanham, MD; Toronto; Oxford: Durham, NC; London: Duke Scarecrow Press, 2006. 340p.illus. University Press, 2001. 285p. illus. appendices. biog. index. Do you come from down under? notes. bibliog. index. by Roald Rynning A different aspect of the film mak- Audience reception to the three ing process is dealt with in each Interview and profile of the actor, stars is analysed within the con- section, with quotes from over 50 including information about his text of gay male fandom from the directors. Mel Gibson is inter- role in FOREVER YOUNG and his 1950s onwards. The chapter on Mel viewed on BRAVEHEART. Short directorial debut with THE MAN Gibson charts the development of comments from him appear in WITHOUT A FACE. his star persona, suggesting that most of the chapters, with a longer whilst his earlier films allowed for comment in the section entitled an ambiguity with regard to the “Production: The Shoot.” FILMS AND FILMING sexuality of the protagonists, his June 1983, pp. 20-23 increasingly conservative attitudes both on and off screen removed all PLATE, S. Brent (ed.) Mel Gibson: An American from ambiguity and alienated him from Re-viewing The Passion: Mel Down Under, by Dalya Alberge his gay fans. Particular attention Gibson’s film and its critics. is paid to the film narratives of New York, Basingstoke: Palgrave An illustrated profile of the actor, MAD MAX 2 and LETHAL WEAPON. Macmillan, 2004. 198p. notes. bibliog. written at a time when he still filmog. appendix. index. lived in Australia. THE YEAR OF LIV- ING DANGEROUSLY is mentioned in Academics from a variety of back- the context of the development of grounds respond to Gibson’s con- Gibson’s screen appeal, and his troversial THE PASSION OF THE theatre work is briefly touched CHRIST. The film is discussed in upon. the contexts of film, history, femi- nism, art and literature.

BFI National Library 9 LITERATURE FILM QUARTERLY SCREEN INTERNATIONAL VANITY FAIR Vol.34. No.1. 2006, pp.27-38 20 February 2004, pp.12 August 1997, pp.60-65, 122-24

Star Formations and Alien The Passion of Mel Gibson, by Mel on wheels, by Cathy Horyn Invasions: Mel Gibson and Signs, Mike Goodridge by Michael DeAngelis Profile of the star, which attempts Interview in which Gibson discuss- to probe into the darker side of his A detailed article which takes a es the controversy surrounding ‘nice guy’ image, with particular critical look at “the various star THE PASSION OF THE CHRIST. reference to his role as the half- texts that have constructed ‘Mel lunatic cab driver in CONSPIRACY Gibson.’” The author charts the THEORY. development of Gibson’s star per- SHAKESPEARE BULLETIN sona, touching on films such as Winter 1993, pp.38-39 THE PATRIOT, WE WERE SOLDIERS, and MAD MAX parts 1 and 2, before “Double Exposure”: the semiotic making a detailed analysis of ramifications of Mel Gibson in SIGNS. DeAngelis critiques what he Zeffirelli’s Hamlet, by Daniel describes as the “closed network Quigley of meaning” created in the film, one element of which is the align- This short but informative article ment of Gibson’s conservative val- looks at the semiotic impact of ues regarding religion and family casting Mel Gibson as Hamlet. The with those of the character he author argues against the tradi- plays, Reverend Graham Hess. tional understanding of stars as automatically generating negative HOLLYWOOD REPORTER “semiotic noise,” suggesting 5 March 1996, pp. S1-S24 instead that Zefferelli makes an active choice to work with Tribute to Mel Gibson, by Stephen Gibson’s start persona to inform Galloway, Naomi Pfefferman and his directorial interpretation. Ray Bennet

A special tribute, acknowledging Gibson’s receiving of the Nato/Showest Director of the Year Award 1996. Looks at his transition from acting to directing, focusing on BRAVEHEART. There is a career profile, a filmography and an interview. The battle scene in BRAVEHEART is given close attention.

PREMIERE December 1996, pp.86-94, 142-143

To Mel and Back, by Holly Millea

The star is interviewed about his work and private life, and state- ments are included from friends and colleagues on working with him. The article paints a sympa- thetic portrait of Gibson as the man who over came a drink prob- lem and who exhibits seemingly infinite patience with press and fans

Braveheart (1995)

BFI National Library 10 Marilyn Monroe

MAILER, Norman Marilyn: a biography. journal articles [s.l.]: Hodder and Stoughton, 1973. 271p. illus. bibliog. AMERICAN CLASSIC SCREEN Vol. 2. No. 2 Nov/Dec 1977, pp.14-16 Mailer attempts a definitive portrayal of the star. He sets his writ- How a screen legend was born: ing along side an abundance of The screen testing of Marilyn her most captivating photographs Monroe, by James Robert Haspiel which are fully indexed in the book. In order to carry out his An article that briefly charts the definitive portrayal, Mailer peppers journey Monroe took from photo- this biography, often questioningly, graphic model to her second sign- with various other versions of ing of a contract with 20th events by other biographers. Century-Fox in 1950. It describes what was required of Marilyn in her initial screen tests and the ROLLYSON, Carl E. instant appeal that she exhibited Marilyn Monroe: a life of the in them. books actress. Ann Arbor, MI: UMI Research Press, 1986. 255p. illus. bibliog. filmog. CINEACTION NB: Marilyn Monroe has been index. No. 44 July 1997, p.12-19 exhaustively written about. The list below is simply a starting Rollyson approaches his biography Performance and the still photo- point for research and does not in of Marilyn from the premise of graph: Marilyn Monroe, by any way represent a definitive list exploring her talents as an actor Florence Jacobowitz and Richard of useful biographies and criti- first and foremost and how her Lippe cisms. At the end of this section roles and acting experiences on Marilyn Monroe, there is a sug- helped to shape her identity. It This article delves into the gested list of further reading also contains a full transcript of processes by which a star’s image which may supply a fuller picture the LIFE interview with Richard can be constructed and manipu- of writing about the star, although Meryman. lated to produce a particular star even this is just the tip of the ice- persona. Specifically focusing on berg when it comes to researching the relationship between Marilyn the curious life of the legend. ZOLOTOW, Maurice and one of her regular photogra- Marilyn Monroe. phers, Eve Arnold, the article dis- GUILES, Fred Lawrence [Updated exp. ed.] cusses Marilyn’s acute awareness Norma Jean: the life of Marilyn New York: Harper & Row, 1990. 359p. of the necessary employment of Monroe. illus. performance to present her own London: W.H. Allen, 1969. 341p. constructed image in a still photo- plates. index. This biography was written in 1960 graph. when Marilyn was still alive, This is a very detailed and thor- although this edition has been oughly researched biography of revised. Drawing from relatively CLASSIC IMAGES the star. It draws from a number of few published sources and from No. 252 June 1996, pp.14-16 sources who were close to Marilyn an abundance of interviews with such as her former husbands, both Marilyn and those who were Marilyn Monroe at 70: A reap- directors who worked with her close to her or worked closely with praisal, by Eve Golden and close friends from various her, Zolotow aims to provide a full stages of her life. portrayal of the star and explore This article asserts that Marilyn how she worked. was a far better dramatic and a far lesser comic actress than critics HASPIEL, James often credit her with being. The Marilyn: the ultimate look at the article outlines major events in her legend. life and career. London: Smith Gryphon, 1991. 207p. illus. (some col.). index. DON’T LOOK BACK This is an intimate portrayal of the June 1977, whole issue star, drawing from personal mem- ories, letters and including rarely Eight articles comprise this issue seen photographs. that attempts to analyse Marilyn’s mythical representation, address what her real personality was,

BFI National Library 11 summarise her skills as an actress FILMS IN REVIEW Chapter 13: Biographical bound- and strives to expose the disparity Vol. 30. No. 3. March 1979, pp.145- aries: Sociology and Marilyn between her projected image and 149, 173 Monroe, by Graham McCann her life. The Monroe-Harlow connection, HASPIEL, James by James Robert Haspiel Young Marilyn: becoming the leg- FILM COMMENT end. Vol. 10. No. 2. Mar/Apr 1974, pp.23-31 This article looks at Hollywood’s London: Smith Gryphon, 1994. 168p. attempt to find the ‘New Jean illus. Mth. Marilyn Monroe, by Raymond Harlow’ and sets out the similari- Durgnat ties both professionally and per- JASGAR, Joseph and SAKOL, sonally between Jean Harlow and Jeannie This article explores the diverse Marilyn Monroe. It also charts the The birth of Marilyn: the lost pho- approaches in three biographies of story of the abandoned project of a tographs. Marilyn, by Norman Mailer, Joan film entitled THE JEAN HARLOW London: Sidgwick & Jackson, 1991. Mellen and Fred Lawrence Guiles, STORY, and the attempts made to [unpaged]. illus. and why to varying degrees they secure Marilyn the leading role. are not successful in their portray- MAILER, Norman and GREENE, als of the star. It attempts to Milton H. define what truth there can be LIFE Of women and their elegance. found amongst these written 13 August 1962, pp.51-56 London: Hodder and Stoughton, mythologies of the star. 1980. 288p. illus. Marilyn speaks out, by Richard Meryman RIESE, Randall and HITCHENS, FILM COMMENT Neal Vol. 18. No. 5. Sep/Oct 1982, p.34-46 This is an extremely insightful The unabridged Marilyn: her life interview with Marilyn in which from A to Z. Baby go boom! by David she talks candidly about the London: Corgi Books, 1988. 578p. Thompson nature of fame in general and the illus. bibliog. filmog. teleog. affect it has had on her personal This article explores Marilyn’s life. She talks openly about the STERN, Bert image by comparing her impact on sense of freedom she had enjoyed The last sitting. film to that of her ease in, and in her young life and her feelings Prague: Orbis, 1982 201p. plates. understanding of, the still medium towards the media. of photographs. TAYLOR, Roger G. Marilyn in art. further reading London: Elm Tree, 1984. [152]p. FILMS AND FILMING col.illus. Vol. 9. No. 4. January 1963, p.23-24 ARNOLD, Eve Marilyn Monroe: an appreciation. MM, by George Fenin Hamish Hamilton, 1987. 143p. illus. (some col.) This is a concise article that addresses the image of Marilyn in BARRIS, George her films, suggesting that she was Marilyn: her life in her own not encouraged to explore her own words: Marilyn Monroe’s revealing interpretations of characters and last words and photographs. skills as an actress, because she London: Headline, 1995. i-xvii, 164p. was usually required to act out the illus. (some col.). filmog. myth of her screen persona. BATY, S. Paige American Monroe: the making of FILMS IN REVIEW a body politic. Vol.26. No. 6. Jun/Jul 1975, pp.321-335 Berkeley; Los Angeles; London: University of California Press, 1995. Marilyn Monroe: The starlet days, xi-xiv. 197p. illus. index. by James Robert Haspiel FEATHERSTONE, Mike and HEP- This article boldly attempts to dis- WORTH, Mike and TURNER, Bryan pel certain myths surrounding S. (eds.) Marilyn’s rise to fame and to pick The body: social process and cul- out from many differing accounts, tural theory. actual facts from her early career. Newbury Park, CA; London: Sage, Seven Year Itch (1955) The article contains quotes by 1991. 408p. illus. index. those that knew her early on in her career and pieces together Marilyn’s early career progression.

BFI National Library 12 Julia Roberts

SANELLO, Frank EMPIRE Julia Roberts. No. 28 October 1991, pp. 84-90 Edinburgh; London: Mainstream Publishing, 2000. 223 p. [8] plates. fil- A star is made…, by Elaine Dutka mog. This interview based article focus- A fairly straightforward biography es on the path of Roberts’ early of Julia Robert’s charting her career career and how she managed to which took her from an aspiring find success so quickly with very family of actors to the completion little experience. It reveals the of filming ERIN BROCKOVICH. people who supported her and helped enable her to secure a position as a star at such a young age. ALLEN, Michael Contemporary US cinema. Harlow, Essex: Longman, 2003. viii, FILM REVIEW 265 p. illus. bibliog. index. October 1997, pp.34-39

Chapter 5: The talent II: the actors Theory and practice, by Roald Rynning In this chapter on contemporary books notions of stardom, Julia Roberts is This article centres on Julia used as an example of an actress Roberts’ attitude towards fame, who has achieved inconsistent KORD, Susanne and KRIMMER, how it has affected her personal success at the box office while still Elisabeth life and what drew her to various being considered able to effectively Hollywood divas, indie queens, roles she has taken. carry a film. It explores the way in and TV heroines: contemporary which stars attempt to create their screen images of women. public personas and exhibit their Lanham, MD; Boulder; New York; FILM REVIEW range as actors and it charts the Toronto: Rowman & Littlefield Special No. 50 Oscars Issue March rising and falling of various stars’ Publishers, 2005. vi, 185 p. illus. bibli- 2004, pp. 32-39 careers. og. index. Million dollar smile, by John Chapter 1: The newborn identity: Reading Julia Roberts journal articles As part of a ‘Girl Power’ special, This chapter concentrates on the this article asks why Julia Roberts appeal of Julia Roberts regardless AMERICAN FILM is able to demand such high fees of any of her characters’ unappeal- Vol. 15. No. 10. July 1990, pp.20-25 for her performances. She talks ing qualities. It then examines her about what attracted her to the roles and image portrayed in the Suddenly, Julia, by Robert Palmer character she plays in MONA LISA films PRETTY WOMAN, MY BEST SMILE and she reveals a little FRIEND’S WEDDING, RUNAWAY This article charts Roberts’ swift about her attitude towards fame BRIDE, NOTTING HILL and ERIN rise to stardom and delves into her and how it affects her private life. BROCKOVICH. approach to acting, attempting to understand her personality and Other chapters consider the attitude towards her work. MOVIEPLUS appeal of Sandra Bullock, Meg No. 5. October 1997,pp.40-44 Ryan, Renee Zellweger and ‘alter- native’ female actors including EMPIRE Julia’s summer double, by Mark Judi Dench, Kathy Bates and No. 18 December 1990, pp.88-90 Venables Frances McDormand. Pretty woman, by Craig Modderno This article gives a brief biography followed by a refreshingly candid Following an interview based arti- interview based article in which cle with Joel Schumacher on the Julia Roberts talks enthusiastically making of and success of FLATLIN- about her work on MY BEST ERS, Julia Roberts talks about her FRIEND’S WEDDING and briefly early experiences of fame and her about her role in CONSPIRACY THE- roles in PRETTY WOMAN and FLAT- ORY. LINERS.

BFI National Library 13 MOVIELINE Vol. 8 No. 7 April 1997, pp. 56-59 Meryl Streep In defense of Julia Roberts, by David Thomson her family. Commenting that the image Streep has cultivated over Despite the title of the article, the the years as devoted wife/mother focus here is mainly where Julia and successful actress is exactly Roberts’ artistic shortcomings lie why she is the star she is. in various roles that she has taken. Written just before the release of CONSPIRACY THEORY MAYCHICK, Diana and MY BEST FRIEND’S WEDDING, it Meryl Streep: the reluctant super- questions whether or not her suc- star. cess was set to continue, and London: Robson Books, 1984. 166p. whether or not she will manage to illus. index. reveal her depth as an actress or remain dependent on her charm Like any competent biographer and beauty. Maychick includes the requisite background information, interviews with college roommates and SCREEN INTERNATIONAL long forgotten school friends, but No. 1251 24 Mar 2000, p.25 what marks this tome out as different and a worthwhile addition North American round-up: Queen to the study of Streep’s stardom, is Julia tops box office again, by Mike books the author’s intelligent prose when Goodridge suggesting why Streep shuns the HASKELL, Molly traditional limelight as much as This sidebar to listings of current Holding my own in No Man’s she does. Although it may seem box office figures, gives figures for Land: women and men and film dated and with the longevity of Julia Roberts’ top ten openers and and feminists. Streep’s career only covers the first top ten films, highlighting her box New York; Oxford: Oxford University decade, it is full of little known office appeal after the extremely Press, 1997. 207p. facts which help explain the successful opening of ERIN BROCK- Streep appeal. OVICH. In a chapter entitled ‘Hiding in the spotlight’, Haskell dissects the mystique of Streep’s kind of star- PFAFF, Eugene E. and EMERSON, SIGHT AND SOUND dom, making an intelligent argu- Mark Vol. 10. No. 5. May 2000, pp.14-16 ment that through the unlikable Meryl Streep: a critical biography. and unconventional women Streep Jefferson, NC; London: McFarland, A law unto herself, by Roger Wade has played, she has managed to 1987. 148p. illus. bibliog. filmog. remain in the spotlight without index. This article explores the choice of becoming a conventional ‘star’. Julia Roberts to play the lead in There is always something Another biography written at the ERIN BROCKOVICH and how her unknowable about Streep when we height of Streep’s fame in the particular qualities are so well see her on screen, the argument 1980s, the author’s focus is more suited to the character she plays. goes, and it’s this unknowing, this on a critical reading of her acting ‘anti-star mystique’ that helps rather than delving in to her define Streep’s career longevity. familial and personal back- VANITY FAIR grounds. Although standard biog- No. 466 June 1999, pp. 100-107, 152- raphical elements are included for 155 contextual emphasis it’s again the HOLLINGER, Karen phenomenon of Streep as uncon- The actress: Hollywood acting and Canoodling with Julia, by Ned ventional, un-Hollywood star that the female star. Zeman has the authors’ intrigued. Going New York; London: Routledge, 2006. as so far as stating that the 257p. illus. bibliogs. index. This is a thoroughly engaging arti- ‘diverse qualities’ of Streep do not cle in the Vanity Fair tradition, make her a star, but in fact a Whilst this is an essential read for attempting to get inside Julia superstar. a wider study of stardom the Robert’s personal life and dispel chapter ‘Magic Meryl’ provides an tabloid myths and rumours. It sup- astute critique and analysis of plies many interesting and rare Streep’s stardom. Linking directly insights into her reaction to the the notion of stardom itself and media, her outlook towards her how this applies to Streep. The life, work and fame, and how author is meticulous in her those who have worked with her research and makes the connec- describe their experiences. tion between Streep’s personal life and work life i.e. she chose the rolls she did in order to be near

BFI National Library 14 nines all the time. ences react to Streep’s Oscar nom- journal articles inated films on an emotional level. EMPIRE Arguing that the interaction that No.204 June 2006 , pp.104-105 FILMS ILLUSTRATED sometimes occurs between actor Vol.9. No.105 May 1980, pp. 346-349 and audience is particularly Q & A Meryl Streep: back in prime heightened in Streep’s career due position, by Jeff Dawson Meryl Streep: best supporting to her film choices, and the actress, by Tony Crawley “empathetic resonance” an audi- Brief but interesting interview ence feels with Streep goes some with Streep, talking about career A rare early interview just after way to explain why she is such a choices and what drives her as an Streep won her first Academy great ac actor. Award for KRAMER VS KRAMER. She talks about her background in theatre and how on stage she is PREMIERE EMPIRE known as a comedic actor, but so Vol.16. No.3 November 2002, pp. 66- No. 43 January 1993, pp. 60-67 far her film roles have all been the 69 opposite. Jersey girl, by Tom Hibbert Nobody does it better, by James Kaplan Probing biographical interview INTERVIEW with Streep around the time of the Dec/Jan 2002/03, pp. 124,150 Enlightening interview with Streep release of DEATH BECOMES HER in talking about her role in THE which she not only talks about Meryl Streep: facing the myths HOURS and how her family and that film and the desire to do with the world’s number one personal life influence her work more comedy, but also women in actor’s actor, by Brad Goldfarb and vice versa. Includes a filmog- films in general and what it’s like raphy of her work. mid-career to have been haled as Insightful interview with Streep at the ‘woman of the 80s’ but in the the time of promoting 90s to not be so prolific. Covers her ADAPTATION and THE HOURS. PREMIERE early work, how she reacts to criti- Talks about the different process Special Issue Women in Hollywood cism, the films she is most proud of making each film, as well as January 1997, pp. 55-59 of and the ones she isn’t. Included filmmaking in general and how is a list of Streep career highlights her much the tag of ‘greatest living Meryl’s Room, by Rachel complete with accompanying actor’ has affected her work. Abramowitz reviews and star rating.

INTERVIEW Excellent in depth interview trac- ing Streep’s career up to the ENTERTAINMENT WEEKLY December 1998, pp. 66-76 release of MARVIN’S ROOM. Covers No.916 19 January 2007, pp. 24-30 Streep’s ahead: an adult conversa- her time studying acting at Yale, her breakthrough film JULIA and Silver streak, by Clark Collis tion with Meryl Streep, by Graham Fuller what it was like to work with Jane Entertaining roundtable discussion Fonda and later co-stars such as between Streep, Helen Mirren and This interview linked with the Robert De Niro and Woody Allen. She also talks about her impro- Judi Dench who were all Best releases of DANCING AT LUGHNASA vised work on THE DEER HUNTER Actress contenders in the 2007 and ONE TRUE THING delves into Academy Awards (Mirren eventu- Streep’s motivations and under- and KRAMER VS KRAMER, and how being a mother affected her life ally winning) Funny, light-hearted standing of the strong female and influenced the choices she yet insightful musings from these characters she played in each film, Grand Dames of the screen, reveal- then goes on to talk about the made in her career. ing Streep to be quite wickedly longevity of her career and what funny when she wants to be. drove her to acting in the first place. Particular focus is on the consciousness that goes into the FILM REVIEW characters she has played, and No.675 October 2006, pp. 46-47 how this can affect her emotional- ly. Devil woman, by Adrienne Curtis

Short but interesting interview JOURNAL OF POPULAR FILM & where Streep promotes THE DEVIL TELEVISION WEARS PRADA and talks about the Vol.34 No.3 Autumn 2006 pp. 99-106 difficulty of modelling her character on actual women, given that Empathetic resonance and Meryl there are not enough women in Streep, by Carolyn Adams-Price et power in the real world at the level al. she portrays in the film. She also discusses the costume design in Using the psychological concept of the film, and how it wasn’t all fun “empathetic resonance” this in The French Lieutenant’s Woman (1981) and games being dressed up to the depth article examines how audi- BFI National Library 15