Winter 2010 Volume 4, Number 1
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I Love Lucy, That Girl, and Changing Gender Norms on and Off Screen
Oberlin Digital Commons at Oberlin Honors Papers Student Work 2018 I Love Lucy, That Girl, and Changing Gender Norms On and Off Screen Emilia Anne De Leo Oberlin College Follow this and additional works at: https://digitalcommons.oberlin.edu/honors Part of the History Commons Repository Citation De Leo, Emilia Anne, "I Love Lucy, That Girl, and Changing Gender Norms On and Off Screen" (2018). Honors Papers. 148. https://digitalcommons.oberlin.edu/honors/148 This Thesis is brought to you for free and open access by the Student Work at Digital Commons at Oberlin. It has been accepted for inclusion in Honors Papers by an authorized administrator of Digital Commons at Oberlin. For more information, please contact [email protected]. I Love Lucy, That Girl, and Changing Gender Norms On and Off Screen, 1951-71 Emilia Anne De Leo Candidate for Honors in History at OBerlin College Professor Clayton Koppes, Advisor Spring, 2018 2 Acknowledgements There are many people who have helped me immensely throughout the thesis writing process. I would like to thank my thesis advisor Professor Clayton Koppes for all the insight as well as moral support that he has provided me Both while writing this thesis and throughout my time here at OBerlin. I would also like to thank my thesis readers Professors Danielle Terrazas Williams and Shelley Lee for their comments on drafts. In addition, I want to thank the thesis seminar advisor Professor Leonard Smith for his assistance and for fostering a productive and kind environment in the thesis seminar. I owe many thanks to my fellow honors thesis colleagues as well. -
2018 Annual Report
Annual Report 2018 Dear Friends, welcome anyone, whether they have worked in performing arts and In 2018, The Actors Fund entertainment or not, who may need our world-class short-stay helped 17,352 people Thanks to your generous support, The Actors Fund is here for rehabilitation therapies (physical, occupational and speech)—all with everyone in performing arts and entertainment throughout their the goal of a safe return home after a hospital stay (p. 14). nationally. lives and careers, and especially at times of great distress. Thanks to your generous support, The Actors Fund continues, Our programs and services Last year overall we provided $1,970,360 in emergency financial stronger than ever and is here for those who need us most. Our offer social and health services, work would not be possible without an engaged Board as well as ANNUAL REPORT assistance for crucial needs such as preventing evictions and employment and training the efforts of our top notch staff and volunteers. paying for essential medications. We were devastated to see programs, emergency financial the destruction and loss of life caused by last year’s wildfires in assistance, affordable housing, 2018 California—the most deadly in history, and nearly $134,000 went In addition, Broadway Cares/Equity Fights AIDS continues to be our and more. to those in our community affected by the fires and other natural steadfast partner, assuring help is there in these uncertain times. disasters (p. 7). Your support is part of a grand tradition of caring for our entertainment and performing arts community. Thank you Mission As a national organization, we’re building awareness of how our CENTS OF for helping to assure that the show will go on, and on. -
Film Preservation Program Are "Cimarron,"
"7 NO. 5 The Museum of Modern Art FOR RELEASE JANUARY 14 11 West 53 Street, New York, N.Y. 10019 Tel. 955-6100 Cable: Modernart EARLY FILMS TO BE REVIVED AT MUSEUM "The Virginian," Cecil B. DeMllle's 1914 classic, from the novel by Owen Wlster, with Dustin Famun who played in the stage version, will be shown as part of a series of eleven early films to be presented from January 14 through January 25, at The Museum of Modern Art. The Jesse Lasky production of "The Virginian" will be introduced by James Card, Curator of the George Eastman House Motion Picture Study Collection in Rochester, which is providing the films on the Museum program. At the eight o'clock, January 14 performance, Mr. Card will introduce the film and address himself to the controversy over the direction of "The Virginian," one of the early silent feature films. The fact that Cecil B. DeMille directed has been in dispute over the years. On the same program with "The Virginian," another vintage film will be shown. Tod Browning's "The Unknown" starring Lon Chaney. Made in 1927, it was an original story by the director, called "Alonzo, the Armless." According to The New York Times Film Reviews, a recently published compilation of the paper's film criticism, "the role ought to have satisfied Mr. Chaney's penchant for freakish characterizations for here he not only has to go about for hours with his arms strapped to his body, but when he rests behind bolted doors, one perceives that he has on his left hand a double thumb." Joan Crawford plays the female lead in the film, about which Roy Edwards writes in Sight and Sound, the characters and special effects add up to a "thorough display of grotesqueries." Other notable films that are part of this film preservation program are "Cimarron," starring Richard Dix and made in 1931 from Edna Ferber's popular novel; "Dr. -
The Personal Branding of Lucille Ball Honors Thesis
BLAZING THE TRAILS: THE PERSONAL BRANDING OF LUCILLE BALL HONORS THESIS Presented to the Honors College of Texas State University in Partial Fulfillment of the Requirements for Graduation in the Honors College by Sarah L. Straka San Marcos, Texas December, 2016 BLAZING THE TRAILS: THE PERSONAL BRANDING OF LUCILLE BALL by Sarah L. Straka Thesis Supervisor: ________________________________ Dr. Raymond Fisk, Ph.D. Department of Marketing Approved: _________________________________ Heather C. Galloway, Ph.D. Dean, Honors College TABLE OF CONTENTS ABSTRACT……………………………………………….…………..…………………iv CHAPTER I. INTRODUCTION…………………………………………………….….…….1 II. CHILDHOOD………………………………………………………….……...1 III. REBEL………………………………………………………………….….…4 IV. LEADER……………………………………………………...……….....….14 V. ICON……………………………………………………………...………..…17 VI. CONCLUSION……………………………………….............................….18 REFERENCES……………………………………………………………………..........20 CHRONOLOGICAL TIME LINE OF LUCILLE BALL…………………...…..........…21 iii ABSTRACT The extraordinary Lucille Ball was the most loved and iconic television comedian of her time. She was an American icon and the first lady of television during the 1950s. Not only did Lucille Ball provide laughter to millions of people, but Lucille Ball gave women a voice and America heard what she had to say. She showed women they can be accepted, and be in a position both on television and in the working world where they can be strong and independent. She was a leader and set an example for women and showed society that women have a voice to be heard and will be successful, when given the opportunity. Lucille Ball managed her career and created her personal brand by beating all obstacles that were laid in front of her and test boundaries, which lead her to become an entrepreneurial success. Lucille Ball blazed the trails for many women, on and off stage. -
'Thirteen Hours by Air/ Air Drama, Sunday and Monday at Capitol |
‘Thirteen Hours by Air/ Air Drama, Sunday and Monday at Capitol | John Cromwell, who handled th* IN ‘13 HOURS BY AIR’ ‘PETTICOAT FEVER’ megaphone on Selznick Internation- al's “Little Lord Fauntleroy," which ROMANCE t D brings Freddie Bartholomew, Dolorea Costello Barrymore and a great cast,has served In almost evary con- ceivable capacity in the theatre. He has been playwright, stage manager, INTRIGUE director. “little ON and actor, producer Lord Fauntleroy” is released through SHIP PICTURED United Artists. Third and fourth Americans always have coloring than their Fred MacMurray, Joan Bennett Play Leads In Plot Taken From Magazine Serial THEATRE SUNDAY and MONDAY Drama in the sky is the theme of Thirteen Hours By Air,’ which shows Sunday and Monday at the Capitol Theater, Brownsville, and everyone who enjoys his drama in tense, punch-packed doses will have the time of his life at the film. For “Thirteen Hours By Air” starts off at a terrific pace, and Robert Montgomery and Myma Loy co-starred in “Petticoat Fever” like the New York-to-San Francis- showing Sunday and Monday at both the Arcadia theatre in Hariingen co on which most of its ac- plane and the Rivoli theatre in San Benito. tion takes place, roars on at high speed up to the very finish. Director Mitchell Leisen, furnish- Joan Bennett and Fred MacMurray In the mystery romantic thriller in the track and field event* 75 to ed with a grand cast and an equal- “13 Hours By Air,” showing Sunday and Monday at the Capitol theatre 47. ly grand script, has made the most Brownsville. -
Biographies of Universal Stars and Featured Players 1933
LIBRARY OF MODERN ART Received: Scanned from the collection of The Museum of Modern Art Library Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from John McElwee Digitized by the Internet Archive in 2014 https://archive.org/details/biographiesofuniOOunse ( BIOGRAPHIES OP UNIVERSAL STARS AND FEATURED PLAYERS LET AYRSS CLYDE BEATTY m NOAH BEERY JR. TALA BIRLLL ••TOM BROV'N — ANDY DEVINE m KARL OFF -r JUNE KNIGHT -» PAUL LUKAS KEN MAYNARD tm TOM MIX m CHARLIE MURRAY PAT O'BRIEN -mm ZASU PITTS GEORGE SIDNEY «- ONSLOW STEVENS ^ GLORIA STUART SLIM SUMMER VI LL NOTE: Any further information about these players, photos, mats on feature stories can be ob- tained promptly by writing to Universal Pictures Corp'. 730 Fifth Ave., New York City. Paul Gulick Publicity Director : I k ; 1 i 81 LEW AYRES "All Quiet on the Western Front" gave Lew Ayres the opportunity that three years of hope, striving and often downright starvation had richly earned* He was born December 29, 1909, in Minneapolis, Minnesota, where he attended the Lake Harriet School until he was ten. After Lew completed his high School education in San Diego, Calif,, where the Ayres family had moved from Minneapolis, he entered the University of Arizona to study medicine,, Ayres f interest in music manifested itself when he "was sixteen in San Diego, Then he learned to play the banjo, the guitar and to sing. He played in the high school orchestra and with the jazz band at the University, Leaving the University, Lew found a place as a musician with various orchestras In West Coast cities. -
Hooray for Hollywood!
Hooray for Hollywood! The Silent Screen & Early “Talkies” Created for free use in the public domain American Philatelic Society ©2011 • www.stamps.org Financial support for the development of these album pages provided by Mystic Stamp Company America’s Leading Stamp Dealer and proud of its support of the American Philatelic Society www.MysticStamp.com, 800-433-7811 PartHooray I: The Silent forScreen andHollywood! Early “Talkies” How It All Began — Movie Technology & Innovation Eadweard Muybridge (1830–1904) Pioneers of Communication • Scott 3061; see also Scott 231 • Landing of Columbus from the Columbian Exposition issue A pioneer in motion studies, Muybridge exhibited moving picture sequences of animals and athletes taken with his “Zoopraxiscope” to a paying audience in the Zoopraxographical Hall at the 1893 Columbian Exposition. Although these brief (a few seconds each) moving picture views titled “The Science of Animal Locomotion” did not generate the profit Muybridge expected, the Hall can be considered the first “movie theater.” Thomas Alva Edison William Dickson Motion Pictures, (1847–1947) (1860–1935) 50th Anniversary Thomas A. Edison Pioneers of Communication Scott 926 Birth Centenary • Scott 945 Scott 3064 The first motion picture to be copyrighted Edison wrote in 1888, “I am experimenting Hired as Thomas Edison’s assistant in in the United States was Edison upon an instrument which does for the 1883, Dickson was the primary developer Kinetoscopic Record of a Sneeze (also eye what the phonograph does for the of the Kintograph camera and Kinetoscope known as Fred Ott’s Sneeze). Made January ear.” In April 1894 the first Kinetoscope viewer. The first prototype, using flexible 9, 1894, the 5-second, 48-frame film shows Parlour opened in New York City with film, was demonstrated at the lab to Fred Ott (one of Edison’s assistants) taking short features such as The Execution of visitors from the National Federation of a pinch of snuff and sneezing. -
Lucille Ball, 1911-1989: Funniest Woman on TV
19 May 2012 | MP3 at voaspecialenglish.com Lucille Ball, 1911-1989: Funniest Woman on TV MARY TILLOTSON: This is Mary Tillotson. STEVE EMBER: And this is Steve Ember with the VOA Special English program PEOPLE IN AMERICA. Today, we tell about the much-loved performer Lucille Ball. Her famous television series “I Love Lucy” was first broadcast in nineteen fifty- one. MARY TILLOTSON: The “I Love Lucy” show was a huge success. It was the most popular television show of the nineteen fifties. The kind of television program Ms. Ball helped develop is called a situation comedy. Some television experts give her credit for inventing this kind of series. Today, some of the most popular television programs in America are situation comedies. STEVE EMBER: One reason for the great popularity of “I Love Lucy” may have been its real-life connection with Ms. Ball’s family. On the show, she was Lucy, the wife of Ricky Ricardo, a Cuban musician. Ricky was played by band leader Desi Arnaz, who was Lucille Ball’s husband in real life. The show combined issues common to the life of married people living in the city with musical performances and comic theater. Often, a show would include a part with Mister Arnaz acting seriously while Ms. Ball added a funny element. In the following piece, Mister Arnaz tries to sing normally and Ms. Ball adds the comedy. MARY TILLOTSON: Also on the “I Love Lucy” show were Vivian Vance and William Frawley. Ms. Vance played Ethel Mertz and Mister Frawley played Ethel’s husband, Fred Mertz. -
Silent Film Music and the Theatre Organ Thomas J. Mathiesen
Silent Film Music and the Theatre Organ Thomas J. Mathiesen Introduction Until the 1980s, the community of musical scholars in general regarded film music-and especially music for the silent films-as insignificant and uninteresting. Film music, it seemed, was utili tarian, commercial, trite, and manipulative. Moreover, because it was film music rather than film music, it could not claim the musical integrity required of artworks worthy of study. If film music in general was denigrated, the theatre organ was regarded in serious musical circles as a particular aberration, not only because of the type of music it was intended to play but also because it represented the exact opposite of the characteristics espoused by the Orgelbewegung of the twentieth century. To make matters worse, many of the grand old motion picture theatres were torn down in the fifties and sixties, their music libraries and theatre organs sold off piecemeal or destroyed. With a few obvious exceptions (such as the installation at Radio City Music Hall in New (c) 1991 Indiana Theory Review 82 Indiana Theory Review Vol. 11 York Cityl), it became increasingly difficult to hear a theatre organ in anything like its original acoustic setting. The theatre organ might have disappeared altogether under the depredations of time and changing taste had it not been for groups of amateurs that restored and maintained some of the instruments in theatres or purchased and installed them in other locations. The American Association of Theatre Organ Enthusiasts (now American Theatre Organ Society [ATOS]) was established on 8 February 1955,2 and by 1962, there were thirteen chapters spread across the country. -
Love, Lucie Free Download
LOVE, LUCIE FREE DOWNLOAD Marita Conlon-McKenna | 352 pages | 04 Jul 2013 | Simon & Schuster Ltd | 9780857078346 | English | London, United Kingdom 'I Love Lucy,' the comedy that withstood the test of time, turns 69. Club wrote retrospectively: [73]. But lets hope there's always going to be room for some classic rock and country and more on the Lucie stage — and one day, you might hear people say "Hey, you know where we can catch a great show? The New York Times. Vance was a regular during the first three seasons of The Lucy Show but continued to make guest appearances through the years on The Lucy Showand on Here's Lucy. Retrieved July 8, The Durango Herald. The sitcom, which was released on DVD in a special colorized collection inhad four Emmy wins in 20 nominations. Each year during its summer hiatus Love timeslot Love occupied by various summer replacement series. I Love Lucy. In that episode, Lucy mistakenly believes Lucie Ricky stayed out Lucie night after his publicity agent, Ross Elliott, sent him to a movie premiere accompanied by young starlets who were appearing in his movie. Just before filming the show, Lucy and Desi Love that Lucy was once again pregnant after multiple miscarriages earlier in their marriage with their Love child, Lucie Arnaz. Nonetheless, byshe was still a Lucie unknown actress in Hollywood. As with Lucy, not much is revealed about his past or family. The complete original broadcast versions of Seasons 1 and 2, as Love in — with intros, closings, and all commercials, are Love on their respective Ultimate Season Blu-ray Lucie. -
LUCY GETS the BALL ROLLING By
PUSHING THE BOUNDARIES OF HOUSEWIFERY: LUCY GETS THE BALL ROLLING by EUNICE A. OGLICE (Under the Direction of Dwight Brooks) ABSTRACT The 1950’s was an era that welcomed Lucy Ricardo into their homes. The comedy I Love Lucy premiered on Oct. 15, 1951, on CBS. This study seeks to demonstrate and illustrate how Lucy Ricardo battled patriarchy, which was common among TV sitcoms of the era. Primarily, this study aims to analyze Lucy Ricardo’s role as a woman who pushes the limits of patriarchy in I Love Lucy, by examining her dual roles of someone who defies patriarchy, yet show’s allegiance to it as well. A textual analysis of 14 I Love Lucy episodes will address the established mode of domesticity in I Love Lucy, as well as opportunities for challenges that Lucy takes advantage of. This study reveals a woman who denied her husband’s wishes to control her. Lucy stepped outside of the typical portrayal of married women who were supposed to submit to their husbands and follow their every wish. INDEX WORDS: I Love Lucy, Feminist theory, Patriarchy, Masculinity, Femininity, Sitcom, The 1950s, Housewifery, Ethnicity, American culture. PUSHING THE BOUNDARIES OF HOUSEWIFERY: LUCY GETS THE BALL ROLLING by EUNICE A. OGLICE B.S., The University of Tennessee, 2002 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2004 ©2004 Eunice A. Oglice All Rights Reserved PUSHING THE BOUNDARIES OF HOUSEWIFERY: LUCY GETS THE BALL ROLLING by EUNICE A. -
Emmy Award Winners
CATEGORY 2035 2034 2033 2032 Outstanding Drama Title Title Title Title Lead Actor Drama Name, Title Name, Title Name, Title Name, Title Lead Actress—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actor—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actress—Drama Name, Title Name, Title Name, Title Name, Title Outstanding Comedy Title Title Title Title Lead Actor—Comedy Name, Title Name, Title Name, Title Name, Title Lead Actress—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actor—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actress—Comedy Name, Title Name, Title Name, Title Name, Title Outstanding Limited Series Title Title Title Title Outstanding TV Movie Name, Title Name, Title Name, Title Name, Title Lead Actor—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Lead Actress—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Supp. Actor—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Supp. Actress—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title CATEGORY 2031 2030 2029 2028 Outstanding Drama Title Title Title Title Lead Actor—Drama Name, Title Name, Title Name, Title Name, Title Lead Actress—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actor—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actress—Drama Name, Title Name, Title Name, Title Name, Title Outstanding Comedy Title Title Title Title Lead Actor—Comedy Name, Title Name, Title Name, Title Name, Title Lead Actress—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actor—Comedy Name, Title Name, Title Name, Title Name, Title Supp.