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Working Women in 1940S Hollywood
CLEMENTINE PIRLOT Working Women in 1940s Hollywood Sous la direction du Professeur Olivier Frayssé - 2 - Table of Contents Introduction .......................................................................................................................... 4 1. Ideology in classical Hollywood films 2. Feminist film theory 3. Important genres of the 1940s 4. Real working women in 1940s Hollywood Part I- The production of culture: the representation of working women in 1940s films Chapter I: The Woman’s Film .......................................................................................... 11 Chapter II: The Melodrama .............................................................................................. 13 1. Melodrama as a genre 2. A Letter to Three Wives 3. Black women in classical Hollywood melodramas Chapter III: War Films ...................................................................................................... 20 Chapter IV: Films noirs ..................................................................................................... 22 1. Definition and historical context 2. Mildred Pierce 3. Gun Crazy - 3 - Chapter V:Superwomen films ........................................................................................... 28 1. His Girl Friday 2. Adam’s Rib Chapter VI: Late screwball comedies ............................................................................... 31 1. Meet John Doe 2. She Wouldn’t Say Yes Part II- The culture of production: real working women in 1940s Hollywood Chapter -
Power and Paranoia
Power and Paranoia: The Literature and Culture of the American Forties Course instructor: PD Dr. Stefan Brandt Ruhr-Universität Bochum Winter term 2009/10 Bibliography (selection) “A Life Round Table on the Pursuit of Happiness” (1948) Life 12 July: 95-113. Allen, Donald M., ed. The New American Poetry, 1945-1960. New York: Grove Press, 1960. “Anatomic Bomb: Starlet Linda Christians brings the new atomic age to Hollywood” (1945) Life 3 Sept.: 53. Asimov, Isaac. “Robbie.” [Originally published as “Strange Playfellow” in 1940]. In: I, Robot. New York: Gnome Press, 1950. 17-40. ---. “Runaround.” [1942]. In: I, Robot, 41-62. Auden, W.H. The Age of Anxiety: A Baroque Eclogue. New York: Random House, 1947. Auster, Albert, and Leonard Quart. American Film and Society Since 1945. London and Basingstoke: Macmillan, 1984. Balio, Tino. The American Film Industry. Madison: University of Wisconsin Press, 1976. Barson, Michael, and Steven Heller. Red Scared: The Commie Menace in Propaganda and Popular Culture. San Francisco: Chronicle Books, 2001. Behlmer, Rudy, ed. Inside Warner Brothers 1935-1951. New York: Viking, 1985. Belfrage, Cedric. The American Inquisition: 1945-1960. Indianapolis and New York: Bobbs-Merrill, 1973. Berman, Greta, and Jeffrey Wechsler. Realism and Realities: The Other Side of American Painting, 1940-1960. An Exhibition and Catalogue. New Brunswick, N.J.: Rutgers Univ. Art Gallery, State Univ. of New Jersey, 1981. Birdwell, Michael E. Celluloid Soldiers: The Warner Bros. Campaign Against Nazism. New York: New York University Press, 1999. Boddy, William. “Building the World’s Largest Advertising Medium: CBS and Tele- vision, 1940-60.” In: Balio, ed., Hollywood in the Age of Television, 1990. -
New Histories of Hollywood Roundtable Moderated by Luci Marzola
Chris Cagle, Emily Carman, Mark Garrett Cooper, Kate Fortmueller, Eric Hoyt, Denise McKenna, Ross Melnick, Shelley Stamp New Histories of Hollywood Roundtable Moderated by Luci Marzola As part of this issue on “The System Beyond the Studios,” I sought not only to give scholars an opportunity to publish work that looks at specific cases reassessing the history of Hollywood, but I also wanted to look more broadly at the state of the field of American film history. As such, I assembled a roundtable of scholars who have been studying Hollywood through myriad lenses for most of their careers. I wanted to know, from their perspective, what were the current and future threads to be taken up in the study of this central topic in cinema and media studies. The roundtable discussion focuses on innovative methods, sources, and approaches that give us new insights into the study of Hollywood. Chris Cagle, Emily Carman, Mark Garrett Cooper, Kate Fortmueller, Eric Hoyt, Denise McKenna, Ross Melnick, and Shelley Stamp all participated while I moderated the conversation. It was conducted via email and Google docs in the fall of 2017. Each participant began by writing a brief response to a broad question on one topic – research, methodology, pedagogy, or the meaning of ‘Hollywood.’ These responses were then culled together and given follow up questions which were all placed in a Google drive folder. Over the course of two months, the participants added responses, provocations, and questions on each of the threads, while I added follow up questions to guide the discussion. When seen as a whole, this roundtable creates a snapshot of where the field of Hollywood history is at this moment. -
Quentin Tarantino Retro
ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director. -
Censorship and Holocaust Film in the Hollywood Studio System Nancy Copeland Halbgewachs
University of New Mexico UNM Digital Repository Sociology ETDs Electronic Theses and Dissertations 2-1-2012 Censorship and Holocaust Film in the Hollywood Studio System Nancy Copeland Halbgewachs Follow this and additional works at: https://digitalrepository.unm.edu/soc_etds Recommended Citation Halbgewachs, Nancy Copeland. "Censorship and Holocaust Film in the Hollywood Studio System." (2012). https://digitalrepository.unm.edu/soc_etds/18 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Sociology ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Nancy Copeland Halbgewachs Candidate Department of Sociology Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Dr. George A. Huaco , Chairperson Dr. Richard Couglin Dr. Susan Tiano Dr. James D. Stone i CENSORSHIP AND HOLOCAUST FILM IN THE HOLLYWOOD STUDIO SYSTEM BY NANCY COPELAND HALBGEWACHS B.A., Sociology, University of Kansas, 1962 M.A., Sociology, University of Kansas, 1966 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Sociology The University of New Mexico Albuquerque, New Mexico December, 2011 ii DEDICATION In memory of My uncle, Leonard Preston Fox who served with General Dwight D. Eisenhower during World War II and his wife, my Aunt Bonnie, who visited us while he was overseas. My friend, Dorothy L. Miller who as a Red Cross worker was responsible for one of the camps that served those released from one of the death camps at the end of the war. -
The Montana Kaimin, February 25, 1938
University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Montana Kaimin, 1898-present (ASUM) 2-25-1938 The onM tana Kaimin, February 25, 1938 Associated Students of Montana State University Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Recommended Citation Associated Students of Montana State University, "The onM tana Kaimin, February 25, 1938" (1938). Montana Kaimin, 1898-present. 1625. https://scholarworks.umt.edu/studentnewspaper/1625 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. MONTANA STATE UNIVERSITY, MISSOULA, MONTANA Z400 FRIDAY, FEBRUARY 25,1938. VOLUME XXXVII. No. 37 Interscholastic Sorority Rushing Split Campus Reverend Warford Resigns WHO’S T r a ck D a tes To Be Allowed After March 1 University Religion Position In the News Are Changed 9 9 Joyce Roberts, president, an Pastor Will Devote Time to Congregational Church; • • nounced yesterday that Pan- Has Been Faculty Member Four Years Saturday, May 14, Will Be hellenic council will allow rush ing and pledging March 1 for As Professor of Theology Concluding Day the rest of the school year. Entertainer Reverend O. R. Warford has resigned his position as inter Of Meet Women who have not yet paid the Panhelienic rushing fee may church pastor to students and director of the Montana School Saturday, May 14, will be the do so March 1 and any time after of Religion. -
Typecasting the Screenwriter Julius Ayodeji Nottingham Trent University UK
To Genre or Not To Genre? Typecasting the Screenwriter Julius Ayodeji Nottingham Trent University UK Abstract: positive reframing of typecasting for the screenwriter. Typecast verb “and don’t worry about being 1. assign (an actor or actress) typecast until you’ve gotten a movie repeatedly to the same type of role, as a made” result of the appropriateness of their Writer, (Go, Big Fish, appearance or previous success in such Charlie’s Angels) John August. roles. (2007) "he tends to be typecast as the caring, intelligent male" Keywords: Storytelling, Authorship, Typecasting, 2. represent or regard (a person or their Characterisation, Psychology role) as fitting a particular stereotype. Introduction Typecasting in the film world is an In his introduction to Augusto Boal’s seminal expression typically applied to the actor. book Games for actors and non-actors This paper will discuss how typecasting translator Adrian Jackson describes for the screenwriter should be seen as a participants in Image Theatre creating a positive shorthand enthusiasm for the series of stills. These groups then suggest titles or themes, before going on to “’sculpt work from that screenwriter that has three-dimensional images under these titles” resonated. (Boal, xix). The psychology of the narrative As a writer for screen and stage myself this surrounding typecasting is ordinarily one idea is analogous of the transition from the as something that should be resisted “if script to screen or page to stage. The thesis you don’t want to be typecast, then you of this paper and the focus of a book being need to fight it every step of the way and developed by its author is that there are a lot never give up.” (Cooper, B. -
Dr. Strangelove's America
Dr. Strangelove’s America Literature and the Visual Arts in the Atomic Age Lecturer: Priv.-Doz. Dr. Stefan L. Brandt, Guest Professor Room: AR-H 204 Office Hours: Wednesdays 4-6 pm Term: Summer 2011 Course Type: Lecture Series (Vorlesung) Selected Bibliography Non-Fiction A Abrams, Murray H. A Glossary of Literary Terms. Seventh Edition. Fort Worth, Philadelphia, et al: Harcourt Brace College Publ., 1999. Abrams, Nathan, and Julie Hughes, eds. Containing America: Cultural Production and Consumption in the Fifties America. Birmingham, UK: University of Birmingham Press, 2000. Adler, Kathleen, and Marcia Pointon, eds. The Body Imaged. Cambridge: Cambridge Univ. Press, 1993. Alexander, Charles C. Holding the Line: The Eisenhower Era, 1952-1961. Bloomington, Indiana: Indiana Univ. Press, 1975. Allen, Donald M., ed. The New American Poetry, 1945-1960. New York: Grove Press, 1960. ——, and Warren Tallman, eds. Poetics of the New American Poetry. New York: Grove Press, 1973. Allen, Richard. Projecting Illusion: Film Spectatorship and the Impression of Reality. Cambridge: Cambridge Univ. Press, 1997. Allsop, Kenneth. The Angry Decade: A Survey of the Cultural Revolt of the Nineteen-Fifties. [1958]. London: Peter Owen Limited, 1964. Ambrose, Stephen E. Eisenhower: The President. New York: Simon and Schuster, 1984. “Anatomic Bomb: Starlet Linda Christians brings the new atomic age to Hollywood.” Life 3 Sept. 1945: 53. Anderson, Christopher. Hollywood TV: The Studio System in the Fifties. Austin: Univ. of Texas Press, 1994. Anderson, Jack, and Ronald May. McCarthy: the Man, the Senator, the ‘Ism’. Boston: Beacon Press, 1952. Anderson, Lindsay. “The Last Sequence of On the Waterfront.” Sight and Sound Jan.-Mar. -
Literary Miscellany
Literary Miscellany Chiefly Recent Acquisitions. Catalogue 316 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are considered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering, and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inventory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request. -
From the Bench to the Screen: the Woman Judge in Film
FROM THE BENCH TO THE SCREEN: THE WOMAN JUDGE IN FILM LAURA KRUGMAN RAY* ABSTRACT Although there has been a dramatic increase in the number of women judges over the past half century, their cinematic counterparts have failed to reflect that change. This Article explores the paradoxical relationship between social reality and its representation on screen to identify a lingering resistance to the idea of women exercising judicial power. The Article first examines the sparse history of women judges as central characters in films of the 1930s, finding the tension in those films between judicial authority and domestic happiness. It then turns to Hollywood’s romantic comedies of the 1940s, which resolved that tension through the courtship of women judges by charming and tolerant suitors. Finally, the Article contrasts those films with the recent, darker films which present aspiring and active women judges struggling unsuccessfully to reconcile their professional and personal identities. All of these films use the woman judge as a vivid proxy for the broader theme of a woman challenging her traditional feminine role by assuming a position of authority; a sampling of recent films from countries with civil law systems reveals that American filmmakers have not been alone in exploring that theme with an eye to its difficulties rather than its rewards. All of these films, American and foreign, vintage and modern, suggest that the reality of women on the bench has yet to eliminate an element of discomfort with the idea of a woman successfully combining judicial power with a traditional and satisfying personal life. I. -
He Wanted to Do Was Go Home and Get a Drink. but at 8:02 Am, Hungover
~ Final Production Information ~ All he wanted to do was go home and get a drink. But at 8:02 a.m., hungover NYPD detective Jack Mosley (BRUCE WILLIS) is assigned a seemingly simple task. Petty criminal Eddie Bunker (MOS DEF) is set to testify before a grand jury at 10:00 a.m. and needs to be taken from lock-up to the courthouse, 16 blocks away. It should take Jack 15 minutes to drop him off at the courthouse and get home. Broken down, out of shape, with a bad leg and a serious drinking problem, Jack’s role on the force is simple – clock in, clock out and stay out of trouble in between. He’s in no mood to deal with a punk who’s been in and out of jail for more than half his life. But beneath the punk in Eddie lies a man committed to turning his life around and constantly searching for “signs” that will lead him to a brighter future. Jack knows better, though – people don’t change. In Eddie he sees only a pathetic rat who was offered a sweet deal... a rat he will be rid of soon enough. When Jack shoves Eddie into the back of his car and pulls out into the morning New York city rush hour, he doesn’t notice the van looming behind them. His head throbbing, and Eddie’s flair for conversation only making it worse, Jack stops off at the local liquor store to pick up some breakfast. As Eddie waits inside the locked car, fuming at getting stuck with Jack as his escort, he’s suddenly faced with a much bigger problem – a loaded gun pointed at his head. -
Columbia Pictures: Portrait of a Studio
University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials.