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Home , Grace Kelly, Hollywood marriage, Photoplay, Richard Gehman, Suzanne Finstad, Tab Hunter

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General Introduction: Fan Magazines, Suburban America, and Consumer Goods

1 . Robert Frank, “Movie Premiere—,” The Americanss (Washington, DC: Steidl/National Gallery of Art, 1959). Garry Winogrand, the subject of a retrospective at the Met in 2014, was influenced by Frank and claimed in his recording of American life that “the growth of the suburb was the main story of [his] time.” 2. “Fan Mags Not Striking Out,” Varietyy (December 29, 1954): 14; W. R. Wilkerson, “Big Increase in Film Fans Shown in Movie Mag Sales,” Hollywood Reporter (October 19, 1955), in fan magazine clip file, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences; Anthony Slide, Inside the Hollywood Fan Magazine: A History of Starmakers, Fabrications, and Gossip Mongerss (Jackson: University Press of Mississippi, 2010), 182. 3 . See Eric Smoodin and Jon Lewis, eds., L ooking Past the Screen: Case Studies in American Film History and Methodd (Durham: Duke University Press, 2007), introduction; Barry King, “Articulating Stardom,” in S tardom: Industry of Desire , ed. Christine Gledhill (New York: Routledge, 1991), 167–182. 4 . R i c hard Dyer, Stars (London: British Film Institute, 1974), 53; Leo C. Rosen, Hollywood: The Movie Colony, The Moviemakerss (New York: Harcourt, Brace, 1941), 334–338; Ad for Sayonara, (June 1958): 7; Ad for Flower Drum Song, Photoplay (January 1962): 3; Ad f or “ Carmen Jones,” Photoplay (February 1955): 31. See Diane Negra, O ff-White Hollywood: American Culture and Ethnic Female Stardom (London: Routledge, 200l). 5 . See Janice R. Welsch, Film Archetypes: Sisters, Mistresses, Mothers, and Daughterss (New York: Arno, 1978), an early work. 6. Janet Wolff, What Makes Women Buyy (New York: McGraw-Hill, 1958), 106; Elizabeth Wilson, Adorned in Dreams: Fashion and Modernityy(Berkeley: University of Press, 1987), 123; Jackie Stacey, Star Gazing: Hollywood Cinema and Female Spectatorshipp (London: Routledge, 1994), 159, 161–170, 174–175. 7. See Sumiko Higashi, “Movies and the Paradox of Female Stardom,” in American Cinema of the : Themes and Variationss, ed. Murray Pomerance (New Brunswick, NJ: Rutgers University Press, 2005), 65–88. 250 Notes

8. C hristine Gledhill, “Signs of Melodrama,” in S tardom , 207–229. 9 . “Win a Present from a Star,” Photoplay y (November 1955): 42; Fredda Dudley, “How a Star Is Born,” Photoplayy (September 1950): 40; Pam Law, “How to Sew Up a Date with Tab Hunter,” Photoplayy (November 1958): 64–67. 10 . See Mary Desjardins, “Systematizing Scandal: Confidential Magazinee, Stardom, and the State of California,” in Headline Hollywood: A Century of Scandall, eds. Adrienne L. McLean and David Cook (New Brunswick, NJ: Rutgers University Press, 2001), 207–231; V. Penelope Pelizzon and Nancy M. West, Tabloid, Inc.: Crimes, Newspapers, Narrativess (Columbus: Ohio State University Press, 2010). 11 . See Sumiko Higashi, “Vitagraph Stardom: Constructing Personalities for New Middle-Class Consumption,” in Reclaiming the Archive: Feminism and Film History, ed. Vicki Callahan (Detroit: Wayne State University Press, 2009), 264–288. 1 2 . A l a n a n d Barbara Nourie include True Story but not fan magazines in American Mass-Market Magaziness (Westport, CT: Greenwood Press, 1990). See R. Marie Griffith, “Apostles of Abstinence: Fasting and Masculinity dur- ing the Progressive Era,” American Quarterlyy 52 (December 2000): 599–639; David Sonenschein, “Love and Sex in the Romance Magazines” in Thin gs in the Driver’s Seat: Readings in Popular Culturee, ed. Harry Russell Huebel (Chicago: Rand McNally, 1972), 215–223. 13 . On Tamotsu Shibutani, see Ralph L. Rosnow and Gary Alan Fine, Rumor and Gossip: The Social Psychology of Hearsay (New York: Elsevier Scientific, 1976); Wolff, Women Buy, 247; Alina Tugend, “Studies Find That Gossip Isn’t Just Loose Talk,” New York Times , June 16, 2012; Dyer, Stars , 28. See also S. Elizabeth Bird, For Enquiring Minds: A Cultural Study of Supermarket Tabloids (Knoxville: University of Tennessee Press, 1992). 14 . See Mike Featherstone, Consumer Culture and Postmodernism (London: Sage, 1991), 7–8. 1 5 . Loren Baritz, T he Good Life: The Meaning of Success for the American Middle Classs (New York: Alfred A. Knopf, 1989), 206, 208; Norman Rosenberg and Emily Rosenberg, In Our Time: America since World War III, 5th ed. (Englewood Cliffs, NJ: Prentice-Hall, 1995), 70; Jessica Weiss, To Have and To Hold: , the Baby Boom, and Social Changee (Chicago: University of Chicago Press, 2000), 23, 11; Ellen K. Rothman, Han ds and Hearts: A History of Courtship in Americaa (Cambridge: Harvard University Press, 1987), 288; Stephanie Coontz, Marriage, a History: From Obedience to Intimacy or How Love Conquered Marriagee (New York: Viking, 2005), 227, 236. See also Mirra Komarovsky, Blue-Collar Marriagee (New Haven, CT: Yale University Press, 1962); Helena Znaniecki, Occupation: Housewifee (New York: Oxford University Press 1971); Ann Oakley, Housewife (London: Allen Lane, 1974). 1 6 . J a m e s G i l b e r t , Another Chance: Postwar America, 1945–19855, 2nd ed. (New York: Alfred A. Knopf, 1981), 57. 17 . Rosenberg and Rosenberg, In Our Time , 71; David Halberstam, T he Fifties (New York: Villard Books, 1993), 136; Kenneth T. Jackson, Crabgrass Frontier: The Suburbanization of the United Statess (New York: Oxford University Press, 1985), 255, 238; Lizabeth Cohen, A Consumers’ Republic: The Politics of Mass Consumption in Postwar Americaa (New York: Alfred A. Knopf, 2003), 204, 156–157. Notes 251

18. Jackson, Crabgrass Frontier, 249, 247; Karen Zarlengo, “Civilian Threat, the Suburban Citadel, and Atomic Age Women,” Signs: Journal of Women in Culture and Society 24 (Summer 1999): 925–958. Although figures are based on the Consumer Price Index, 2012, readers should consider variables such as cost and standard of living, etc. 19. Robert W. Hodge, Paul M. Siegel, and Peter H. Rossi, “Occupational Prestige in the : 1925–1963,” in Class, Status, and Power: Social Stratification in Comparative Perspective, 2nd ed., eds. Reinhard Bendix and Seymour Martin Lipset (New York: Free Press, 1966), 323. 20. Cohen, Consumers’ Republic, 156–157, 161; Jackson Lears, “A Matter of Taste: Corporate Cultural Hegemony in a Mass-Consumption Society,” in Recasting America: Culture and Politics in the Age of Cold War, ed. Lary May (Chicago: University of Chicago Press, 1989), 51–52; Herbert J. Gans, The Levittowners: Ways of Life and Politics in a New Suburban Community (New York: Pantheon, 1967), chap. 15; Shelley Nickles, “More is Better: Mass Consumption, Gender, and Class Identity in Postwar America,” American Quarterly 54 (December 2002): 581–622. 21. Jackson, Crabgrass Frontier, 4, 241–242; Wolff, Women Buy, 14; Gwendolyn Wright, Building the American Dream: A Social History of Housing in America (Cambridge: MIT Press, 1981), 247–248. 22. Wright, American Dream, 254–255. 23. Cohen, Consumers’ Republic, 123, 258, 281; Elaine Tyler May, Homeward Bound: American Families in the Cold War Era (New York: Basic Books, 1988), 165; Wolff, Women Buy, 221; Rosenberg and Rosenberg, In Our Time, 81. 24. Jackson, Crabgrass Frontier, 256–26l; Coontz, Marriage, 231. 25. Steven Mintz and Susan Kellogg, Domestic Revolutions: A Social History of American Life (New York: Free Press, 1988), 75; Cohen, Consumers’ Republic, 121; Maxine Margolis, Mothers and Such: Views of American Women and Why They Changed (Berkeley: University of California Press, 1984), 216–221. 26. Lisa Eisenmann, Higher Education for Women in Postwar America, 1945–1965 (Baltimore: Johns Hopkins University Press, 2006), 21–29. See also William H. Chafe, The American Woman: Her Changing Social, Economic, and Political Roles, 1920–1970 (New York: Oxford University Press, 1972), chaps. 8, 9, 10; Susan M. Hartmann, “Women’s Employment and the Domestic Ideal in the Early Cold War Years,” in Not June Cleaver: Women and Gender in Postwar America, 1945–1960, ed. Joanne Meyerowitz (: Temple University Press, 1994), chap. 5. 27. Cohen, Consumers’ Republic, 124. 28. “How Your Family Can Own a Story-Book Home,” Photoplay (September 1958): 72–73. See Calvin Trillin, About Alice (New York: , 2006). 29. Ellin Thompson, “The Dream That Lasts a Lifetime,” Photoplay (June 1957): 114. 30. Thorstein Veblen, The Theory of the Leisure Class (New York: Viking, 1967), 85; Raymond Williams, “Consumer,” in Consumer Society in American History, ed. Lawrence Glickman (Ithaca, NY: Cornell University Press, 1999), 17. 252 Notes

31. Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste, trans. Richard (Cambridge: Harvard University Press, 1984), chaps. 6, 7. 32. Cohen, Consumers’ Republic, 127. 33. Colin Campbell, The Romantic Ethic and the Spirit of Modern Consumerism, 3rd ed. (London: Alcuin Academics, 2005), 77–95. 34. Grant McCracken, Culture and Consumption (Bloomington: Indiana University Press, 1990), 104–117; , My Love Affair with Jewelry (New York: Simon and Schuster, 2003), 199–200; James Gilbert, Men in the Middle: Searching for Masculinity in the 1950s (Chicago: University of Chicago Press, 2005), 77–78. See also Steven Cohan, Masked Men: Masculinity and the Movies in the Fifties (Bloomington: Indiana University Press, 1997). 35. On Georg Lukács, see Don Slater, Consumer Culture and Modernity (Cambridge: Polity, 1997), 117, 119, 130. See also Peter K. Lunt and Sonia M. Livingstone, Mass Consumption and Personal Identity (Buckingham: Open University Press, 1992), chap. 2. 36. Raymond Williams, “Advertising: The Magic System,” in Problems in Materialism and Culture (London: Verso, 1980), 185–188. See also Peter Corrigan, The Sociology of Consumption: An Introduction (London: Sage, 1997). 37. Jean Baudrillard, “Consumer Society,” in Consumer Society, 45. On Baudrillard, see Slater, Consumer Culture, 144–147, 198–201; Featherstone, Consumer Culture, 3–6, 84–87. 38. Daniel Miller, Material Culture and Mass Consumption (Oxford: Basil Blackwell, 1987), chap. 9; Dick Hebdige, Subculture: The Meaning of Style (London: Methuen, 1979), chaps. 7, 8, 9. 39. Stuart Ewen, “Marketing Dreams: The Political Elements of Style,” in Consumption, Identity, and Style: Marketing, Meanings, and the Packaging of Pleasure, ed. Alan Tomlinson (London: Routledge, 1990), 52; Slater, Consumer Culture, 105; Fredric Jameson, “Reification and Utopia in a Mass Culture,” Social Text 1 (1979): 141. 40. See Janice Radway, Reading the Romance: Women, Patriarchy, and Popular Literature (Chapel Hill: University of North Carolina Press, 1984); Jennifer Scanlon, Inarticulate Longings: The Ladies’ Home Journal, Gender, and the Promise of a Consumer Culture (New York: Routledge, 1995); Ellen McCracken, Decoding Women’s Magazine: From Mademoiselle to Ms. (New York: St. Martin’s, 1993); Nancy A. Walker, Shopping Our Mothers’ World: American Women’s Magazines (Jackson: University Press of Mississippi, 2000); Mary Ellen Zuckerman, A History of Popular Women’s Magazines in the United States, 1792–1995 (Westport, CT: Greenwood, 1998). 41. Slater, Consumer Culture, 94. 42. Tim Kasser et al., “Materialistic Values: Their Causes and Consequences,” in Psychology and Consumer Culture: The Struggle for a Good Life in a Materialistic World, eds. Tim Kasser and Allen D. Kanner (Washington, DC: American Psychological Association, 2004), 14–17; Ronald J. Faber, “Self-Control and Compulsive Buying,” in Psychology, 177. 43. Sheldon Soloman et al., “Lethal Consumption: Death-Defying Materialism,” in Psychology, 130–138; Stephen Cave, “Imagining the Downside of Immortality,” New York Times, “Sunday Review,” August 26, 2011. Notes 253

44. During the years when I was raising an emotionally disturbed stepdaughter, I began to find refuge in shopping malls. So I can attest to the escapist and addic- tive nature of consumer behavior, as well as to social relations being reduced to transactions. And I found in my teaching that market forces are inexorable. When I asked the Chinese students—more than half the enrollees—in a Yale summer session class if women in Beijing were lining up to buy hand- bags, they all said, “Yes!” And they were savvy about luxury goods.

Introduction: The Stars

1. clip file, Margaret Herrick Library (MHL), Academy of Motion Picture Arts and Sciences. 2. Cindy S. Aron, Working at Play: A History of Vacations in the United States (New York: Oxford University Press, 1999), introduction. 3. See Warren Susman, “The City in American Culture,” in Culture as History: The Transformation of American Society in the Twentieth Century (New York: Pantheon, 1973), 237–251; Will Straw, “Urban Confidential: The Lurid City of the 1950s,” in The Cinematic City, ed. David B. Clarke (London: Routledge, 1997), 110–128; Weegee, The Naked City (New York: Da Copo, 1985); “Off the Deep End,” Newsweek (January 18, 1960), in clip file, MHL; Earl Wilson, Who Said the First Year Was the Hardest?” Photoplay (March 1958): 77. 4. Richard Dyer, Stars (London: British Film Institute, 1979), 28–32. 5. Elaine St. Johns, “Cinderella in Pigtails,” Photoplay (January 1948): 66. Variety’s top-grossing charts are available in a binder at the MHL but do not account for variables like international grosses, inflation, etc. 6 . George Scullin, “Escape to Happiness,” Part I, Photoplay (April 1957): 107. 7. Eric Smoodin and Jon Lewis, eds., Looking Past the Screen: Case Studies in American Film History and Method (Durham: Duke University Press 2007), introduction. On star studies emphasizing magazines, see Rachel Moseley, Growing Up with : Text, Audience, Resonance (Manchester: University of Manchester Press, 2002); Adrienne L. McLean, Being : Labor, Identity, and Hollywood Stardom (New Brunswick, NJ: Rutgers University Press, 2004). 8. Ann Higginbotham, “Scandal in Hollywood,” Photoplay (July 1955): 29; Robert Emmett, “Sex and Sin in Hollywood,” Photoplay (January 1956): 74. 9. See Ken Wissoker, “The Future of the Book as a Media Project,” Cinema Journal 52 (Winter 2013): 131–137. 10. Helen Limke, “Faith Began with a Wishing Tree,” Photoplay (November 1955): 108. 11. Maxine Block, “Dr. Paul Popenoe’s Formula for a Successful Hollywood Marriage,” Motion Picture (August 1950): 58. 12. Helen Weller, “The Truth about Hollywood Morals,” Motion Picture (August 1950): 70–7l; Eva Moskowitz, “It’s Good to Blow Your Top: Women’s Magazines and the Discourse of Discontent,” Journal of Women’s History 3 254 Notes

(Fall 1996): 66–98; Adrienne L. McLean, “ Bells Ring, Storks Are Expected, the Rumors Aren’t True, Is the Only Answer: Stardom and Fan-Magazine Family Life in 1950s Hollywood,” in A Family Affair: Cinema Calls Home, ed. Murray Pomerance (London: Wallflower, 2008), 277–290; Betty Friedan, The Feminine Mystique (New York: Dell, 1963), chap. 2; Joanne Meyerowitz, “Beyond The Feminine Mystique: A Reassessment of Postwar Mass Culture, 1946–1958,” in Not June Cleaver: Women and Gender in Postwar America, 1945–1960, ed. Joanne Meyerowitz (Philadelphia: Temple University Press, 1994), 229–257. 13. Christine Gledhill, “Signs of Melodrama,” in Stardom: Industry of Desire, ed. Christine Gledhill (New York: Routledge, 1991), 210–213. See also Jackie Byars, All That Heaven Allows: Re-Reading Gender in 1950s Melodrama (Chapel Hill: University of North Carolina Press, 1991). 14. Irene Reich, “We’d Never Been Happier Than We Were Last Year,” Photoplay (December 1958): 33, 81–83; Louis Pollock, “Tragic Triangle,” Photoplay (December 1958): 84–85. 15. Lon McAllister, “What Every Teen-Ager Should Know About Hollywood,” Motion Picture (December 1948): 40–41, 73.

1 Esther Williams: The Million-Dollar Mermaid as the Girl Next Door

1. Sheilah Graham, “Thank Heavens I Can Swim,” Photoplay (August 1952): 86. On the star, see Catherine Williamson, “Swimming Pools, Movie Stars: The Body in the Post-War Marketplace,” Camera Obscura, 38 (1996): 5–30. 2. Wallace Stegner’s quote was featured in “Living in a Modern Way: California Design 1930–1965” at the County Museum of Art, 2012. On display was a gold lamé swimsuit by Margit Fellig for Cole of California to promote Million Dollar Mermaid. 3. Louella O. Parsons, “Make Hers Old-Fashioned,” Photoplay (April 1951): 50, 101–103; Bula G. Williams, “This One’s for Laughs,” Photoplay (November 1948): 35–37, 95–97; Ads for Woodbury, Hudnut, Photoplay (November 1948): 95–96. 4. Joseph Henry Steele, “Water Color Portrait,” Photoplay (June 1949): 61, 88–90; Ads for Rose Marie Reid, Carole King, Photoplay (June 1949): 88, 90. 5. Ben Gage, “Easy to Love,” Photoplay (January 1949): 26, 68–69; Kate Holliday, “Mermaid in Waiting,” Photoplay (September 1949): 37, 87. 6. Maureen Williams Sellstrom, “Now They Are 3,” Photoplay (February 1950): 72; Ben Gage, “Hawaiian Lullaby,” Photoplay (August 1950): 77; Ad for Mennen, Photoplay (August 1950): 77. 7. Virgil Apger, “I Was There,” Photoplay (June 1951): 40; “Photoplay Pin-Up #10,” Photoplay (December 1951): 65; Ben Gage, “I’m Still Whistling,” Photoplay (December 1951): 64, 91. Notes 255

8. Parsons, “Old-Fashioned,” 50, 101–103; Ad for Ayds, Photoplay (April 1951): 103. See also Samantha Barbas, The First Lady of Hollywood: A Biography of (Berkeley: University of California Press, 2005). 9. Ruth Waterbury, “Hold Your Man,” Photoplay (January 1952): 36–37, 70. 10. Ibid., 70; Graham, “Thank Heavens,” 86; Ads for Dark Eyes, Meds, Neet, Photoplay (August 1952): 86–87. 11. “Portrait of Love,” Motion Picture (March 1954): 26–27. 12. Eve Ford, “What Hollywood Is Whispering about Esther and Ben,” Photoplay (January 1953): 45, 86–87; Ads for Dermoil, Doan’s Pills, Photoplay (January 1953): 86–87; Jane Morris, “Esther Williams Tells the Truth about Her Marriage,” Photoplay (April 1953): 40–41, 81, 83; Ad for Zonite, Photoplay (April 1953): 83. 13. Joe Bondy, “Could Your Husband Take It?” Motion Picture (June 1949): 49–50; Leslie Synder, “The Mermaid’s Dream,” Motion Picture (December 1950): 68; David G. Williams, “Sis,” Motion Picture (April 1952): 26; Harriet Bergen, “The Hollywood Marriage Problem,” Motion Picture (May 1951): 25, 60–61; James Gilbert, Another Chance: Postwar America, 1945–1985, 2nd ed. (New York: Alfred A. Knopf, 1981), 57; “Let the Hollywood Record Speak,” Photoplay (June 1950): 33; James Wandworth, “Meet Mr. Hollywood Husband,” Motion Picture (September 1952): 52, 76; Erskine Johnson, “Esther Denies It,” Motion Picture (September 1952): 72–73. Divorce figures are com- puted differently, but some studies show that the rate could have been as low as 1 percent in the 1950s. 14. Beverly Ott, “Everywhere That Esther Goes,” Photoplay (September 1953): 90–91; Ad for Kool-Aid, Photoplay (September 1953): 90–91; Maxine Block, “Esther Williams’ Wonderful Christmas,” Photoplay (January 1954): 43, 82–83. 15. “Portrait of Love,” 26–27; Esther Williams, “It’s A Man’s World,” Motion Picture (September 1956): 44, 68–69; Ads for Anacin, Dermoil, Blistex, Dandricide, Motion Picture (September 1956): 68–69. 16. Louella O. Parsons, “My Defense of Esther,” Photoplay (April 1954): 96–97; Lisa Reynolds, “Is Esther Williams the Next Mrs. Jeff Chandler?” Motion Picture (March 1958): 46, 49, 70; Esther Williams, with Digby Diehl, The Million Dollar Mermaid (New York: Simon and Schuster, 1999), 311–313. 17. Jane Ardmore, “I Didn’t Break Up Fernando’s Marriage,” Motion Picture (December 1960): 49–51, 68; Elaine Rounds, “A Mermaid’s Magic,” Motion Picture (July 1952): 58; Ads for Max Factor and Lilt, Motion Picture (July 1952): 59; Williams, Mermaid, 271.

2 Doris Day: The Big-Band Singer as the Girl Next Door

1. On Doris Day, see Move Over Misconceptions, dossier no. 4 (London: British Film Institute, 1980); Cynthia J. Fuchs, “Split Screens: Framing and Passing in Pillow Talk,” in The Other Fifties: Interrogating Mid Century Icons, ed. Joel 256 Notes

Foreman (Urbana: University of Illinois Press, 1997), 224–251; Tamar Jeffers, “Pillow Talk’s Repackaging of Doris Day: ‘Under all those dirndl . . . ’” in Fashioning Film Stars: Dress, Culture, Identity, ed. Rachel Moseley (London: British Film Institute, 2005), 51–61; Denis Bingham, “‘Before She Was a Virgin . . . ’: Doris Day and the Decline of Female Film Comedy in the 1950s and ,” Cinema Journal 45 (Spring 2006): 3–31; Tamar Jeffers McDonald, “Performances of Desire and Inexperience: Doris Day’s Fluctuating Filmic Virginity,” in Virgin Territory: Representing Sexual Inexperience in Film, ed. Tamar Jeffers McDonald (Detroit: Wayne State University Press, 2010), 103–122. 2. Pauline Swanson, “Oh, What a Wonderful Day,” Photoplay (July 1949): 47, 91–93; Ads for Blondex, Wave-O-Matic, Photoplay (July 1949): 91, 93. 3. Swanson, “Wonderful Day,” 91–93; Mrs. Alma Day, “For Sentimental Reasons,” Photoplay (August 1951): 76–77; Ruth Waterbury, “Life is for Living,” Photoplay (March 1952): 88–90; Florabel Muir, “Love Is Not Enough,” Motion Picture (June 1949): 33; Herb Howe, “Happy Day,” Photoplay (June 1950): 61, 73–74; Laura Pomeroy, “The Most Everything Girl in Hollywood,” Motion Picture (August 1948): 38; “Duet for 1948,” Photoplay (January 1948): 72–73; Ads for Heed, Lysol, Photoplay (June 1950): 73, 75. 4. Alma Day, “Sentimental Reasons,” 36–37, 76–77; “Pattern of the Month,” Photoplay (November 1950): 72; Gladys Hall, “What Doris Day Thinks of Doris Day,” Motion Picture (September 1953): 28, 76; Doris Day, “Is Doris Sick of Being a Good Wife?” Photoplay (September 1960): 69. 5. Ida Zeitlin, “No Blue Notes,” Photoplay (February 1952): 74–77; Waterbury, “Life is for Living,” 88–90; Pauline Swanson, “It’s a Big, Wide, Wonderful World,” Photoplay (September 1952): 104–105; Mary Goodwin, “And Along Came Dodo,” Photoplay (February 1953): 104–105. 6. Ads for Lilt, Palmolive, Photoplay (February 1952): 75, 77; Ads for Nestle, Nu-Nails, Harford, Photoplay (March 1952): 88–91; Ad for rings, Photoplay (September 1952): 104. 7. Swanson, “Wonderful Day,” 93; Goodwin, “Dodo,” 105. 8. “What’s Happening to Doris?” Photoplay (January 1954): 23; Ad for Camay, Photoplay (January 1954): 22; “You Can Help Doris Get Well,” Photoplay (February 1954): 36–37; Doris Day, “I’m Well Again,” Photoplay (May 1954): 46–47; Paul Leslie, “Is It D-Day Again for Doris?” Photoplay (January 1963): 6l. 9. Nell Lawrence, “Crisis for Doris,” Motion Picture (January 1954): 6; John Castle, “The Big Change,” Motion Picture (June 1954): 31, 63. 10. John Maynard, “Wake Up and Live!” Photoplay (September 1954): 76; Ad for Pond’s, Photoplay (September 1954): 77; Ernest Jacobi, “If You Like What You Love,” Photoplay (February 1955): 104–105; Wynn Roberts, “Atom Blonde,” Photoplay (June 1955): 80–8l; Gladys Hall, “Some Wives Have Secrets,” Photoplay (May 1955): 113; Ad for Nervine, Photoplay (May 1955): 113. 11. George Scullin, “Escape to Happiness,” Part I, Photoplay (April 1957): 69–71, 105–107; George Scullin, ”Escape to Happiness,” Part II, Photoplay (May 1957): 105–108; George Scullin, “Escape to Happiness,” Part III, Photoplay (June 1957): 69, 111–113. Notes 257

12. Hall, “What Doris Thinks,” 28, 76; Reba and Bonnie Churchill, “A Saint She Ain’t,” Motion Picture (September 1956): 33. 13. Scullin, “Escape,” Part I, 106; Paul McDonald, The Star System: Hollywood’s Production of Popular Identities (London: Wallflower, 2000), 112. 14. Scullin, “Escape,” Part I, 69–71, 105–107; Scullin, “Escape,” Part II, 105– 108; Scullin, “Escape,” Part III, 111–113. Day had previously sung another Oscar winning song, “My Secret Love,” in Calamity Jane. 15. Scullin, “Escape,” Part I, 71, 105–107; John Maynard, “You and Doris Day,” Motion Picture (July 1953): 34; Roberts, “Atom Blonde,” 39, 80–84; Mike Connolly, “Impertinent Interview,” Photoplay (October 1955): 4; “Forget B. B. Here’s D. D. The New Passion Flower,” Motion Picture (December 1963): 44–47; Ad for Fresh, Photoplay (June 1955): 83; Ad for Iodent, Photoplay (April 1957): 105. 16. Doris Day, “Moving Day,” Photoplay (June 1958): 48; Doris Day, “Don’t Believe Everything They’re Saying about Me,” Photoplay (October 1958): 92; Doris Day, “Is Doris Sick of Being a Good Wife?” 69–71; Ad for Teens Today, Photoplay (September 1960): 71. 17. Leslie, “D-Day,” 12–13, 61; John Douglas, “Doris Day’s Divorce!” Photoplay (February 1963): 4.

3 Debbie Reynolds: The Suburban Teenager as the Girl Next Door

1. Life (February 26, 1951), in Debbie Reynolds clip file, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences; Maxine Arnold, “Lil’ Lightnin’ Bug,” Photoplay (July 1951): 45, 81–82; Ad for beauty products, Photoplay (July 1951): 83. 2. Ida Zeitlin, “Split Personality,” Photoplay (January 1953): 44; , “Debbie’s Date Line,” Photoplay (August 1952): 81–82; Debbie Reynolds as told to Ruth Waterbury, “Boys Are Here to Stay,” Photoplay (October 1952): 90–91; Bob Thomas, “Debbie’s Hopeless,” Photoplay (December 1953): 94–96; Tab Hunter, “Why Debbie’s My Ideal,” Photoplay (February 1954): 98–99. 3. Ad for Stillman, Photoplay (August 1952): 81; Ad for Djer Lipstick, Photoplay (October 1952): 90; Ads for Clearasil, Rollash, Photoplay (December 1953): 95, 96. 4. Maxene Reynolds as told to Maxine Block, “My Girl Debbie,” Photoplay (July 1954): 68, 90–92; Ralph Edwards, “Gayer Than Laughter Is She: This Is Your Life,” Photoplay (November 1954): 66–67, 110–112; Dee Phillips, “They Called Me a Square Tomboy,” Photoplay (February 1956): 76–77. 5. Ad for RIT, Photoplay (July 1954): 92; “Needle News,” “Photoplay Pattern of the Month,” Photoplay (February 1956): 76–77; Phillips, “Square Tomboy,” 76. 258 Notes

6. Edwards, “Gayer Than Laughter,” 112; Philip Chapman, “A Wonderful Thing Happened Today,” Photoplay (January 1955): 27, 71–72; Maxine Block, “Getting in Step for Marriage,” Photoplay (May 1955): 42–43, 122–124. 7. Chapman, “A Wonderful Thing,” 72; Block, “Getting in Step,” 124; “The Marriage the Whole World Waited For,” Photoplay (July 1955): 56–57; Maxine Arnold, “A Dream Come True,” Photoplay (December 1955): 105, 106–107; Norma Keller, “The Future They Face,” Motion Picture (May 1955): 28–29. Data reprinted from Sumiko Higashi, “Stardom, Intermarriage, and Consumption in the 1950s: The Debbie–Eddie–Liz Scandal” in Hollywood’s Chosen People: The Jewish Experience in American Cinema, eds. Daniel Bernardi, Murray Pomerance, and Hava Tirosh-Samuelson (Detroit: Wayne State University Press, 2013). Copyright (c) 2013. Used with permission of the publisher. 8. Ad for rings, Nervine, Photoplay (December 1955): 104, 107. 9. Arnold, “Dream,” 106–107; Martin A. Cohen, “A Guy and His Dungaree Doll,” Photoplay (): 62, 98–99; Maxine Arnold, “Love and Marriage,” Photoplay (June 1956): 86, 88, 90; Howard Eisenberg, “Why Eddie Almost Left Debbie Waiting,” Photoplay (February 1957): 88; Diane Scott, “Love and Marriage and a Baby Carriage,” Photoplay (April 1957): 108–109; Helen Weller, “The Mad Whirl to Motherhood,” Motion Picture (October 1956): 46, 65. 10. Ads for “Maternity Style,” household goods, Photoplay (April 1956): 99; Ad for Norforms, Photoplay (February 1957): 89. 11. Ellin Thompson, “No Marriage Stories for Us,” Photoplay (September 1957): 84–86. 12. Joe Lyle, “Why Debbie and Eddie Are Leaving Hollywood,” Photoplay (September 1958): 84–86; Frank Collins, “The Glass Marriage,” Motion Picture (February 1958): 36–37, 75; Bess Kerr, “Smashup! ‘I Never Knew He Didn’t Love Me!’” Motion Picture (January 1959): 20; Sandy Jobert, “Smashup! ‘Mike Is Dead . . . I’m Alive!’” Motion Picture (January 1959): 22, 63. 13. Eddie Fisher, with David Fisher, Been There, Done That (New York: St. Martin’s, 1999), 96; Ad for Guide, Photoplay (September 1958): 85. 14. Irene Reich, “We’d Never Been Happier Than We Were Last Year,” Photoplay (December 1958): 81–83; Louis Pollock, “Tragic Triangle,” Photoplay (December 1958): 64–65; Norma Keller, “Stop Treating Me Like a Martyr!” Motion Picture (July 1959): 74; Ad for Child Care, Photoplay (December 1958): 81. 15. Earle Hawley, “We Spend the Day with Debbie,” Photoplay (February 1959): 59; Ad for My True Story, Photoplay (February 1959): 101; Dorothy Day, “I Know Now How Much of What I Tried to Do Was Wrong,” Photoplay (February 1960): 84; Fisher, Been There, 99. 16. Robert Dean, “Mommy, Will I Have to Call Him Daddy?” Photoplay (June 1960): 76–77; Aljean Meltsir, “Debbie Bounces Back,” Motion Picture (February 1959): 33; Keller, “Stop Treating Me,” 74; “Debbie and Glenn,” Photoplay (July 1960): 76–77; Elaine Blake, “Is Debbie Settling for Less Than Love?” Photoplay (August 1960): 37, 93–95; Debbie Reynolds, “Why Notes 259

I’m Afraid to Have Another Baby,” Photoplay (November 1961): 93; Maxine Arnold, “Debbie and Harry,” Motion Picture (January 1961): 75–76; Ad for What Should I Do? Photoplay (August 1960): 93. 17. Sara Hamilton, “Inside Stuff,” Photoplay (March 1961): 14; Debbie Reynolds, “Debbie Says, ‘I Do,’” Motion Picture (February 1961): 77; Debbie Reynolds as told to Jane Ardmore, “The Bride—Her Private Life,” Photoplay (May 1961): 78–79; Debbie Reynolds, “Afraid to Have Another Baby,” 98; Jane Ardmore, “I’ll Just Have to Have Twins,” Photoplay (May 1962): 16–17, 84–85; Jane Ardmore, “Debbie Loses Baby!” Photoplay (October 1962): 21, 77.

4 : The Gal from Brooklyn as a Fiery Redhead

1. Photoplay covers in the United States, now online, were not the same as those published in the . 2. Maxine Arnold, “Brooklyn to Bat,” Photoplay (March 1950): 52, 102–103; Ruth Waterbury, “This Is Susan Hayward,” Photoplay (May 1951): 5l, 104; Jane Froman, “She Lived My Life,” Photoplay (July 1952): 78; Edgar Morin, The Stars, trans. Richard Howard (Minneapolis: University of Press, 2005), 43. See also Maria Elena Buszek, Pin-Up Girls: Feminism, Sexuality, Popular Culture (Durham: Duke University Press, 2006). 3. Ads for Oneida, kitchenware, Photoplay (March 1950): 103; Ads for Tartan, Cashmere Bouquet, Photoplay (July 1952): 78–79. 4. Ida Zeitlin; “Three Loves Has Susan,” Photoplay (November 1952): 82, 84, 86; Ads for Grayson Robinson, Only Lovable, Photoplay (November 1952): 85, 87. 5. Jess Barker, “I Have Four Wives,” Motion Picture (August 1950): 48, 76–77; Susan Hayward, “Lay That Apron Down,” Motion Picture (February 1951): 50–51, 60. 6. Gerry Roberts, “With a Song in Their Hearts,” Photoplay (April 1953): 95. 7. Jane Corwin, “Smash-Up!” Photoplay (November 1953): 99; Jess Barker, “I Married a Bearcat,” Motion Picture (July 1952): 80; James Wandworth, “Meet Mr. Hollywood Husband,” Motion Picture (September 1952): 77; Rita Garrison Malloy and Joe Bondy, “The Susan Hayward-Jess Barker Scrap,” Motion Picture (November 1953): 59, 68, 69; Ad for rings, Motion Picture (November 1953): 57. 8. Miriam White, “The Unhappy Heart,” Motion Picture (June 1954): 48, 49; 56; “The Next Time I Marry,” Motion Picture (May 1955): 62. 9. Corwin, “Smash-Up!” 36, 97–99; Robert Emmett, “Trouble Bait,” Photoplay (February 1956): 53. 10. Jane Corwin, “Jeff’s Other Love,” Photoplay (January 1954): 76–77; George Armstrong,” This Is the Truth,” Photoplay (January 1954): 40; “For the Sake of the Children,” Photoplay (February 1954): 31; Ad for Jergens, Photoplay (February 1954): 3. 260 Notes

11. Maxine Block, “Mom’s No Quitter,” Photoplay (August 1954): 62, 95, 96; Mike Connolly, “Impertinent Interview,” Photoplay (May 1955): 6. 12. “Movie Queen Blows Top, Swings Clothes Brush,” Los Angeles Mirror News, November 4, 1955, in Susan Hayward clip file, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences; Florabel Muir, “Susan Hayward in Brawl with Blonde in Actor’s Bedroom,” Los Angeles Daily News, November 4, 1955, in Susan Hayward clip file, MHL; Emmett, “Trouble Bait,” 50, 52, 53, 80; Hildegarde Johnson, “God Has Not Forgotten Me,” Photoplay (March 1959): 66, 97, 98. 13. Johnson, “God,” 66, 97, 98; Ads for Cystex, Blistex, and Brownatone, Photoplay (March 1959): 66, 97. 14. Janet Graves, “Look at Me, Anyone,” Photoplay (August 1959): 69; Nancy Anderson, “What the Neighbors Really Think about Susan Hayward!” Motion Picture (February 1959): 72; “Susan Hayward: Her Life in Pictures,” Photoplay (August 1959): 60–61.

5 : The Philadelphia Socialite as the Princess of

1. Helen Bolstad, “How Do You Do, Miss Kelly—How Do You Do It?” Photoplay (December 1954): 48. 2. Ibid., 95–96; Ads for Blondex, High School, and Fashion Guide, Photoplay (December 1954): 94, 97. 3. Martin Cohen, “The Lady Is a Go-Getter,” Photoplay (February 1955): 82. 4. , “That Kelly Girl and Me,” Photoplay (April 1955): 101–103; Ads for nursing course, O” pportunities,” P hotoplay (April 1955): 101–102. 5. Peter Charade, “All Actors Are a Little Nutty,” Photoplay (October 1955): 88. 6. “In the Kingdom of Love,” Photoplay (March 1956): 80; Ruth Waterbury, “A Prince Catches a Star,” Photoplay (April 1956): 82, 84; Helen Bolstad, “The Unbelievable Story of How It All Happened,” Photoplay (April 1956): 84. 7. Ads for Woodbury, Dial, Warnerettes, Photoplay (April 1956): 81, 83, 85, 87. 8. Len Andrews, “You Never Looked Lovelier,” Motion Picture (February, 1956): 77–78; Grace A. Hufner, “Five Steps to Beauty,” Motion Picture (February 1956): 50–51. See Danae Clark, Negotiating Hollywood: The Cultural Politics of Actors’ Labor (Minneapolis: University of Minnesota Press, 1995). 9. Lisa Reynolds, “She’s a Hit,” Motion Picture (October 1956): 51. 10. Alyce Canfield, “The Rocky Road to Paradise,” Photoplay (July 1956): 20, 22, 24, 93. 11. Josef Mann, “Is Grace Getting Bored?” Photoplay (November 1957): 55, 98–99. Significantly, American distributor Harvey Weinstein reedited French director ’s Grace of Monaco to perpetuate a fairly tale ending. But the French version, which implies that she suffered in private Notes 261

during her marriage, opened the to a muted reception. See Steven Zeitchik, “A Very Different ‘Grace of Monaco’ in American and French Versions,” , May 3, 2014. 12. Peggy Taub, “The Nursery Tale of the Little Prince,” Photoplay (August 1958): 48–49; Ruth Britten, “Please God Don’t Let My Father See Me Cry,” Photoplay (September 1960): 74, 76; Jim Hoffman, “The Whispers about Princess Grace and Her Husband,” Photoplay (December 1960): 82–84. 13. George Carpozi, “Who Is the Man Forcing Grace Kelly to Make Another Movie?” Photoplay (July 1962): 93; Paul Anthony, “What Princess Grace Can’t and Won’t Show You on TV,” Photoplay (March 1963): 81; , High Society: The Life of Grace Kelly (New York: Harmony Books, 2009), 197; James Spada, Grace: The Secret Lives of a Princess (Garden City, NY: Dolphin, 1987), 229; Ad for Fat Legs, Photoplay (July 1956): 93.

6 Audrey Hepburn: The Gamine as a Fashion Plate

1. On the star and fashion, see Rachel Moseley, Growing Up with Audrey Hepburn: Text, Audience, Resonance (Manchester: University of Manchester Press, 2002); Gaylyn Studlar, Precocious Charms: Stars Performing Girlhood in Classical Hollywood Cinema (Berkeley: University of California Press 2013), chap. 6. , interestingly, thought that Hepburn was “too over-the- top. Too fashionable.” See Barry Paris, Audrey Hepburn (New York: G. P. Putnam’s Sons, 1996), 189. 2. Pauline Swanson, “Knee-Deep in Stardust,” Photoplay (April 1954): 58, 102– 103; Bill Tusher, “Candy Pants Princess,” Motion Picture (February 1954): 28–31, 68; Mike Connolly, “Who Needs Beauty!” Photoplay (January 1954): 49, 72; Radie Harris, “Audrey Hepburn—the Girl, the Gamin, and the Star,” Photoplay (March 1955): 99; Hermine Cantor, “Dial S for Spring,” Motion Picture (February 1954): 52; Ads for Hudnut, Yodora, Photoplay (April 1954): 102–103. 3. “Picture Gallery,” Photoplay (March 1954): 76; Swanson, “Knee-Deep,” 102; Harris, “Audrey Hepburn,” 99, 100–102; Shirley Thomas, “The Hollywood Story,” Photoplay (June 1955): 20, 22. 4. Harris, “Audrey Hepburn,” 101–102; Margaret Lombardi, “They Dared to Love,” Motion Picture (February 1955): 70. 5. Mary Worthington Jones, “My Husband Doesn’t Run Me,” Photoplay (April 1956): 104; Ads for dresses, Photoplay (April 1956): 105, 107. 6. John Maynard, “Audrey’s Harvest of the Heart,” Photoplay (September 1956): 113; Jones, “My Husband,” 53, 104–105; Carl Clement, “Look Where You’re Going, Audrey!” Photoplay (June 1957): 82. 7. “Avedon Fashion 1944–2000” at the International Center of Photography in New York, 2009, included photos of Hepburn. 262 Notes

8. Maynard, “Audrey’s Harvest,” 113–114; Mary Worthington Jones, “The Small Private World of Audrey Hepburn,” Photoplay (February 1957): 94–95; P. Oppenheimer, “Pixie Eyes,” Motion Pictures (March 1957): 77; Ads, Photoplay (February 1957): 96–97. 9. Clement, “Look Where You’re Going,” 82–84; Jones, “Small Private World,” 97; Mark Ashley, “Audrey Hepburn: The Girl from Outer Space,” Motion Picture (August 1957): 60–6l; Anita Allen, “Please, God, Help Me Walk Again,” Photoplay (May 1959): 100; “Audrey’s Happiest Moment,” Photoplay (April 1961): 50–51.

7 : The PLAYBOY Centerfold as a Sex Symbol

1 . A ton of literature exists on Monroe; see Conclusion: The Stars, endnote 10. 2. “Photoplay Pin-Up #2,” Photoplay (March 1951): 33–34; Tom Davidson, “Formula for Stardom,” Motion Picture (March 1951): 38. 3. Marilyn Monroe, “Temptations of a Bachelor Girl,” Photoplay (April 1952): 44–45, 95; Edgar Morin, The Stars, trans. Richard Howard (Minneapolis: University of Minnesota Press, 2005), 31, 43; Ad for blouse, Photoplay (April 1952): 95. 4. Marilyn Monroe as told to Florabel Muir, “Wolves I Have Known,” Motion Picture (January 1953): 41, 61–62. 5. Marilyn Monroe, “I Want Women to Like Me,” Photoplay (November 1952): 58–59, 80; Jane Corwin, “Orphan in Ermine,” Photoplay (March 1954): 106–109; Isabel Moore, “Why Women Hate Marilyn Monroe,” Motion Picture (March 1951): 25, 71; Julie Paul, “Should Marilyn Monroe Keep Up Her ‘Physical Charm’ Campaign, or Is She Burning Up Herself and Hollywood with Too Much Fire,” Motion Picture (March 1953): 50, 63–64. 6. “Marilyn Monroe Tells the Truth to ,” Photoplay (January 1953): 36, 85–86. 7. Erskine Johnson, “Marilyn’s Mysterious Mother,” Motion Picture (September 1952): 10–11, 80; Michel Foucault, The History of Sexuality, vol. 1, trans. Robert Hurley (New York: Pantheon Books, 1978), 127. As I have written elsewhere, the terms “bourgeoisie” and “middle-class” are not interchange- able, so I use them advisedly here. Although the story does not specify Playboy, I include this fact because it is so well-known. 8. James Dougherty, “Marilyn Monroe Was My Wife,” Photoplay (March 1953): 75–85; Ads for Cashmere, Noxema, Clorets, Norforms, Zonite, Photoplay (March 1953): 79, 82–85. 9. Hildegarde Johnson, “Hollywood vs Marilyn Monroe,” Photoplay (July 1953): 42–44; “The Marilyn Calendar,” Photoplay (December 1953): 36–37; George Armstrong, “The Private Life of Joe and Marilyn,” Photoplay (December 1953): 97–98; George Armstrong, “This Is the Truth,” Photoplay (January 1954): 70; Ad for rings, Photoplay (December 1953): 97. Notes 263

10. Corwin, “Orphan in Ermine,” 106–109; Ads for Flexiclogs, Tintz, Blondex, Tabcin, Anacin, and Tums, Photoplay (March 1954): 106–109. 11. Eve Ford, “Journey into Paradise,” Photoplay (April 1954): 98–99; , “Marilyn Monroe’s Honeymoon Whirl,” Photoplay (May 1954): 102–104; Sidney Skolsky, “260,000 Minutes of Marriage,” Photoplay (August 1954): 94; Isabel Moore, “If Marilyn Has a Little Girl,” Photoplay (October 1954): 94; Ad for Spun-lo, Photoplay (April 1954): 99. 12. Earl Wilson, “Care? You Bet They Do!” Motion Picture (May 1955): 47, 59; Lilla Anderson, “The Girl You Know as Marilyn,” Photoplay (January 1955): 63; Dorothy Manning, “The Woman and the Legend,” Photoplay (October 1956): 96. 13. Helen Bolstad, “Marilyn in the House,” Photoplay (September 1955): 112; Earl Wilson, “The Things She Said to Me!” Photoplay (May 1956): 84; Manning, “The Woman and the Legend,” 60, 96–98; Ads for Hudnut, American School, Photoplay (October 1956): 99, 97. Monroe never enjoyed the megastar salaries negotiated for Audrey Hepburn and Elizabeth Taylor by Kurt Frings, or for Doris Day by Marty Melcher. 14. Alex Joyce, “Marilyn at the Crossroads,” Photoplay (July 1957): 44, 90, 92; Radie Harris, “The Empty Crib in the Nursery,” Photoplay (December 1958): 90–91; George Scullin, “Born Yesterday,” Motion Picture (September 1956): 24, 58–60; George Camber, “Divorce!” Motion Picture (February 1961): 54, 70–71. 15. Joe Lyle, “Behind the Yves Montand, Marilyn Monroe, Arthur Miller Triangle,” Photoplay (October 1960): 70–71; “Divorce!” Photoplay (December 1960): 86–87; Ad for album, Photoplay (December 1960): 87; Marjorie Peabody, “Woman Arthur Miller Went to When He Walked Out on Marilyn Monroe,” Photoplay (February 1961): 68–69; Julia Corbin, “ . . . Will She Break Joe’s Heart Again?” Photoplay (April 1961): 44–45; Bob Dean, “Marilyn to Wed Again?” Photoplay (May 1961): 80–81. 16. Tony Wall and Todd Rowland, “Desperate Monroe Poses Nude!” Photoplay (September 1962): 49–50, 86–87. (Authors’ names in the table of contents and on the title page differ.) See Lois Banner, MM Personal: From the Private Archives of Marilyn Monroe (New York: Abrams, 2011), 290. 17. Aljean Meltsir, “MM,” Photoplay (November 1962): 78–81; Ads for Miss Eileen, Modern Methods, Photoplay (November 1962): 79, 81; Ruth Waterbury, “There Was a Girl Called Marilyn,” Motion Picture (November 1962): 30, 62–64. Monroe’s estate has been acquired by a group that is now using her image to sell a variety of products. 18. Ed DeBlasio, “We Find Marilyn Monroe’s Father and Sister,” Photoplay (December 1962): 17, 81–82; Whit Preston, “Marilyn Monroe’s Mother Escapes Mental Hospital,” Photoplay (October 1963): 78; Martha Donaldson, “Killer,” Photoplay (August 1963): 71, 75; Jim Hoffman, “We Grant Marilyn’s Last Wish,” Photoplay (February 1963): 60, 97–98; Ed DeBlasio, “The That Could Have Saved Marilyn’s Life,” Photoplay (June 1963): 64–65, 70. The ultimate fetishistic photo was taken after her autopsy and published in Anthony Summers, Goddess: The Lives of Marilyn Monroe (New York: Macmillan, 1986). 264 Notes

8 : Miss Deep Freeze as Columbia Studios’ Lavender Blonde

1. On the star, see Jackie Byars, “The Prime of Miss Kim Novak: Struggling over the Feminine in the Star Image,” in The Other Fifties: Investigating Mid- Century Icons, ed. Joel Foreman (Urbana: University of Illinois Press), 197– 223; Richard Lippe, “Kim Novak: A Resistance to Definition,” CineAction! (December 1986): 5–21. 2. Sheilah Graham, “Christmas Dreams,” Photoplay (December 1954): 33; Lola Parmeter, “Don’t Be a Teenage Misfit,” Photoplay (January 1955): 48–49, 76; Ad for chests, Photoplay (December 1954): 32. 3. Ruth Waterbury, “How To Be Good and Popular,” Photoplay (August 1955): 45, 84–85; Ads for Campho-Phenique, Chubby Club, Photoplay (August 1955): 85. 4. Helen Limke, “Faith Began with a Wishing Tree,” Photoplay (November 1955): 108; Ad for Flame-Glo, Photoplay (November 1955): 109. 5. Richard deCordova, Picture Personalities: The Emergence of the Star System in America (Urbana: University of Illinois Press, 1990), 98–116. See also Michel Foucault, The History of Sexuality, vol. 1, trans. Robert Hurley (New York: Pantheon Books, 1978); James Lull and Stephen Hinerman, eds. Media Scandals (New York: Press, 1997). 6. Ann Higginbotham, “Scandal in Hollywood,” Photoplay (July 1955): 29; Tex Maddox, “Kim Novak Stabbed by Scandal,” Photoplay (February 1956): 54–55, 86–87. See Mary Desjardins, “Systematizing Scandal: Confidential Magazine, Stardom, and the State of California,” in Headline Hollywood: A Century of Film Scandal, eds. Adrienne L. McLean and David A. Cook (New Brunswick, NJ: Rutgers University Press, 200l), 218; Ad for Norforms, Photoplay (February 1956): 87. 7. Earl Wilson, “She Ain’t Fooling, Men!” Photoplay (March 1956): 113–114; Don Allen, “Kim Found Someone Safe,” Photoplay (June 1956): 114–116. 8. Kim Novak as told to Jerry Asher, “The Price of Being Blonde,” Motion Picture (March 1957): 30. 9. George Scullin, “The Girl with the Lavender Life,” Part I, Photoplay (November 1956): 44, 98–102; George Scullin, “The Girl with the Lavender Life,” Part II, Photoplay (December 1956): 82–85; Ads for lipsticks, Photoplay (November 1956): 101, 103; Ads for jobs and diploma, Photoplay (December 1956): 85. 10. Maxine Arnold, “Fame Cloaks the Lonely Heart,” Photoplay (April 1957): 88–91: Ad for Sheer Velvet, Photoplay (April 1957): 40; Hildegarde Johnson, “What Makes Her a Star?” Photoplay (June 1957): 96–97; Ad for Lustre- Creme, Photoplay (June 1957): 97. 11. Maxine Arnold, “Why I Worry about Kim,” Photoplay (September 1957): 106–108; Ad for Marchand, Photoplay (September 1957): 109; Blanche Novak, “My Successful Worry Bird,” Motion Picture (February 1956): 65; Notes 265

Norma Kasell, “Is Kim Getting Married?” Photoplay (November 1957): 110–113. 12. Diane Scott, “I Believe . . . and God Blessed Me,” Photoplay (January 1958): 82–85. 13. Don Allen, “I Used to Be in Love,” Photoplay (July 1958): 88–89. 14. Dick Williams, “There’s No Time for Marriage,” Motion Picture (October 1956): 58; Bess Kerr, “Kim Gets Carried Away! Constantly!” Motion Picture (September 1958): 52, 70; Jane Wilkie, “The Girl Who Collects Crushes,” Motion Picture (February 1959): 46, 71. 15. Maxine Arnold, “Everybody’s Laughing at Me,” Photoplay (February 1959): 88–90; Ad for Blondex, Photoplay (February 1959): 89. Although the star is noncommittal about her affair with Sammy Davis, Jr. in Peter Harry Brown, Kim Novak: Reluctant Goddess (New York: St Martin’s, 1986), he is less circum- spect in Sammy Davis, Jr., with Jane and Burt Boyar, Sammy: An Autobiography (New York: Farrar, Straus and Giroux, 2000). See also Sam Kushner, “The Color of Love,” Vanity Fair (April 1999): 380–386, 405–409. 16 . On literature about blondes, see chapter 11 , endnote 15. 17. George Christy, “The One Thing I Could Never Tell My Father,” Photoplay (November 1959): 90–91; Ad for Boone, Photoplay (November 1959): 91. 18. Dirva Douglas, “Look What Kim Brought Home From Paris,” Photoplay (March 1963): 70–71; Brown, Kim Novak, 144. The star’s appearance at the in 2014 provoked a flap because there was so much negative comment about her aging looks.

9 : The Rebellious Teenager as a Junior Femme Fatale

1. Maxine Block, “How Far Should a Parent Go?” Photoplay (March 1956): 73, 111–113; Joan Jacobs Brumberg, The Body Project: An Intimate History of American Girls (New York: Random House, 1997), xxix; “Teens on the Town,” Photoplay (October 1953): 82–83; Ad for Fresh, Photoplay (October 1953): 83. 2. Block, “Should a Parent,” 73, 111–113; Fredda Dudley, “A Letter from Twenty-Five Girls,” Motion Picture (August 1957): 77; Beverly Ott, “Junior Femme Fatale,” Photoplay (June 1956): 103; Brumberg, Body Project, xxv; Ads for Tintz, Pompeian, depilatory, Photoplay (March 1956): 110–111. 3. Ott, “Femme Fatale,” 102–106; Bill Tusher, “Going Steady with Stardom,” Motion Picture (March 1957): 64; Ads for Pompeian, Campho-Phenique, Clearasil, Pinkham, Sutton, patterns, Photoplay (June 1956): 102–106; Suzanne Finstad, Natasha: The Biography of Natalie Wood (New York: Harmony Books, 2001), 148. 4. “A Lady on the Loose: Natalie Wood’s Diary as Told to Laura Lane,” Photoplay (December 1956): 97–98. 266 Notes

5. Richard Gehman, “Don’t Sell Natalie Short,” Part I, Photoplay (August 1957): 90–93; Ads for catalog, Sta-Rite, and Stillman, Photoplay (August 1957): 91, 93. 6. Richard Gehman, “Don’t Sell Natalie Short,” Part II, Photoplay (September 1957): 92–94. 7. “Bob’s Folks Approve!” Photoplay (November 1957): 90; Ad for kit, Photoplay (November, 1957): 91. 8. “Photoplay Was There,” Photoplay (March 1958): 4–8. 9. Natalie Wood and Bob Wagner, “Our Wedding,” Photoplay (April 1958): 66–67, 106–107; Judi Meredith, “Bob, Did You Know?” Photoplay (March 1958): 80–81; Ad for Westmore, Photoplay (March 1958): 81, 83; Ads for Arrid, Guide, Photoplay (April 1958): 107. 10. Marcia Borie, “Why We Won’t Talk about Our Marriage,” Photoplay (June 1958): 98–99; Ads for Popular Club, zircons, Photoplay (June 1958): 98, 99. 11. “Natalie Wood as Bob Wagner Sees Her,” Photoplay (July 1958): 54–55. 12. Lana Lisa Wood, “All Nat Talks about Is Pots and Pans,” Photoplay (February 1958): 69, 73. 13. Sally Boswell, “We Never Thought It Could Happen to Us . . . ,” Photoplay (September 1961): 26, 84. 14. Tony Wall, “The Natalie Wood Story,” Photoplay (January 1962): 26, 28–29, 77–79; Ad for Macfadden, Photoplay (January 1962): 79. 15. Rosa Magaro, “What Natalie Wood’s Sister Says about Warren and Bob,” Photoplay (March 1962): 70–72. 16. Alan Somers, “Are Natalie and Her Mother Fighting Over Warren?” Photoplay (July 1962): 72–74; Jason Findlay, “Some Girls Will Do Anything for Publicity,” Motion Picture (August 1962): 22; Laura Bascombe, “Natalie . . . on the Rebound,” Photoplay (November 1963): 92–93; Robert Wagner, with Scott Eyman, Pieces of My Heart: A Life (New York: Harper Entertainment, 2008), 144.

10 Elizabeth Taylor: A Superstar as the World’s Most Beautiful Woman

1. On the star, see Camille Paglia, Sex, Art, and American Culture: Essays (New York: Viking, 1992); Aida A. Hozic, “Hollywood Goes on Sale; or, What Do the Violet Eyes of Elizabeth Taylor Have to Do with the Cinema of Attractions?” in Hollywood Goes Shopping, eds. David Desser and Garth S. Jowett (Minneapolis: University of Minnesota Press, 2000), 205–22l; Suzanne Leonard, “The ‘True Love’ of Elizabeth Taylor and Richard Burton,” in Reclaiming the Archive: Feminism and Film History, ed. Vicki Callahan (Detroit: Wayne State University Press, 2010), 74–97; M. G. Lord, The Accidental Feminist: How Elizabeth Taylor Raised Our Consciousness and We Were Too Distracted by Her Beauty to Notice (New York: Walker, 2012); Gaylyn Studlar, Precocious Charms: Stars Performing Girlhood in Notes 267

Classical Hollywood Cinema (Berkeley: University of California Press, 2013), chap. 4. 2. Ann MacGregor, “Love and a Girl Named Liz,” Photoplay (June 1949): 36; Elsa Maxwell, “The Most Exciting Girl in Hollywood,” Photoplay (January 1949): 56, 83–84; Louella O. Parsons, “Sub-deb or Siren?” Photoplay (March 1950): 46, 76; Ida Zeitlin, “Liz Spoiled Brat or Mixed-Up Teenager,” Photoplay (May 1951): 40, 95–97. 3. Louella O. Parsons, “Elizabeth’s Love Story,” Photoplay (June 1950): 38, 104–105; Ads for Tangee, Lovalon, Photoplay (June 1950): 104–105; Elsa Maxwell, “Honeymoon Unlimited,” Photoplay (October 1950): 34, 40, 43, 87–88; Louella O. Parsons, “Liz and Nick Speak for Themselves,” Photoplay (January 1951): 78; Ad for Lux, Photoplay (June 1950): 32; Elsa Maxwell, “The Breaking Point,” Photoplay (April 1951): 37, 96–97; Zeitlin, “Spoiled Brat,” 95–97. 4. Hedda Hopper, “Liz as a Bachelor Girl,” Photoplay (August 1951): 83–85; Elsa Maxwell, “The Girl behind the Headlines,” Photoplay (January 1952): 44, 83; Jeanne Sakol, “Liz and Mike,” Photoplay (May 1952): 41, 92; Pauline Swanson, “She’s a New Woman,” Photoplay (November 1952): 92. Taylor reportedly also borrowed from MGM to finance the house. 5. Martha Buckley, “A New Life for Liz,” Motion Picture (November 1952): 12; Pauline Swanson, “Two Guys Named Mike,” Photoplay (April 1953): 100–101; Grace Fischler, “Home Is Where Her Heart Is,” Photoplay (November 1953): 116–118; Roberta Sweet, “Honeymoon with Baby,” Photoplay (February 1954): 92–94; Faith Service, “Vaguely Wonderful,” Photoplay (February 1955): 76–77; Ads for Cook Book, Slimmer Bra, and apparel, Photoplay (February 1954): 93–94. See also Hedda Hopper, “Passion and Waste,” Photoplay (November 1963): 41. 6. Aline Mosby, “Who Will Be Elizabeth Taylor’s Next Husband?” Photoplay (January 1957): 73–74; Louis Friedman, “From Miss to Mrs. to Misery,” Motion Picture (February 1958): 25–28. Stars like Marilyn Monroe and Natalie Wood shopped at Jax in Beverly Hills. Audrey Hepburn bought the black turtleneck she wore in Funny Face at the New York store. See Bernadine Morris, “Star Has an Influential Fashion Role,” New York Times, Western Edition, December 16, 1963, in Audrey Hepburn clip file, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. As a UCLA freshman approached by Jack Hanson on campus, I worked at Jax for six weekends and found that the white salesgirls were infatuated with stars, contemptuous of others, and racist. Photographer Bob Willoughby has a similar recollection in Pamela Clarke Keogh, Audrey Style (New York: Harper Collins, 1999), 81. 7. Maxine Smith, “Liz and Mike’s Madcap Marriage,” Photoplay (May 1957): 113–115; Mike Todd, “My Affair with Liz,” Motion Picture (November 1957): 72–73; Ad for Tums, Photoplay (January 1957): 75; Ad for Mother’s Friend, Photoplay (May 1957): 113. 8. “Liz Taylor’s Fight for Life,” Photoplay (October 1957): 60, 112–114; Earl Wilson, “Who Said the First Year Was the Hardest?” Photoplay (March 1958): 32, 76–77; “The Fabulous Face,” Photoplay (May 1958): 83–84. 268 Notes

9 . Co lin Campbell, The Romantic Ethic and the Spirit of Modern Consumerism , 3rd ed. (London: Alcuin Academics, 2005), 87. 10. “Goodbye, My Love,” Photoplay (June 1958): 73; Irene Reich, “Mike, These Tender Things Remind Me of You,” Photoplay (November 1958): 84–85; Sandy Jobert, “Smashup! Mike Is Dead . . . I’m Alive!” Motion Picture (January 1959): 63; Janet Graves, “Why Liz Turned to Eddie,” Photoplay (December 1958): 74; Kate Stupp, as told to Marta Robinet, “Don’t Blame Liz,” Photoplay (May 1959): 82; Ronald J. Brooks, “What’s Happening to Liz Now,” Photoplay (May 1959): 80–81; Charlene Dinter, “What Do Liz and Eddie Feel When They Look at These Pictures,” Photoplay (June 1959): 90, 92; Janet Graves, “Will Liz Break Eddie’s Heart Too?” Photoplay (July 1959): 90–92. 11. Sidney Skolsky, “Photoplay Goes to the Wedding,” Photoplay (August 1959): 26, 84–86; Ads for My True Story, “Loneliness,” sweetener, Photoplay (December 1958): 72–73, 75; Ad for Santa Fe, Photoplay (May 1959): 81. 12. See Sumiko Higashi, “Stardom, Intermarriage, and Consumption in the 1950s: The Debbie–Eddie–Liz Scandal” in Hollywood’s Chosen People: The Jewish Experience in American Cinema, eds. Daniel Bernardi, Murray Pomerance, and Hava Tirosh-Samuelson (Detroit: Wayne State University Press, 2013). Copyright (c) 2013. Used with permission of the publisher. 13. Charlotte Dinter, “Does God Always Punish?” Photoplay (April 1960): 84; “Help Liz Get Well,” Photoplay (June 1961): 38; Joe Lyle, “Why Liz and Eddie Had to Have a Second Honeymoon,” Photoplay (August 1960): 75; “Liz Is Leaving Eddie?” Photoplay (October 1960): 78–79; George Carpozi, “Liz and Eddie’s Separation,” Photoplay (May 1962): 92–94. 14. Gerry Gordon, “Eddie Exposes Liz and We Have His Story,” Photoplay (July 1962): 82–84; Jae Lyle, “The Other Woman in Eddie’s Life,” Photoplay (May 1962): 77; Sidney Skolsky, “Mr. & Mrs. Burton’s Strange Marriage Deal,” Photoplay (July 1962): 46, 74–76; Jim Hoffman, “We Know! Does Liz? What Ann-Margret Gives That Even Liz Can’t!” Photoplay (January 1963): 43, 67; Jim Hoffman, “Blackmail,” Photoplay (January 1962): 36; Hopper, “Passion and Waste,” 81–83; Aljean Meltsir, “Liz’ Love Deal with the Burtons,” Photoplay (February 1963): 49. 15. Hopper, “Passion and Waste,” 83; Michael Joya, “Sybil’s Plan to Ruin Liz,” Photoplay (August 1963): 95; Ed DeBlasio, “3 Wedding Gowns for Liz,” Photoplay (July 1963): 38. Ad for free book, Photoplay (May 1962): 95. 16. Jim Hoffman, “The Terrible Truth about Liz as a Mother,” Photoplay (August 1962): 86; Gordon, “Eddie Exposes Liz,” 84; Fred Oates, “How Liz Humiliated Eddie at Home,” Photoplay (July 1962): 79, 82; Ed DeBlasio, “Richard Burton How He Got That Way,” Photoplay (February 1963): 56 –58; Skolsky, “Strange Marriage Deal,” 74; Ed DeBlasio, “What Burton Does to Liz That No Other Man Would Dare!” Photoplay (September 1963): 97–98; Doug Brewer, “Burton Two-Timing Liz,” Photoplay (December 1963): 92–93; Flora Rand, “What Liz Knows about Love Other Women Don’t,” Photoplay (September 1961): 67, 69; Priscilla Herman, “Why Liz Is Gaining Weight,” Photoplay (February 1962): 91; Cal York, “The Night Liz and Burton Destroyed Eddie Fisher,” Photoplay (June 1962): 6–7; Ad for Cashmere Bouquet, Photoplay (July 1962): 84. Notes 269

17. Jae Richards, “Liz and Burton Shameless Lovers,” Photoplay (October 1962): 38–43, 90; Dick Davis, “Liz Loses Burton,” Photoplay (December 1962): 87; Hoffman, “Terrible Truth,” 39, 84–86; Jim Hoffman, “Wedding Bells Toll Liz & Burton’s Doom,” Photoplay (November 1962): 97; Oates, “Liz Humiliated Eddie,” 91; Jeff Cronin, “The 4-Letter Word that Rules Liz’ Life,” Photoplay (October 1963): 85; Leslie Valentine, “6 Clergymen Reveal How Liz Can Be Saved,” Photoplay (June 1963): 89–90; Skolsky, “Strange Marriage Deal,” 76; Ad for Dolls, Photoplay (August 1962): 86; Ads for Abdo-Slim and Gravy Boat, Photoplay (November 1962): 87. 18. Helen Martin, “Love . . . Lust and Liz Taylor,” Photoplay (July 1962): 42, 82. 19 . J im Hoffman, “How Much More Can Liz Take?” Photoplay (July 1960): 74; Hopper, “Passion and Waste,” 82; Herman, “Why Liz Is Gaining Weight,” 48 (this title page is missing from the microfilm); Arthur Henley, with Dr. Robert Wolk, “Why She Goes from Man to Man,” Photoplay (September 1962): 81–82; Dorian Draper, “Please Eddie Don’t Let them Take the Children Away,” Photoplay (January 1961): 81; DeBlasio, “What Burton Does to Liz,” 97–98; Doug Brewer, “Burton Two-Timing Liz!” Photoplay (December 1963): 92; Ad for NBH Catalog, Photoplay (September 1963): 96. 20. “Vote Today!” Photoplay ((July 1962): 53; Dr. W. Tenenhoff Reich, “Now Liz Poses Nude!” Photoplay (April 1963): 36–37, 97–98; “Pages from an M. D.’s Report on Liz’s Strange Illness,” Photoplay (March 1961): 21; Jim Hoffman, “What Psychiatrists Are Saying about the Liz Taylor Syndrome,” Photoplay (June 1962): 84–86; Henley, “Goes from Man to Man,” 81–82; Ad for Mother’s Friend, Photoplay (June 1962): 87. 21. Henley, “Goes from Man to Man,” 81; Hoffman, “What Psychiatrists Are Saying,” 84–86; Hoffman, “Wedding Bells,” 96–97; Ad for book, Photoplay (June 1962): 87.

Conclusion: The Stars

1. Gordon Gould, “Hollywood’s Secret: Sex Symbolism,” Chicago Sunday Tribune Magazine (November 17, 1957), in Grace Kelly clip file, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences; Thomas Harris, “The Building of Popular Images: Grace Kelly and Marilyn Monroe,” in Stardom: Industry of Desire, ed. Christine Gledhill (London: Routledge, 1991), 43; Quoted in Ronald L. Davis, The Glamour Factory: Inside Hollywood’s Big (Dallas: Southern Methodist University Press, 1993), 142; “Off the Deep End,” Newsweek (January 18, 1960), in Esther Williams clip file, MHL; Esther Williams, with Digby Diehl, Million Dollar Mermaid (New York: Simon and Schuster, 1999), 243. See also Jeanine Basinger, The Star Machine (New York: Alfred A. Knopf, 2007), 47–61. 2. Also significant was the bestseller by David Riesman, Nathan Glazer, and Reuel Denney, The Lonely Crowd: A Study of the Changing American Character (New Haven, CT: Yale University Press, 1950). See Lynn Spigel, Make Room 270 Notes

for TV: Television and the Family Ideal in Postwar America (Chicago: University of Chicago Press, 1992). 3. See Adrienne L. McLean, “Wedding Bells Ring, Storks Are Expected, the Rumors Aren’t True, Divorce Is the Only Answer: Stardom and Fan-Magazine Family Life in 1950s Hollywood,” in A Family Affair: Cinema Calls Home, ed. Murray Pomerance (London: Wallflower, 2008), 277–290. 4. Donald Spoto, High Society: The Life of Grace Kelly (New York: Harmony Books, 2009); Donald Spoto, Enchantment: The Life of Audrey Hepburn (New York: Harmony Books, 2006); Donald Spoto, Marilyn Monroe: The Biography (New York: Harper Collins, 1993). 5. James Spada, Grace: The Secret Lives of a Princess (Garden City, NY: Dolphin Books, 1987), 40, 76. 6. Suzanne Finstad, Natasha: The Biography of Natalie Wood (New York: Harmony Books, 2001); Gavin Lampert, Natalie Wood: A Life (New York: Alfred A. Knopf, 2004); Michael Cieply, “Los Angeles County Officials Restart ’81 Inquiry in Actress’s Death,” New York Times, November 19, 2011. 7. Sarah Churchwell, The Many Lives of Marilyn Monroe (New York: Picador, 2004), 101. 8. See Susan Sontag, “Notes on Camp,” in Against Interpretation and Other Essays (New York: Delta, 1961), 275–292. 9. Lampert, Natalie Wood, 42; Eddie Fisher, with David Fisher, Been There, Done That (New York: St. Martin’s, 1999), 98; Debbie Reynolds, with David Patrick Columbia, Debbie: My Life (New York: William Morrow, 1988), 77. See also Debbie Reynolds and Dorian Hannaway, Unsinkable: A Memoir (New York: William Morrow, 2013). 10. Biography of Marilyn Monroe, in Marilyn Monroe clip file, MHL. Among less objectionable biographies that Sarah Churchwell considers are: Fred Lawrence Guiles, Norma Jean: the Life of Marilyn Monroe (New York: McGraw-Hill, 1969), republished with a conclusion asserting suicide, not an accidental over- dose; Anthony Summers, Goddess: The Secret Lives of Marilyn Monroe (New York: Macmillan, 1986); Barbara Leaming, Marilyn Monroe (New York: Crown, 1998); Spoto, Marilyn Monroe. A recent work is Lois Banner’s Marilyn: The Passion and the Paradox (New York: Bloomsbury, 2012). See also Randall Riese and Neal Hitchens, The Unabridged Marilyn: Her Life from A to Z (New York: Congdon and Weed, 1987); Richard Dyer, Heavenly Bodies: Film Stars and Society (New York: St. Martin’s, 1986), chap. 1; Graham McCann, Marilyn Monroe (New Brunswick, NJ: Rutgers University Press, 1988). 11. Williams, Mermaid, 27–28; Peter Harry Brown, Kim Novak: Reluctant Goddess (New York: St. Martin’s, 1986), 12–13; Lola Parmeter, “Don’t Be a Teenage Misfit,” Photoplay (January 1955): 76; Tex Maddox, “Kim Novak Stabbed by Scandal,” Photoplay (February 1956): 55, 87; Pamela Clarke Keogh, Audrey Style (New York: Harper Collins, 1999), 53, 57. 12. Finstad, Natasha, 15, 42, 212; Lampert, Natalie Wood, 42; Beverly Linet, Susan Hayward: Portrait of a Survivor (New York: Atheneum, 1980), 33–44, 239. 13. Donald Spoto, A Passion for Life: The Biography of Elizabeth Taylor (New York: Harper Collins, 1995), 77; Kitty Kelley, Elizabeth Taylor: The Last Star (New Notes 271

York: Simon and Schuster, 1981), 36 (author’s sources are not cited); Elizabeth Taylor, My Love Affair with Jewelry (New York: Simon and Schuster, 2003), 12; Aline Mosby “Who Will Be Elizabeth Taylor’s Next Husband?” Photoplay (January 1957): 74; Sean Hepburn Ferrer, Audrey Hepburn: An Elegant Spirit (New York: Atria Books, 2003), 8, 32; David Kaufman, Doris Day: The Untold Story of the Girl Next Door (New York: Virgin Books, 2008), 12; “Doris Day’s Dad Weds Manager of His Tavern,” Los Angeles Herald and Express, May 22, 1961, in Doris Day clip file, MHL; A. E. Hotchner, Doris Day: Her Own Story (New York: William Morrow, 1975), 167–168. 14. Spada, Grace, 282–283; Wendy Leigh, True Grace: The Life and Death of an American Princess (New York: St. Martin’s, 2007), 219–222; Robert Lacey, Grace (New York: G. P. Putnam’s Sons, 1994), 318. See Spoto, High Society. 15. Kaufman, Doris Day, 283, 339, 484; Mary Goodwin, “And Along Came Dodo,” Photoplay (February 1953): 105. 16. Finstad, Natasha, 216; Williams, Mermaid, 12; Elizabeth Taylor, Elizabeth Takes Off: On Weight Gain, Weight Loss, Self-Image and Self-Esteem (New York: G. P. Putnam’s Sons, 1987), 39, 100. 17. Spoto, High Society, 246; Stanley Buchthal and Bernard Comment, eds., Fragments: Poems, Intimate Notes, Letters by Marilyn Monroe (New York: Farrar, Strauss and Giroux, 2010), 201. A biography, My Story (New York: Stein and Day, 1974), that Monroe allegedly worked on with Ben Hecht has been published in different versions by Milton Greene. See also W. J. Weatherby, Conversations with Marilyn (New York: Mason/Charter, 1976) for interviews. On speculation about Monroe’s death, see Churchwell, Marilyn. 18. J. Randall Taraborelli, Elizabeth (New York: Warner Books, 2006), 324–325; Kaufman, Doris Day, 107–108, 159; Tom Santopietro, Considering Doris Day (New York: St. Martin’s, 2007), 186; Barry Paris, Audrey Hepburn (New York: G. P. Putnam’s Sons, 1996), 127, 147; Lois Banner, MM Personal: From the Private Archive of Marilyn Monroe (New York: Abrams, 2011), 22. 19. Bob Thomas, “One Studio Imposes Ban on Mag Publicity,” Hollywood Citizen-News, May 5, 1953, in fan magazine clip file, MHL. 20. Cal York, “The Night Liz and Burton Destroyed Eddie Fisher,” Photoplay (June 1962): 7; Williams, Mermaid, 148. 21. “Miss Hayward’s Nude Dash Told,” Los Angeles Examiner, June 15, 1954, in Susan Hayward clip file, MHL; Finstad, Natasha, 143–144, 170, 193; Santopietro, Considering Doris, 353; Leigh, True Grace, 121. 22. Carl Clement, “Look Where You’re Going Audrey,” Photoplay (June 1957): 84; Spoto, Enchantment, 102, 133; Paris, Audrey Hepburn, 276; Charles Higham, Audrey: The Life of Audrey Hepburn (New York: Macmillan, 1984), 202. 23. McCann, Marilyn Monroe, 147; Norman Rosten, Marilyn: An Untold Story (New York: Signet, 1973), 35; Spoto, Marilyn Monroe, 343; “Arthur Miller Admits Erring on Red Fronts,” Los Angeles Times, June 22, 1956, in Marilyn Monroe clip file, MHL; “Miller Trial Runs Second to Sexational Marilyn,” unidentified newspaper, May 29, 1957, in Marilyn Monroe clip file, MHL. 24. Bob Thomas, “Grace Reveals Plans for ‘Wedding of the Century,’” Los Angeles Herald Express, February 24, 1956, in Grace Kelly clip file, MHL; “Wedding Dress of Grace Kelly a Spectacular,” Los Angeles Times, April 18, 1956, in Grace 272 Notes

Kelly clip file, MHL; “Grace, Rainier on Honeymoon Cruise,” Hollywood Citizen-News, April 19, 1956, in Grace Kelly clip file, MHL; Blake Ehrlich, “Monaco Hits the Jackpot!” Los Angeles Times, This Week Magazine (May 17, 1959), in Grace Kelly clip file, MHL; Spada, Grace, 153. 25. Williams, Mermaid, 331; Reynolds, Debbie, 216, 313–431. 26. Linet, Susan Hayward, 236–241. On Louella O. Parsons and Hedda Hopper, see Amy Collins, “Idol Gossips,” Vanity Fair (April 1997): 358–375. 27. Hotchner, Doris Day, 173, 223, 277; Santopietro, Considering Doris, 300; “Doris Day Awarded $22.8 Mil Damages After Marathon Trial,” Hollywood Reporter (September 19, 1974), in Doris Day clip file, MHL; “Doris Day Wins $22.8 Million Judgment Against Rosenthal, Former Associate of Melcher,” Variety (September 19, 1974), in Doris Day clip file, MHL. 28. Debbie Reynolds, “Why I’m Afraid to Have Another Baby,” Photoplay (November 1961): 93; Fred Oates, “How Liz Humiliated Eddie at Home,” Photoplay (July 1962): 81; Fisher, Been There, 196, 191. 29. Williams, Mermaid, 347–352; “Mother of the Year,” Los Angeles Examiner, December 13, 1954, in Esther Williams clip file, MHL; Linet, Susan Hayward, 222–247; Robert Emmett, “Trouble Bait,” Photoplay (February 1956): 98. 30. Hotchner, Doris Day, 199; Kaufman, Doris Day, 150, 411. 31. Leigh, True Grace, 200; Spada, Grace, 305; Lacey, Grace, 371; Steven Englund, Grace of Monaco: An Interpretive Biography (New York: Doubleday, 1984), 373; Ferrer, Audrey Hepburn, 258. 32. Jae Richards, “Liz and Burton Shameless Lovers,” Photoplay (October 1962): 38–43; Fisher, Been There, 144; Edgar Morin, Stars, trans. Richard Howard (Minneapolis: University of Minnesota Press, 2005), 51; Elizabeth Taylor, Elizabeth Taylor: An Informal Memoir (New York: Harper and Row, 1964), 77–78; John Berger, Ways of Seeing (London: British Broadcasting Corporation and Penguin, 1972), 131; Susan J. Matt, Keeping Up with the Joneses: Envy in American Society, 1890–1930 (Philadelphia: University of Press, 2003), introduction. 33. See Taylor, My Love Affair. Part of the proceeds from the auction of the star’s jewels after her death went to the Elizabeth Taylor Aids Foundation. A booklet, Elizabeth Taylor AZ (New York: Christie’s, 2011), was sold at the sites where the jewels were on public display. Taylor and Audrey Hepburn, who traveled for the Children’s Fund but died before the Academy Award telecast, both received the Jean Hersholt Humanitarian Award in 1993.

Introduction: The Fans

1. Pam Larner, “What I Found Out from Debbie!” Photoplay (April 1959): 36, 86–87; Ads for Mercolized, rings, classifieds, Photoplay (April 1959): 87. 2. Florence Toutkoushian, “Come Over . . . I’m Having a Party,” Photoplay (June 1959): 66, 109; Elva Newman, “If I Were 17 Again,” Photoplay (May 1960): Notes 273

66, 93–97. See Lisa A. Lewis, ed., Adoring Audience: Fan Culture and Popular Media (London: Routledge, 1992). 3. See Kelly Schrum, “Teena Means Business,” in Delinquents and Debutantes: Twentieth-Century Girls’ Cultures, ed. Sherrie A. Innes (New York: Press, 1998), 134–163; Kelly Schrum, Some Wore Bobby Sox: The Emergence of Teenage Girls’ Culture, 1920–1945 (New York: Palgrave Macmillan, 2004); “‘Mini-Me’ with High Heels of Her Own,” New York Times, August 1, 2013; Joan Jacobs Brumberg, The Body Project: An Intimate History of American Girls (New York: Random House, 1997), xxv. 4. “Win a Present from a Star,” Photoplay (September 1954): 57. 5. Janet Wolff, What Makes Women Buy (New York: McGraw-Hill, 1958), 250; Gary Cross, An All-Consuming Century: Why Commercialism Won in America (New York: Columbia University Press, 2000), 95; Kenneth T. Jackson, Crabgrass Frontier: The Suburbanization of the United States (New York: Oxford University Press, 1985), 279; Herbert J. Gans, The Levittowners: Ways of Life and Politics in a New Suburban Community (New York: Pantheon, 1967), 414; Lauren Langman, “Neon Cages: Shopping for Subjectivity,” in Lifestyle Shopping: The Subject of Consumption, ed. Rob Shields (New York: Routledge, 1992), 66. 6. Jackie Stacey, Star Gazing: Hollywood Cinema and Female Spectatorship (London: Routledge, 1994), chap. 5, 227–232. See also Edgar Morin, The Stars, trans. Richard Howard (Minneapolis: University of Minnesota Press, 2005), 82, 137, 142; John Berger, Ways of Seeing (London: British Broadcasting Corporation and Penguin Books, 1972), chap. 7. 7. Richard Dyer, Stars (London: British Film Institute, 1979), 111; Morin, Stars, 142. 8. Wolff, Women Buy, 26, 12, 82–88, 178, 138, 132, 172, 221–223, 227, 236, 240, 268–275; Carolyn M. Goldstein, Creating Consumers: Home Economists in Twentieth-Century America (Chapel Hill: University of North Carolina Press, 2012), 272–273. On women and romance fiction, see Janice Radway, Reading the Romance: Women, Patriarchy, and Popular Literature (Chapel Hill: University of North Carolina Press, 1984). On Radway, see Judith Mayne, Cinema and Spectatorship (New York: Routledge, 1983), chap. 4. 9. Stewart, Dougall and Associates, Magazine Audience Group Report (Macfadden, 1949), 5–11. 10. Ibid., 12–17. 11. Wolff, Women Buy, 14; Stewart, Magazine Audience Group, 8; Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste, trans. Richard Nice (Cambridge: Harvard University Press, 1984), chaps. 5–7, appendix 1. On the GI Bill of Rights and social engineering, see Lizabeth Cohen, A Consumers’ Republic: The Politics of Mass Consumption in Postwar America (New York: Alfred A. Knopf, 2003), 157. 12. Jody Pennington, “Don’t Knock the Rock: Race, Business, and Society in the Rise of Rock ’n’ Roll,” in Cracking the Ike Age: Aspects of Fifties America, ed. 274 Notes

Dale Carter (Denmark: Aarhus University Press, 1992), 219–223, 227–228, 231, 234. See Greil Marcus, The History of Rock ’n’ Roll in Ten Songs (New Haven, CT: Yale University Press, 2014). 13. Daniel Marcus, Happy Days and Wonder Years: The Fifties and the Sixties in Contemporary Cultural Politics (New Brunswick, NJ: Rutgers University Press, 2004), 35; Grace Palladino, Teenagers: An American History (New York: Basic Books, 1996), introduction, chap. 10. See also Thomas Hine, The Rise and Fall of the American Teenager (New York: Avon Books, 1999), chap. 12; Schrum, “Teena Means Business,” 134–163. A recent study provides the same picture of girls obsessed about their appearance: Jean Kilbourne, “‘The More You Subtract, the More You Add’: Cutting Girls Down to Size,” in Psychology and Consumer Culture: The Struggle for a Good Life in a Materialistic World, eds. Tim Kasser and Allen D. Kanner (Washington, DC: American Psychological Association, 1984): 251–261. 14. Anthony Slide, Inside the Hollywood Fan Magazine: A History of Star Makers, Fabrications, and Gossip Mongers (Jackson: University Press of Mississippi, 2010), 172; Pennington, “Don’t Knock,” 219.

11 Advertisements for Glamour and Romance

1. Ellen McCracken, Decoding Women’s Magazines: From Mademoiselle to Ms. (New York: St. Martin’s, 1993), 15, 26, 38. See also Raymond Williams, Television: Technology and Cultural Form (New York: Schocken Books, 1975). 2. Janice Winship, Inside Women’s Magazines (London: Pandora, 1987), 12. 3. See Esther Williams covers: July 1948, January 1949, July 1949, September 1949, February 1950, August 1950, April 1951, January 1952, April 1953, and January 1954. See Liz Taylor covers: January 1950, June 1950, October 1950, May 1951, October 1951, May 1952, November 1952, July 1953, December 1954, and August 1955. 4. Edith Gwynn, “Party Lines,” Photoplay (June 1948): 165. 5. Jackie Stacey, Star Gazing: Hollywood Cinema and Female Spectatorship (London: Routledge, 1994), chap. 5, 150–151. 6. Quoted in Michael Schudson, Advertising, the Uneasy Persuasion: Its Dubious Impact on American Society (New York: Basic Books, 1984), 155; Peter K. Lunt and Sonia M. Livingstone, Mass Consumption and Personal Identity (Buckingham: Open University Press, 1992), 9. 7. Schudson, Advertising, 52, 58, 72, 111, 155; T. J. Jackson Lears, “Some Versions of Fantasy: Toward a Cultural History of American Advertising,” Prospects 9 (1984): 349–405; John Philip Jones, Advertising and the Concept of Brands (Lexington, MA: D. C. Heath, 1986), 20–34; Janet Wolff, What Makes Women Buy (New York: McGraw-Hill, 1958), 264. See also T. J. Jackson Lears, Fables of Abundance: A Cultural History of Advertising in America (New York: Basic Books, 1994). Notes 275

8. Kelly Schrum, Some Wore Bobby Sox: The Emergence of Teenage Girls’ Culture, 1920–1945 (New York: Palgrave Macmillan, 2004): 170–171; Joan Jacobs Brumberg, The Body Project: An Intimate History of American Girls (New York: Random House, 1997), introduction. 9. Percentages were calculated on the basis of my survey of Photoplay issues; Wolff, Women Buy, 167. 10. Raymond Williams, “Advertising: The Magic System,” in Problems in Materialism and Culture (London: Verso, 1980) 128; Sut Jhally, The Codes of Advertising: Fetishism and the Political Economy of Meaning in the Consumer Society (New York: Routledge, 1987), 185. 11. Erving Goffman, Gender Advertisements (New York: Harper and Row, 1979), 57–83. 12. Ads endnoted are those referred to in this chapter, but I looked at too many to list here. Ads for Camay, Photoplay (January 1948): inside front cover (hereaf- ter ifc); (July 1950): ifc; (February 1952): ifc; (April 1956): back cover (hereaf- ter bc); Ads for Ivory, Photoplay (July 1954): ifc; (April 1955): bc; (April 1959): bc; (July 1961): bc; Ads for Lux, Photoplay (January 1956): inside back cover (hereafter ibc); (September 1956): ibc. 13. Ads for Breck, Photoplay (November 1951): ifc; (January 1953): bc; (February 1959): ibc; (November 1960): ifc; Ads for Prell, Photoplay (March 1954): ifc; (April, 1955): ifc; (July 1956): bc; Ads for Lustre-Creme, Photoplay (August 1955): ibc; (January 1960): 9. 14. Ads for Toni, Photoplay (January 1951): l; (April 1951): ibc; Ads for Pin-It, Photoplay (May 1955): ibc; (May 1958): ifc; Ad for Tint ’n Set, Photoplay (January 1958): ibc; Ad for TRESemmé, Photoplay (August 1963): ibc; Ad for Lady Clairol, Photoplay (April 1961): ifc. 15. On blondeness and race, see Steven Cohan, Masked Men: Masculinity and the Movies in the Fifties (Indianapolis: Indiana University Press, 1997), 12–15; Richard Dyer, Heavenly Bodies: Film and Society (New York: Routledge, 2004), 42–45; Lois Banner, “The Creature from the Black Lagoon: Marilyn Monroe and Whiteness,” Cinema Journal 47 (Summer 2008): 4–29. 16. “Don Loper’s Clinic,” Photoplay (February 1948): 103. 17. Ad for Woodbury, Photoplay (August 1949): ifc; Ad for Revlon, Photoplay (December 1951): ifc; Ads for Solitair, Photoplay (September 1950): ifc; (October 1951): bc; Ad for Cashmere Bouquet, Photoplay (September 1951): ifc; Ad for Hazel Bishop, Photoplay (October 1959): ifc; Ad for Cutex, Photoplay (April 1962): ibc; Ad for Maybelline, Photoplay (October 1957): ifc. 18. Ad for April Showers Cologne, Photoplay (July 1956): 93; Ad for Evening in Paris, Photoplay (July 1961): l. 19. Roland Marchand, Advertising the American Dream: Making Way for Modernity 1920–1940 (Berkeley: University of California Press, 1985), 18–22. 20. Ads for Listerine, Photoplay (July 1950): l; (October 1951): l; (November 1956): 1; Ads for Mum, Photoplay (June 1949): l; (February 1956): l. 21. Ads for Modess, Photoplay (October 1951): ifc; (June 1956): ibc; (November 1958): ibc; (April 1959): ibc; Ads for Kotex, Photoplay (June 1957): ibc; (January 1960): ifc; (May 1963): ifc; Ads for Tampax, Photoplay (June 1959): ifc; (July 1959): ibc; (June 1961): ifc; (June 1963): ifc. 276 Notes

22. Gene Borio, “The Tobacco Timeline: The Twentieth Century 1950–1999— The Battle Is Joined,” http://www.archive.tobacco.org/History/Tobacco_ History.html. Ads for Camel, Photoplay (August 1949): bc; (August 1950): bc; (March 1951): bc; (May 1951): bc; (May 1953): bc; (August 1954): bc; (November 1954): bc; Ads for Chesterfield, Photoplay (September 1949): bc; (September 1950): bc; (September 1951): bc; (February 1952): bc; (June 1952): bc; (February 1954): bc; (February 1956): bc; “What Should I Do?” Photoplay (May 1951): 32. 23. Borio “Tobacco Timeline”; Schudson, Advertising, 115; Claudette Colbert, “What Should I Do?” Photoplay (December 1948): 10. 24. Ads for Winston, Photoplay (March 1955): bc; (May 1955): bc; (August 1955): bc; (November 1957): bc; Ad for L&M, Photoplay (June 1956): bc; Ads for Salem, Photoplay (February 1957): bc; (November 1958): bc; (November 1959): bc; (February 1960): bc; (March 1962): bc. 25. Brumberg, Body Project, 111; Ads for Formfit, Photoplay (June 1949): 89; (April 1953): 61; Ad for Perma-lift, Photoplay (June 1956): 93; Ads for Maidenform, Photoplay (April 1960): ifc; (April 1961): 1; Ad for Suspants, Photoplay (January 1949): ifc. 26. Ad for Fashion Frocks, Photoplay (September 1960): 111; Ads for Bartholomew House books, Photoplay (January 1958): 59; (October 1951): 101; Ad for Doubleday Dollar Book Club, Photoplay (February 1953): 15. 27. Ad for Tide, Photoplay (January 1951): bc; Ad for Fels-Naptha, Photoplay (May 1951): 83; Ad for Mennen, Photoplay (March 1950): 95; Ad for Towle Sterling, Photoplay (November 1955): 79. 28. Ad for Lysol, Photoplay (March 1951): 75; Ad for Zonitors, Photoplay (September 1950): 102; Ad for Norforms, Photoplay (April 1957): 89; Marchand, Advertising, 344. 29. Copy is from ad stripping for products like Midol, Dr. Scholl’s, Dermoil, Pompeian Milk Cream, and Mercolized Wax Cream that recur in Photoplay issues (1949–1959). 30. Schudson, Advertising, 11; Marchand, Advertising, 67; Jennifer Scanlon, Inarticulate Longings: The Ladies’ Home Journal, Gender, and the Promise of a Consumer Culture (New York: Routledge, 1995), 175–176. 31. Schudson, Advertising, 109; Wolff, Women Buy, 238; Janice Radway, Reading the Romance: Women, Patriarchy, and Popular Literature (Chapel Hill: University of North Caroline Press, 1984), chap. 2; Colin Campbell, The Romantic Ethic and the Spirit of Modern Consumption (London: Alcuin Academics, 2005), 8.

12 Self-Making with Beauty Tips and “Photoplay Fashions”

1. Amy Wygant, Medea, Magic, and Modernity in : Stages and Histories, 1553 –1797 (Hampshire: Ashgate, 2007), 19–24; Kathy Peiss, Hope in a Jar: Notes 277

The Making of America’s Beauty Culture (New York: Metropolitan Books, 1998), 245, 249–253; Alison Lurie, The Language of Clothes (New York: Henry Holt, 1981), 227. I thank Marketa Uhlirova at Central Saint Martins for referring me to Wygant. 2. Sheilah Graham, “Glamour Never Takes a Holiday,” Photoplay (November 1955): 37, 99–100; Ad for Noreen, Photoplay (November 1955): 99. 3. Peiss, Hope in a Jar, 251; Vicky Riley “Let These Hollywood Experts Chart Your Beauty Course,” Photoplay (June 1951): 84; “ . . . You, Too, Can Be a Beauty,” “ . . . Copy a New Look from the Stars,” Photoplay (October 1959): 56–59. 4. “100 Secrets of Hollywood Glamour,” Photoplay (January 1951): 40, 66–71; “Sandra Dee’s Beauty Secrets,” Photoplay (March 1958): 56–57; “Movie Star Tips for Shaping Your Eyes and Lips,” Photoplay (June 1961): 46; “Copy the Beauty Secrets of a Favorite Star,” Photoplay (June 1960): 70–71; “Secrets of a Movie Star’s Makeup,” Photoplay (June 1961): 42–46. 5. Vicky Riley, “Eye Cues,” Photoplay (November 1950): 40–41, 76–77; Ad for Westmore, Photoplay (November 1950): 77; Harriet Segman, “Hollywood Lip Tips,” Photoplay (September 1956): 84; Harriet Segman, “Hollywood Face Facts,” Photoplay (February 1957): 74–77; Anita Colby, “Keep It Secret,” Photoplay (June 1950): 7l. 6. Jackie Stacey, Star Gazing: Hollywood Cinema and Female Spectatorship (New York: Routledge, 1994), 167; Vicky Riley, “Style Your Hair Like a Star,” Photoplay (September 1950): 62–64; Vicky Riley, “Put ‘Em Up,” Photoplay (October 1950): 56–57, 98–99; Ads for Sutton, Liquid Skin Sachet, Fibs, and Tip-Top, Photoplay (October 1950): 98–99. 7. Katherine Albert, “Curly Tops,” Photoplay (June 1952): 48, 74; Ruth Waterbury, “Short Cut to Beauty,” Photoplay (September, 1953): 54–55, 108–109. 8. Vicky Riley, “Be Natural or Dye,” Photoplay (January 1951): 30–31, 82; Vicky Riley, “Be a Changed Woman,” Photoplay (September 1951): 72. 9. Joan Jacobs Brumberg, The Body Project: An Intimate History of American Girls (New York: Random House, 1997), xvii; Sheilah Graham, “Figure Foibles,” Photoplay (July 1955): 54, 92; Janet Wolff, What Makes Women Buy (New York: McGraw-Hill, 1958), 168; , “Diet for Happiness,” Photoplay (July 1948): 84–85; “The New Hollywood Diet,” Photoplay (April 1950): 38–45, 99–100, 102–107; “Hollywood Reduction Line,” Photoplay (April 1950): 46–47; Ads for Cheez-It, Zonitors, Maybelline, surgery, and Yodora, Photoplay (April 1950): 102–105; Riley, “Hollywood Experts,” 62–63, 84–85, 100. 10. See Mike Featherstone, “The Body in Consumer Culture,” in The Body: Social Process and Cultural Theory, eds. Mike Featherstone, Mike Hepworth, and Bryan S. Turner (London: Sage, 1991), 170–196. 11. Lee Travers, “ Mayo’s Miracle Diet,” Photoplay (August 1954): 50–54; “It’s Fun to Be Thin Says Terry Moore,” Photoplay (April 1955): 82–85; “Gosh, “I’d Like to Be Different,” Photoplay (March 1959): 100–102; Esther Williams as told to Maxine Block, “Motherhood Can Be a Nine Months’ Beauty Course,” Photoplay (June 1954): 59; “Baby Talk,” Photoplay (November 1957): 77, 109–110. 278 Notes

12. Harriet Segman, “Curves Ahead,” Photoplay (March 1956): 70; Ad for Formfit, Photoplay (March 1956): 71; Terry Moore, “Bosom Loveliness,” Photoplay (October 1954): 72, 90. On lingerie, see Jill Fields, An Intimate Affair: Woman, Lingerie, and Sexuality (Berkeley: University of California Press, 2007). On fetishism, see J. C. Flugel, The Psychology of Clothes (New York: International Universities Press, 1969), 28; Daniel Miller, Material Culture and Mass Consumption (Oxford: Basil Blackwell, 1987), 39; Sut Jhally, The Codes of Advertising: Fetishism and the Political Economy of Meaning in the Consumer Society (New York: Routledge, 1987), chap. 2; Jane Gaines and Charlotte Herzog, eds., Fabrications: Costume and the Female Body (New York: Routledge, 1990), 22–23. 13. Ad for silverplate, Photoplay (October 1954): 91; Ad for Slimtown, Photoplay (February 1959): 76–77; Peiss, Hope in a Jar, 252. 14. Michael R. Solomon and Susan P. Douglas, “The Female Clotheshorse: From Aesthetics to Tactics,” in The Psychology of Fashion, ed. Michael R. Solomon (Lexington, MA: D. C. Heath, 1985), 387–390; Fred Davis, Fashion, Culture, and Identity (Chicago: University of Chicago Press, 1992), 198. 15. Janice Radway, Reading the Romance: Women, Patriarchy, and Popular Literature (Chapel Hill: University of North Carolina Press, 1984), 193–195. 16. On California sportswear, see Melissa Levenson, “California Modern Fashion,” in Living in a Modern Way: California Design 1930–1965, ed. Wendy Kaplan (Cambridge: MIT Press, 2012), 246–259. See also Elizabeth Ewing, History of Twentieth Century Fashion (New York: Charles Scribner’s Sons, 1974), chap. 8; Valerie Mendes and Amy de la Haye, Twentieth Century Fashion (London: Thames and Hudson, 1999), 128–165. 17. Edith Gwynn, “Peacock Parade,” Photoplay (January 1948): 60; Edith Gwynn, “Star Bright Nights,” Photoplay (February 1948): 115; Edith Gwynn, “The Hollywood Look,” Photoplay (April 1948): 55; Edith Gwynn, “Hollywood Fashion Vane,” Photoplay (December 1948): 108; Edith Gwynn, “Some Things for the Girls,” Photoplay (March, 1949): 90. According to “Charles James: Beyond Fashion,” a costume exhibit at the Metropolitan Museum, the Anglo-American designer anticipated ’s New Look. See Carol Vogel, “Architectural Underpinnings of Cinderella,” New York Times, May 1, 2014. 18. Edith Gwynn, “On the Boulevard,” Photoplay (February 1950): 68; Edith Gwynn, “Party Lines,” Photoplay (June 1948): 106. 19. Edith Gwynn, “Party Promenade,” Photoplay (August 1948): 87; “Photoplay’s Pattern of the Month,” Photoplay (February 1953): 65; Edith Gwynn, “‘49 Fashion Steps,” Photoplay (January 1949): 59, 81. 20. Gwynn, “Party Promenade,” 60–61; Edith Gwynn, “The Rustle of Spring,” Photoplay (April 1950): 65–66. 21. Edith Gwynn, “Midsummer Magic,” Photoplay (July 1950): 67; Gwynn, “Party Lines,” 105; Gwynn, “‘49 Fashion Steps,” 81; Edith Gwynn, “These Are the Clothes They Love,” Photoplay (December 1949): 91. 22. Lurie, Language of Clothes, 78; “Your Place in the Sun,” Photoplay (May 1950): 86–93; “Photoplay’s Pattern of the Month,” Photoplay (May 1950): 92; Ads for Velvet Step, Doris Dodson, Sherbrooke, Photoplay (May 1950): 89, 91, 93. Notes 279

23. Desire Smith, Fashionable Clothing from the Sears Catalogs Early 1950s (Atglen, PA: Schiffer, 1998), 8–9, 20, 89, 144; Joy Shih, Fashionable Clothing from the Sears Catalogs Late 1950s (Atglen, PA: Schiffer, 1997), 102. See also Tina Skinner, Fashionable Clothing from the Sears Catalogs Mid 1950s (Atglen, PA: Schiffer, 2002). 24. Stewart, Dougall and Associates, Magazine Audience Group Report (Macfadden, 1949), 15; Debbie Reynolds, with David Patrick Columbia, Debbie: My Life (New York: William Morrow, 1988), 43. 25. “Photoplay’s Pattern of the Month,” Photoplay (February 1948): 78, 98; Rena Firth, “For Variety’s Sake,” Photoplay (September 1951): 78; “Orry-Kelly,” Photoplay (December 1948): 88. 26. Roseann Ettinger, Fifties Forever: Popular Fashions for Men, Women, Boys, and Girls (Atglen, PA: Schiffer, 1998), 5; “New Lines in the Fashion Spotlight,” Photoplay (January 1955): 55; Jonathan Walford, 1950s American Fashion (Oxford: Shire, 2012), 54; “Knits Make News,” Photoplay (October 1955): 73–76; Ad for Lovable, Photoplay (October 1955): 77; “How to Look Like a Movie Star This Fall,” Photoplay (August 1956): 67–69. See also John Peacock, Fashion Sourcebooks: The 1950s (London: Thames and Hudson, 1997). I thank Dionne Griffith at Central Saint Martins for referring me to Walford and Peacock. 27. Karal Ann Marling, As Seen on TV: The Visual Culture of Everyday Life in the 1950s (Cambridge: Harvard University Press, 1994), 42; Flugel, Psychology of Clothes, chap. x; Davis, Fashion, 82–86; Linda Przybysewski, The Lost Art of Dress: The Women Who Made America Stylish (New York: Basic Books, 2014), 228–229; Sue Kreisman, “The Undercover Story,” Photoplay (February 1958): 65–66. 28. Margaret Walsh, “The Democratization of Fashion: The Emergence of the Women’s Dress Pattern Industry,” Journal of American History 66 (September 1979): 299–313; Sarah A. Gordon, Make It Yourself: Home Sewing, Gender, and Culture, 1890–1929 (New York: Columbia University Press, 2008), 2–3, 29; “Photoplay’s Pattern of the Month,” Photoplay (August 1951): 68–69; Rena Firth, “Smart for Your Age,” Photoplay (August 1951): 67; Maxine Block, “Make Your Own Clothes,” Photoplay (May 1954): 118, 120, 123. 29. “Sew a Star Wardrobe,” Photoplay (September 1957): 67–72; Sue Kreisman, “2 Patterns with 9 Lives,” Photoplay (March 1958): 63–65; “Sew a Party Dress,” Photoplay (November 1959): 68–69, 88–89; “Sew a Spring Wardrobe,” Photoplay (March 1960): 42–45, 75; “Make Your Own Summer Magic,” Photoplay (July 1963): 60–61, 94; Ad for Simplicity, Photoplay (November 1958): 72; Wolff, Women Buy, 180. 30. “Needle News” appeared monthly from approximately 1955 to 196l, but toward the end of its run, the title was changed to “Your Needlework” and “Needlework”; Ad for Pond’s, Photoplay (April 1955): 81. 31. Fields, Intimate Affair, 4; “Fashion a Beautiful Figure,” Photoplay (March 1957): 66; Wolff, Women Buy, 153, 171–174. 32. Georg Simmel, “Fashion,” American Journal of Sociology (May 1957): 541–558 (originally printed in International Quarterly X [October 1904]: 130–155). See Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste, 280 Notes

trans. Richard Nice (Cambridge: Harvard University Press, 1984), chap. 7; Rachel Moseley, Growing Up with Audrey Hepburn: Text, Audience, Resonance (Manchester: Manchester University Press, 2002), 83; Lizabeth Cohen, A Consumers’ Republic: The Politics of Mass Consumption in Postwar America (New York: Alfred A. Knopf, 2003), 161; T. J. Jackson Lears, “A Matter of Taste: Corporate Cultural Hegemony in a Mass Consumption Society,” in Recasting America: Culture and Politics in the Age of Cold War, ed. Lary May (Chicago: University of Chicago Press, 1989), 38–57; Lloyd A. Fallers, “A Note on the ‘Trickle Effect,’” in Class, Status, and Power: Social Stratification in Comparative Perspective, 2nd ed., eds. Reinhard Bendix and Seymour Martin Lipset (New York: Free Press, 1966), 402–404; Marshall Sahlins, Culture and Practical Reason (Chicago: University of Chicago Press, 1976), 179–204. 33. Karen Halttunen, “From Parlor to Living Room: Domestic Space, Interior Decoration, and the Culture of Personality,” in Consuming Visions: Accumulation and Display in America, 1880–1920, ed. Simon J. Bronner (New York: W. W. Norton, 1989), 158; Grant McCracken, Culture and Consumption (Indianapolis: Indiana University Press, 1990), chap. 4; Elizabeth Wilson, Adorned in Dreams: Fashion and Modernity (Berkele y : Universit y of Ca lifornia Pre ss, 1987), 122 –123; Herbert Blumer, “Fashion: From Class Differentiation to Collective Selection,” The Sociological Quarterly (Summer 1969): 288; Fred Davis, “Herbert Blumer and the Study of Fashion: A Reminiscence and a Critique,” Symbolic Interaction 14 (Spring 1991): 1–21; Karl W. Beck, “Modernism and Fashion: A Sociological Interpretation,” in Psychology of Fashion, 8–9.

13 Starring in PHOTOPLAY Dream and “Story-Book Houses”

1. “It’s Your Dream House,” Photoplay (October 1948): 31; Ad for When My Baby Smiles at Me, Photoplay (October 1948): 30; “Win,” Photoplay (December 1948): 36–41, 105. 2. Clark Clifford, The American Family Home 1800–1960 (Chapel Hill: University of North Carolina Press, 1986), 197–198; Kenneth T. Jackson, Crabgrass Frontier: The Suburbanization of the United States (New York: Oxford University Press, 1985), 232; Gwendolyn Wright, Building the American Dream: A Social History of Housing in America (Cambridge: MIT Press, 1981), 245–246; Wendy Kaplan, ed., Living in a Modern Way: California Design, 1930–1965 (Cambridge: MIT Press, 2012), 46. 3. Lizabeth Cohen, A Consumers’ Republic: The Politics of Mass Consumption in Postwar America (New York: Alfred A. Knopf, 2003), 202, 209; Shelley Nickles, “More Is Better: Mass Consumption, Gender, and Class Identity in Postwar America,” American Quarterly 54 (December 2002): 599–608. 4. “Win,” 38–41, 105. See Barry King, “The Star and the Commodity: Notes Towards a Performance Theory of Stardom,” Cultural Studies (May 1987): 145–161. Notes 281

5. On circulation, see “Contents,” Photoplay (November 1949): 2; Michael Maury, “Announcing the Dream House Winner,” Photoplay (April 1949): 32–33, 74, 76; Ad for dress, Photoplay (April 1949): 75; Jackie Neben, “The House that Dreams Built,” Photoplay (November 1949): 62–63. 6. “The Story-Book Home,” Photoplay (August 1958): 79; “How Can I Have a Hollywood Dream House,” Photoplay (September 1958): 62–64, 76–77; “The Story-Book Home of the Year!” Photoplay (September 1958): 65–73. 7. “The Story-Book Homes for 1960,” Photoplay (October 1959): 75–86; “The Story-Book Home of the Year!” 72. 8. Clark, American Family Home, 206; Stewart, Dougall and Associates, Magazine Audience Group Report (Macfadden, 1949), 14, 16. 9. Clark Clifford, “Ranch House Suburbia: Ideals and Realities,” in Recasting America: Culture and Politics in the Age of Cold War, ed. Lary May (Chicago: University of Chicago, 1989), 183; Clifford, American Family Home, 222– 230; Thomas Hine, Populuxe (New York: MFJ Books, 1986), 49, 52–53, 74; Kaplan, Modern Way, 46; Nicholas Oldsberg, “Open World: California Architects and the Modern Home,” in Modern Way, 120–129. “Overdrive: L. A. Constructs the Future 1940–1990” at the J. Paul Getty Museum and “A. : Building for Better Living” at the Armand Hammer Museum in 2013 were informative about postwar urban planning. 10. Nickles, “More Is Better,” 599–608; Cohen, Consumers’ Republic, 161, 202, 209, 212, 311–313; Hine, Populuxe, 4; Tracey Potts, “Creating ‘Modern Tendencies’: The Symbolic Economics of Furnishing,” in Historicizing Lifestyle: Mediating Taste, Consumption, and Identity from the 1900s to the 1970s, eds. David Bell and Joanne Hollows (Burlington, VT: Ashgate, 2006), 169; Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste, trans. Richard Nice (Cambridge: Harvard University Press, 1984), chap. 7; Susie McKellar and Penny Sparke, eds., Interior Design and Identity (Manchester: Manchester University Press, 2004), introduction. 11. Mitch Leisen, “Star in Your Home,” Photoplay (February 1948): 102; Janet Wolff, What Makes Women Buy (New York: McGraw-Hill, 1958), 25, 153– 155; Hans Dreier, “House Dutiful,” Photoplay (March 1950): 54. Starting with Hans Dreier’s second story, “Star in Your Home” became the series title and individual stories were separately titled. During Lyle Wheeler’s tenure, the series title was dropped. 12. Clifford, American Family Home, 229; Mitch Leisen, “Star in Your Home,” Photoplay (December 1948); 68, 90–91; Mitch Leisen, “Star in Your Home,” Photoplay (February 1948): 102; Lyle Wheeler, “Sunny Side Up,” Photoplay (April 1952): 104. 13. Wolff, Women Buy, 156; Mitch Leisen, “Star in Your Home,” Photoplay (May 1948): 105; Mitch Leisen, “Star in Your Home,” Photoplay (March 1948): 117; Mitch Leisen, “Star in Your Home,” Photoplay (October 1948): 67, 113–114; Mitch Leisen, “Star in Your Home,” Photoplay (January 1949): 84. See also C. Eugene Moore, Inspiring 1950s Interiors (Atglen, PA: Schiffer, 1997); Sheila Steinberg and Kate Dooner, Fabulous Fifties: Designs for Modern Living, 2nd ed. (Atglen, PA: Schiffer, 1993). 282 Notes

14. Anthony Slide, Inside the Hollywood Fan Magazine: A History of Star Makers, Fabricators, and Gossip Mongerss (Jackson: University Press of Mississippi, 2010), 66–68; Ruth Waterbury, “Star in Your Home,” Photoplay (April 1949): 54. 15. Maxine Block, “Getting in Step for Marriage,” Photoplay (May 1955): 43; Wheeler, “Sunny Side Up,” 52; Lyle Wheeler, “Esther Williams—R. F. D.,” Photoplay (September 1951): 102; Lyle Wheeler, “English with a French Accent,” Photoplay (March 1952): 76, 78; Lyle Wheeler, “Skytop House,” Photoplay (January 1952): 78; Sam Waters, “A Star Is Born: Making Hollywood Magic,” in Maynard L. Parker: Modern Photography and the American Dream, ed. Jennifer A. Watts (New Haven, CT: Yale University Press, 2012), chap. 2; Mitch Leisen, “Star in Your Home,” Photoplay (November 1948): 66; Hans Dreier, “Their Place in the Sun,” Photoplay (July 1950): 72. On California modern, see Cherie Fehrman and Kenneth Fehrman, Postwar Interior Design (New York: Van Nostrand Reinhold, 1987), 6; Tobi Smith, ed., Modern Design: the Fabulous Fifties (Atglen, PA: Schiffer, 2002). 16. Wolff, Women Buy, 164–165; Pat Kirkham, “At Home with California Modern,” in Modern Way, 148; Joan Kron, Home-Psych (New York: Crown, 1983), 92, 100–103. 17. Laura Shapiro, Something from the Oven: Reinventing Dinner in 1950s America (New York: Viking Penguin, 2004), 18–19, 45, 65–66; Hine, Populuxe, 24–25; Wolff, Women Buy, 135, 158–161, 214; Jessamyn Neuhaus, “The Way to a Man’s Heart: Gender Roles, Domestic Ideology, and Cookbooks in the 1950s,” Journal of Social History 32 (Spring 1999): 16–18 online; Karal Ann Marling, As Seen on TV: The Visual Culture of Everyday Life in the 1950s (Cambridge: Harvard University Press, 1984), 217, 220, 235; Carolyn M. Goldstein, Creating Consumers: Home Economists in Twentieth Century America (Chapel Hill: University of North Carolina Press, 2012), 271–273. 18. Wolff, Women Buy, 157, 161; Shapiro, Oven, xxii, 28; Ellin Thompson, “The Dream That Lasts a Lifetime,” Photoplay (June 1957): 59; Neuhaus, “Man’s Heart,” l0 online. 19. Anita Colby, “Hearthside Hospitality,” Photoplay (February 1948): 80–82; Ad for Woodbury Lotion, Photoplay (February 1948): 83. 20. Kay Mulvey, “Fisherman’s Feast,” Photoplay (April 1949): 91; Kay Mulvey, “A Bunch for Brunch,” Photoplay (August 1949): 102; Kay Mulvey, “Buffet by the Sea,” Photoplay (October 1949): 85; Kay Mulvey, “Kitchen Barbecue,” Photoplay (February 1950): 58, 100; Kay Mulvey, “Come as You Are,” Photoplay (October 1950): 70–71; Kay Mulvey, “The Forrest Party Plan,” Photoplay (January 1951): 52, 82; Kay Mulvey, “Spring Shower,” Photoplay (June 1949): 56, 85; Kay Mulvey, “Pilgrims’ Party Progress,” Photoplay (November 1950): 59, 86–87; Ad for Magic Cook Book, Photoplay (July 1951): 82. 21. Kay Mulvey, “Light Up the Lanterns,” Photoplay (September 1950): 77; Ads for Good Cooking, Rogers, and Exquisite Form, Photoplay (September 1950): 90–91; Kay Mulvey, “T is for Talk,” Photoplay (May 1949): 75. 22. “Put Glamour into Your Lunch Box,” Photoplay (March 1963): 57; “Put Glamour into Your Lunch Box,” Photoplay (May 1963): 65, 67; “Put Glamour into Your Lunch Box,” Photoplay (June 1963): 68–69. Notes 283

14 Advice Columns for Readers in Search of Romance

1. Claudette Colbert and Rama C., “What Should I Do?” Photoplay (May 1948): 8; Ad for The Mating of Millie, Photoplay (May 1948): 9. 2. Claudette Colbert and Adelena J., “What Should I Do?” Photoplay (May 1948): 10. 3. Claudette Colbert and Mrs. Bertha A., “What Should I Do?” Photoplay (December 1948): 10; Ad for Sleep, My Love, Photoplay (February 1948): 9; Ad for The Secret Fury, Photoplay (June 1950): 7. Statistical data are the result of my own calculations. 4. Claudette Colbert and Ada Z., “What Should I Do?” Photoplay (June 1949): 24, 26; Ad for The Beautiful Blonde from Bashful Bend, Photoplay (June 1949): 27; Claudette Colbert and Venetta S. C., “What Should I Do?” Photoplay (March 1948): 6, 8; Claudette Colbert and Pauline A., “What Should I Do?” Photoplay (June 1948): 4; Ad for The Lady from Shanghai, Photoplay (June 1948): 5. 5. Claudette Colbert and Jessie C., “What Should I Do?” Photoplay (February 1950): 6; Claudette Colbert and Dora M., “What Should I Do?” Photoplay (February 1951): 11; Ad for Tide, Photoplay (February 1951): 10; Claudette Colbert and Evelyn S., “What Should I Do?” Photoplay (June 1948): 4, 6; Ad for rings, Photoplay (June 1948): 8; Claudette Colbert and Estella W., “What Should I Do?” Photoplay (April 1952): 26. 6. Betty Friedan, The Feminine Mystique (New York: Dell, 1963), 69; Linda Eisenmann, Higher Education for Women in Postwar America, 1945–1965 (Baltimore: Johns Hopkins University Press, 2006), 5–7. See also Glenna Matthews, Just a Housewife: The Rise and Fall of Domesticity in America (New York: Oxford University Press, 1987); Eva Moskowitz, “It’s Good to Blow Your Top: Women’s Magazines and a Discourse of Discontent,” Journal of Women’s History 8 (Fa1l 1996): 66–98; Susan Ware, “American Women in the 1950s: Nonpartisan Politics and Women’s Politicization,” in Women, Politics, and Change, eds. Louise Tilly and Patricia Gurin (New York: Russell Sage Foundation, 1999), 281–299; Joanne Meyerowitz, ed., Not June Cleaver: Women and Gender in Postwar America, 1945–1960 (Philadelphia: Temple University Press, 1994), introduction; Stephanie Coontz, Strange Stirring: The Feminine Mystique and American Women at the Dawn of the 1960s (New York: Basic Books, 2011); Daniel Horowitz, Betty Friedan and the Making of The Feminine Mystique: The American Left, the Cold War, and Modern Feminism (Amherst: University of Massachusetts Press, 1998). 7. Claudette Colbert and Janet B., “What Should I Do?” Photoplay (January 1948): 6, 8; Ad for I Remember Mama, Photoplay (January 1948): 9; Claudette Colbert and Sheila M., “What Should I Do?” Photoplay (July 1948): 8, 10; Claudette Colbert and Lila I., “What Should I Do?” Photoplay (December 1951): 8; Claudette Colbert and Mrs. W. C. B., “What Should I Do?” Photoplay (March 1949): 6; Claudette Colbert and Andina C., “What Should I Do?” Photoplay (July 1948): 8. 284 Notes

8. Claudette Colbert and Gertrude G., “What Should I Do?” Photoplay (January 1950): 18; Ad for Mrs. Mike, Photoplay (January 1950): 19; Claudette Colbert and Velma P., “What Should I Do?” Photoplay (May 1948): 4; Ad for The Big Clock, Photoplay (May 1948): 5; Claudette Colbert and Jeanne A., “What Should I Do?” Photoplay (May 1949): 4; Claudette Colbert and Frances A., “What Should I Do?” Photoplay (September 1949): 4. 9. Claudette Colbert and Doris M., “What Should I Do?” Photoplay (July 1950): 4; Claudette Colbert and Stella N., “What Should I Do?” Photoplay (September 1950): 7–8; Claudette Colbert and Quinena C., “What Should I Do?” Photoplay (October 1950): 22; Claudette Colbert and Neapola O., “What Should I Do?” Photoplay (March 1951): 21. 10. Claudette Colbert and “Just Call Me Jinx,” Photoplay (January 1948): 6; Claudette Colbert and Beulah G., “What Should I Do?” Photoplay (October 1948): 4; Ad for Veto, Photoplay (October 1948): 4; Claudette Colbert and Marie A., “What Should I Do?” Photoplay (May 1949): 7; Ads for Mum and My Dream Is Yours, Photoplay (May 1949): 7, 6. 11. Claudette Colbert and Louella P., “What Should I Do?” Photoplay (January 1949): 6; Claudette Colbert and Elvina P., “What Should I Do?” Photoplay (July 1951): 4; Claudette Colbert and Svetla T., “What Should I Do?” Photoplay (August 1951): 6 12. Claudette Colbert and Olivia E., “What Should I Do?” Photoplay (October 1949): 82; Claudette Colbert and “A Worried Family,” Photoplay (October 1952): 4; Claudette Colbert and “A Steady Reader,” Photoplay (October 1952): 22; Claudette Colbert and “A Devoted Father,” Photoplay (July 1952): 6. 13. On sentimentalism, see Ann Douglas, The Feminization of American Culture (New York: Alfred A. Knopf, 1977); Jane Tompkins, Sensational Designs: The Cultural Work of American Fiction 1790–1860 (New York: Oxford University Press, 1985). On melodrama, see, for example, Peter Brooks, The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess (New Haven, CT: Yale University Press, 1976); Christine Gledhill, ed., Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film (London: British Film Institute, 1987). 14. , “If You Want to Be Charming,” Photoplay (April 1951): 86–88; Joan Crawford, “If You Want to Be Charming,” Photoplay (July 1951): 71; Joan Crawford, “If You Want to Be Charming,” Photoplay (December 1951): 76–77. See Michel Foucault, The History of Sexuality, vol. 1, trans. Robert Hurley (New York: Pantheon, 1978), part 5. 15 . Crawford, ‘‘Be Charming,’’ Photoplay (April 1951): 88; Joan Crawford, ‘‘If You Want to Be Charming,’’ Photoplay (June 1951): 105; Joan Crawford, ‘‘If You Want to Be Charming,’’ Photoplay (August 1951): 70; Crawford, ‘‘Be Charming,’’ Photoplay (June 1951): 97; Joan Crawford, ‘‘If You Want to Be Charming,’’ Photoplay (November 1951): 82; Crawford, ‘‘Be Charming,’’ Photoplay (August 1951): 87; Joan Crawford, ‘‘If You Want to Be Charming,’’ Photoplay (June 1952): 92; Joan Crawford, ‘‘If You Want to Be Charming,’’ Photoplay (March 1952): 103. Notes 285

16. , “You Don’t Have to Be Pretty to Be Popular,” Photoplay (June 1953): 40, 87, 88; Terry Moore, “How’s Your Social Rating?” Photoplay (July 1954): 12, 20; Ad for Listerine, Photoplay (July 1954): 21; Bob Wagner, “Wish You Had a Date?” Photoplay (October 1953): 90; Robert Wagner, “Date Bait,” Photoplay (October 1955): 88; Terry Moore, “Should A Girl Go Steady?” Photoplay (January 1956): 78; Marilyn Monroe, “Make It for Keeps,” Photoplay (July 1951): 92; Arlene Dahl, “How to Handle Men,” Photoplay (November 1953): 58, 102, 104. 17. Richard Egan, “Is College Really Necessary?” Photoplay (July 1956): 90–91; , “To Be or Not to Be in a Sorority?” Photoplay (October 1955): 115; “For Lovers Only,” Photoplay (December 1957): 36–37; Terry Moore, “Teen- Age Marriage Is a Mistake,” Photoplay (January 1954): 68; Joan Caulfield, “Mistakes Hollywood Girls Make with Men,” Photoplay (May 1948): 72, 116; Carolyn Jones, with Nick Adams, “Don’t Be Difficult or 7 Wonderful Ways to Mess-Up a Romance,” Photoplay (July 1958): 76; , “Don’t Rush into a Divorce,” Photoplay (March 1948): 124. 18. , “A Letter to My Daughter,” Photoplay (May 1949): 111; Mark Flanders, “When There’s a Daughter in the House,” Photoplay (May 1956): 93; “The MacLaine Method of Child Care,” Photoplay (November 1957): 97. 19. Alex Joyce, “Rock around the Clock with Dick Clark,” Photoplay (June 1958): 87. 20. “Dick Clark Says: Don’t Sit on the Sideline Be a Belle Have a Ball,” Photoplay (October 1958): 93, 64–65; Dick Clark, “The Ten Most Sure-Fire Ways To Lose A Valentine,” Photoplay (March 1959): 22–23; Dick Clark, “Girls, You’re Wonderful, But . . . ,” Photoplay (May 1959): 21–22; Ad for Ronson Hood, Photoplay (May 1959): 23l; Dick Clark, “Six Ways to Change a Boy,” Photoplay (July 1959): 86–87; Dick Clark, ”Let’s Talk about Going Steady Too Soon,” Photoplay (November 1959): 104. 21. Dick Clark, “Who’d Give Me a Job?” Photoplay (April 1959): 96–97; Joyce, “Rock around the Clock,” 88; Ads for Chamberlain and Marvel, Photoplay (April 1959): 97.

15 Contests, Gold Medal Awards, Commodity Fetishism, and Southern California Tourism

1. Fredda Dudley, “How a Star Is Born,” Photoplay (September 1950–February 1951) is a six-part series; Ads for Tampax, etc., Photoplay (September 1950): 101–103; “Announcing an Exciting New Contest,” Photoplay (June 1951): 32–35, 94–95. 2. “Exciting New Contest,” 32–35, 94–95; “Hollywood Applauds Photoplay’s Scholarship Contest,” Photoplay (August 1951): 79; “The Finalists of the Photoplay Scholarship Contest,” Photoplay (November 1951): 34–35; 286 Notes

Katherine Pedell, “Presenting the Winner of the Photoplay Scholarship Contest,” Photoplay (December 1951): 36–37, 101. 3. “Announcing the 1952 Photoplay Scholarship Contest,” Photoplay (January 1952): 64–65, 74–76; Katherine Pedell, “Calling All Actresses,” Photoplay (April 1952): 36; Virginia McGuire, “Dear Winner,” Photoplay (July 1952): 102; “The Champ—1952,” Photoplay (December 1952): 66–67. 4. “Choose Your Star,” Photoplay (August 1948): 66–72, 102–106; “The Winners,” Photoplay (October 1948): 12–13; Rosalie Wallace, “Halfway to Heaven,” Photoplay (November 1948): 56–59, 100; Hyatt Downing, “Talk about Agar,” Photoplay (November 1948): 44–45. 5. “Choose Your Star,” Photoplay (August 1949): 40 – 45, 93 –96; “The Winners,” Photoplay (November 1949): 31; Ruth Waterbury, “The Kid Who Never Cried,” Photoplay (December 1949): 40–41, 92; Maxine Arnold, “Sitting on Top of the World,” Photoplay (December 1949): 48–50, 103; “Choose Your Star,” Photoplay (August 1950): 40–45, 92–95; Johnny Sands, “Story of a Last Year’s Winner,” Photoplay (August 1950): 45, 97–98; “The Winners,” Photoplay (November 1950): 35; “Choose Your Star,” Photoplay (August 1951): 44–49, 72–73; “They’re the Tops,” Photoplay (November 1951): 37; Maxine Arnold, “You Chose These Stars,” Photoplay (December 1951): 44–45, 87–89. 6. “Choose Your Star,” Photoplay (August 1952): 44–47, 92–94; “The Winners,” Photoplay (November 1952): 31; Maxine Arnold, “You Chose These Stars!” Photoplay (December 1952): 34–37, 90–93; “Choose Your Stars!” Photoplay (August 1953): 50–55, 70–72; “The Winners,” Photoplay (November 1953): 33; “You Chose These Stars,” Photoplay (December 1953): 45, 104–105; “Choose Your Stars,” Photoplay (October 1954): 44–49, 116; “Choose Your Stars,” Photoplay (October 1955): 40–45, 101–102; Hildegarde Johnson, “Know the Stars You Chose,” Photoplay (February 1956): 59, 110. 7. “The New Gold Medals,” Photoplay (December 1949): 29; “Congratulations!” Photoplay (March 1950): 31–33, 89; “Who Will Be Your Favorites for 1950?” Photoplay (September 1950): 36–37, 92; “Congratulations,” Photoplay (March 1951): 29–35, 73–74. 8. “Announcing Photoplay’s Gold Medal Award Winners for 1951,” Photoplay (March 1952): 33–37; “Photoplay’s Gold Medal Party,” Photoplay (May 1952): 52–55; “Announcing the Photoplay Gold Medal Award Winners for 1952,” Photoplay (March 1953): 56–61; “The Big Night,” Photoplay (May 1953): 68–69. Variety top-grossing charts, which were published annually in the trade paper, are available in a binder at the Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. 9. “You Can Go to Photoplay’s Gold Medal Award Party!” Photoplay (February 1954): 16–17; “Announcing This Year’s Photoplay Gold Medal Winner,” Photoplay (April 1954): 20–23; “Gold Medal Award Contest Winner,” Photoplay (April 1954): 17; Kathleen Gerhold, “Gold Medal Awards Party,” Photoplay (June 1954): 36–38. 10. “Photoplay Gold Medal Awards Ballot for 1954–1955,” Photoplay (November 1954): 68–69; “Announcing Photoplay’s Award Winners of 1954–1955,” Photoplay (March 1955): 62–66, 84. Notes 287

11. “Photoplay Gold Medal Awards Ballot for 1955–56,” Photoplay (December 1955): 24–25; “Announcing Photoplay’s Award Winners of 1955–1956,” Photoplay (March 1956): 16–17, 76–77; “Photoplay Gold Medal Awards Ballot for 1956–1957,” Photoplay (January 1957): 12–13; “Announcing Photoplay’s Award Winners of 1956–1957,” Photoplay (March 1957): 18–19, 82–85; Kendis Rochlen, “Hollywood Goes to a Ball,” Photoplay (May 1957): 68–69, 90–91. 12. “Photoplay Gold Medal Awards Ballot 1957–1958,” Photoplay (January 1958): 70–71; “Photoplay’s Gold Medal Awards of 1957–1958,” Photoplay (March 1958): 67–69; “Who Will Be the Favorites for 1958?” Photoplay (December 1958): 53–55, 87–89; “Your 1958–1959 Photoplay Gold Medal Award Portfolio,” Photoplay (March 1959): 35–39. 13. “Who Will Be the Gold Medal Favorites for 1959?” Photoplay (December 1959): 70–71; “Your Photoplay Gold Medal Award Winners,” Photoplay (March 1960): 59–61; “Who’ll Be the New Singin’ Idol?” Photoplay (April 1958): 54–57, 93; “Photoplay’s First Annual Gold Medal Record Awards,” Photoplay (September 1959): 26–27; “Photoplay Gold Medal Record Awards for 1959,” Photoplay (February 1960): 65–67. Although Photoplay resumed awarding the Gold Medals in the early 1960s, it listed a medley of established box-office names, minor stars, newcomers, and unknowns because the stu- dios were in decline. A statistic showing the importance of music in the lives of teenagers, as opposed to parents and grandparents, in the 1970s appears in Mihaly Csikszmentmihali and Eugene Rochbert-Halton, The Meaning of Things: Domestic Symbols and the Self (Cambridge: Cambridge University Press, 1981), 71. 14. “Win a Grand Prize of $2,000,” Photoplay (September 1956): 58–61; “Win a Grand Prize,” Photoplay (October 1956): 62–65; “Win a Grand Prize,” Photoplay (November 1956): 66–69; “Win a Grand Prize,” Photoplay (December 1956): 56–57, 80–81; “Here They Are . . . ,” Photoplay (April 1957): 31. 15. “Win a Present from a Star,” Photoplay (June 1949): 38–41, 102–103; “Announcing the Winners,” Photoplay (October 1949): 33, 103; “Win a Present from a Star,” Photoplay (September, 1954): 56–59, 84–85; “Announcing the Winners,” Photoplay (January 1955): 6–7; “Win a Present from a Star,” Photoplay (November 1955): 42–47; 88–89; “Here They Are . . . ,” Photoplay (February 1956): 13; “Win a Present from the Stars,” Photoplay (January 1959): 26–27. 16. “ ‘Nutty Professor’ Contest,” Photoplay (July 1963): 47–50. 17. “Your Chance to Win a Hollywood-Designed Dress,” Photoplay (October 1951): 56–57, 81; “Congratulations to Wedding Contest Winners,” Photoplay (February 1952): 7; Ad for Zonite, Photoplay (February 1952): 7; “Star Stand-in Contest,” Photoplay (March 1955): 109; Ad for Beverly Hills Hotel, Photoplay (March 1955): 108. 18. Pam Law, “How to Sew-Up a Date with Tab Hunter,” Photoplay (November 1958): 64–67, 76; Pam Law, “How to Sew Up a Date with Tab Hunter,” Photoplay (December 1958): 50–52; Lucky Koch, “I’ll Wear Tab’s Friendship Bracelet Forever,” Photoplay (April 1959): 70–72, 98; Ad for Max Factor, Photoplay (April 1959): 73; “Win a Date with Sal Mineo,” Photoplay (December 288 Notes

1956): 73; “The Prize—and the Winnah!” Photoplay (February 1957): 30–31; “A Date with Sal,” Photoplay (April 1957): 66–67. 19. Cindy S. Aron, Working at Play: A History of Vacations in the United States, (New York: Oxford University Press, 1999), introduction; Fredda Dudley, “Hollywood Holiday,” Photoplay (July 1949): 32–39, 66, 68–70, 72–74. 20. “Win a Hollywood Holiday,” Photoplay (May 1950): 42–43, 82; Fredda Dudley, “Sunshine Trails,” Photoplay (May 1950): 44–47, 94, 96–98, 100; “California Cavalcade,” Photoplay (May 1950): 48–49; “Announcing the Winners,” Photoplay (September 1950): 31. 21. “Win a Hollywood Holiday,” Photoplay (May 1951): 64–65, 85; “Photoplay Travel Vacation Fashions,” Photoplay (May 1951): 66–73, 88; Vicky Riley, “Nice Going,” Photoplay (May 1951): 76, 80, 83; “Day by Day Itinerary,” Photoplay (May 1951): 78–83; “Free for All,” Photoplay (May 1951): 84; Ads for pearls, etc., Photoplay (May 1951): 71, 77, 79, 81, 84; “Announcing the Winners,” Photoplay (September 1951): 81; “Winner Take All,” Photoplay (January 1952): 8. 2 2 . F r e d d a D u d l e y, “Hollywood Holiday,” Photoplay (May 1955): 70–71, 96–101; “Win a Hollywood Holiday,” Photoplay (May 1955): 72–73; “Winners of Win a Hollywood Holiday,” Photoplay (August 1955): 22; “Pattern of the Month,” Photoplay (August 1955): 22. On tourism, see John Urry, The Tourist Gaze: Leisure and Travel in Contemporary Societies (London: Sage, 1990); Dean McCannell, “Staged Authenticity: Arrangements of Social Space in Tourist Settings,” American Journal of Sociology 79 (November 1973): 589–603. On Disneyland, see Karal Ann Marling, As Seen on TV: The Visual Culture of Everyday Life in the 1950s (Cambridge: Harvard University Press, 1994), chap. 3; Jon Lewis, “Movies and Growing Up . . . Absurd,” in American Cinema of the 1950s: Themes and Variations, ed. Murray Pomerance (New Brunswick, NJ: Rutgers University Press, 2005), 135–136. 23. “Go . . . to Hollywood for Holiday Fun,” Photoplay (May 1957): 74–77, 94–102; “Win . . . a Trip to Hollywood,” Photoplay (May 1957): 72–73; “Their Dream Come True,” Photoplay (December 1957): 62–63. 24. Janet Wolff, What Makes Women Buy (New York: McGraw-Hill, 1958), 34; Edgar Morin, The Stars, trans. Richard Howard (Minneapolis: University of Minnesota Press, 2005), 25. See P. David Marshall, Celebrity and Power: Fame in Contemporary Culture (Minneapolis: University of Minnesota Press, 1997).

Conclusion: The Fans

1. See Kelly Schrum, “Teena Means Business,” in Delinquents and Debutantes: Twentieth Century American Girls’ Cultures, ed. Sherrie A. Inness (New York: New York University Press, 1998), 141. 2. Janice Winship, Inside Women’s Magazines (London: Pandora Books, 1987), 42–45. On Winship, see Jackie Stacey, Star Gazing: Hollywood Cinema and Female Spectatorship (New York: Routledge, 1994), 185–186. On feminism Notes 289

and cultural studies revised, see Angela McRobbie, The Aftermath of Feminism: Gender, Culture and Social Change (London: Sage, 2009); Rachel Moseley, Growing Up with Audrey Hepburn: Text, Audience, Resonance (Manchester: University of Manchester Press, 2002). See also Stuart Hall et al., eds. Culture, Media, Language (London: Hutchinson, 1980). On false consciousness, see, for example, John Tomlinson, Cultural Imperialism: A Critical Introduction (Baltimore: Johns Hopkins Press, 1991), chap. 4. 3. Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste, trans. Richard Nice (Cambridge: Harvard University Press, 1984), chap. 7; Colin Campbell, “The Sociology of Consumption,” in Acknowledging Consumption: A Review of New Studies, ed. Daniel Miller (London: Routledge, 1995), 113– 114; Arno J. Mayer, “The Lower Middle Class as Historical Problem,” Journal of Modern History 47 (September 1975): 422–423. 4. Campbell, “Sociology,” 113–114; Moseley, Audrey Hepburn, 83; Lizabeth Cohen, A Consumers’ Republic: The Politics of Mass Consumption in Postwar America (New York: Alfred A. Knopf, 2003), 156–162. See also Jessica Weiss, To Have and to Hold: Marriage, the Baby Boom, and Social Change (Chicago: University of Chicago Press, 2000); Lisa Eisenmann, Higher Education for Women in Postwar America, 1945–1965 (Baltimore: Johns Hopkins University Press, 2006), introduction, chap. 5. 5. See James Surowiecki, “The Mobility Myth,” New Yorker (March 3, 2014): 28. On inequality, see the “Great Divide” series in New York Times, “Sunday Review,” especially Joseph E. Stieglitz, “Equal Opportunity, Our National Myth,” February 17, 2013; Robert D. Putnam, “Crumbling American Dreams,” August 4, 2013; Monica Prasad, “Land of Plenty of Government,” March 3, 2013; Gregory Clark, “Your Ancestors, Your Fate,” February 23 2014. The Times also ran several stories about Thomas Piketty’s Capital in the Twenty-First Century, trans. Arthur Goldhammer (Cambridge: Harvard University Press, 2014). 6. Tim Kasser et al., “Materialistic Values: Their Causes and Consequences,” in Psychology and Consumer Culture: The Struggle for a Good Life in a Materialistic World, eds. Tim Kasser and Allen D. Kanner (Washington, DC: American Psychological Association, 2004), 10–26; Grant McCracken, Culture and Consumption: New Approaches to the Symbolic Character of Consumer Goods and Activities (Bloomington: Indiana University Press, 1987), chap. 8. 7. Sanja Iveković, Sweet Violence (New York: Museum of Modern Art, 2011), 55–67. When Lindsay Lohan wore a short, clinging white sheath during a perp walk in Los Angeles in 2011, the dress, retailing for $575, sold out within days. See Ruth LaFerla, “Turning the Perp Walk into a Runway Strut,” New York Times, March 17, 2011. 8. See Elizabeth Warren and Amelia Warren Tyagi, The Two-Income Trap: Why Middle-Class Parents Are Going Broke (New York: Basic Books, 2003) for a bleak assessment of women having careers and income. 9 . C o lin Campbell, The Romantic Ethic and the Spirit of Modern Consumerism (London: Alcuin Academics, 2005), chap. 5; Elizabeth Dunn and Michael Norton, “Don’t Indulge, Be Happy,” New York Times, “Sunday Review,” July 8, 2012. 290 Notes

10. McCracken, Culture and Consumption, chap. 7; Barbara Kruger, “For Sale,” New York Times, November 24, 2012. A number of happiness studies refer to the Easterlin paradox, based on Richard Easterlin’s finding in 1974, which argues that people (and nations) do not become happier as they accumulate more wealth. Index

Page numbers in italic denote figures and tables. Academy of Motion Picture Arts and awards, 20 Sciences Academy Award, 19, 20, 21, 43, 64, Margaret Herrick Library, 4 67, 69, 73, 75, 110, 113, 115, See also awards 123–4, 209, 229–34, 241 Adrian, 176–7 General Federation of Women’s advertising, 11, 24, 52, 145–6, 151–67, Clubs Award, 69 243, 246 Golden Globe, 19, 20, 21, 115, 230–2 cigarettes, 156, 162–3, 209 Henrietta, 19, 20, 21, 34, 94, 101, 231 cosmetics, 155, 158– 60, 159, 170 New York Film Critics, 69 feminine hygiene, 156, 161–2 Photoplay Gold Medal, 19, 20, 101, grooming products, 156, 160–1 102, 144, 228–34, 232, 233, 242 hair products, 157, 158 Photoplayy Gold Medal Record lingerie, 1644, 164–5 Award, 233–4 perfume, 155, 160, 161 Sour Apple, 32, 34, 41 advice columns, 207–23, 208, 217 Agar, John, 227 Bardot, Brigitte, 44, 74 Allyson, June, 2, 170, 230, 231, 235 Barry, Don “Red,” 64 Alpert, Hollis, 44 Baudrillard, Jean, 11 American Dream, 6, 7, 10, 15, 16, Baxter, Anne, 174, 202, 203, 225 191, 193 Beatty, Warren, 113–15 American Home Reader Consumer beauty, 71, 75, 127, 131, 143–4, Panell, 197 151– 66, 169–76, 216–19. Americans, Thee (Frank), 1 See also advertising; body; Andrews, Dana, 202, 226 glamour anti-Semitism, 5, 51, 92–3 Bell, Daniel, 155 Armstrong, George, 62, 88 Berger, John, 140 Aron, Cindy S., 15 Better Homes and Gardens, 199–200 auteurism, 17, 231 birth control, 6, 165, 214. See also Avalon, Frankie, 148, 221, 234 Griswold v. Connecticut Avedon, Richard, 75, 79, blondeness, 43, 86, 100, 103, 104, 157–8 81, 261n7 Blythe, Ann, 177 292 Index body, 29, 75, 86–8, 107–8, 110, 127–8, commodity fetishism, 4, 11, 144, 162, 131, 143–4, 160–2, 161, 164–6, 163, 191, 225, 234–8, 242 164, 174–5, 186, 217–19. See also Confidentiall, 4, 98–9, 133. See also beauty; fashion; lingerie; pinup tabloids Bourdieu, Pierre, 10, 147, 153, 187, Connolly, Mike, 44, 63, 75 196, 244 consumption, 1, 6–9, 16, 21, 54, British cultural studies, 11–12, 244 60–1, 103, 107, 110, 121–2, 125, Brumberg, Joan Jacobs, 108, 144, 156, 140, 144, 145, 151–66, 180–2, 174 189–200, 234–42, 243–7 Bundle of Joy, 52 and human agency, 11–12, 243–4 Burton, Richard, 124–7, 135, 139–40, and meaning of goods, 9–12 151, 154, 228 See also advertising; housing; social Butterfield 8, 124 classes; suburbia; teenagers Butterick, E. & Co., 184 contests Byington, Spring, 215–16 “Choose Your Stars,” 227–8 Date with Tab Hunter, 236–8, California lifestyle, 1, 3, 8, 16, 28, 30, 237 42, 44, 60, 113, 129, 144, 147, Dream House, 189–92, 190 152, 170, 189, 193, 195–205, Gold Medals, 229–33 238–42. See also fashion; Pasadena Playhouse Scholarship, housing; tourism 225–7 Campbell, Colin, 10, 122, 244 “Story-Book Home,” 192–5, 194 Campbell, Jeanne, 182 “Win a Grand Prize of $2,000,” Cannes Film Festival, 69, 100, 101, 234, 235 104, 260–1n11 “Win a Present from a Star,” 234–5 Cannon, Poppy, 200 “Win a Trip to Hollywood,” 238, Caron, Leslie, 219, 228 238–42 Case Study houses, 190, 195, 198 Crawford, Joan, “If You Want to Be Cassini, Oleg, 67, 137, 160 Charming,” 88, 169, 173, 191, Caulfield, Joan, 163, 191, 220 216–20, 217, 229, 240 Chandler, Jeff, 34, 62, 101 Crocker, Betty, 201, 202 Chapman, Ceil, 118, 235 Cukor, George, 93 Churchwell, Sarah, 130 Curtis, Tony, 17, 154, 203, 228, 232 Clark, Danae, 71 Curtiz, Michael, 38, 42 Clark, Dick, 148, 154, 221–3, 222 class. See underr social classes Dahl, Arlene, 34, 172, 219, 220 Cleopatra, 123–7 Darnell, Linda, 159, 220 Cohen, Lizabeth, 10 Davis, Bette, 109, 114, 226 Cohn, Harry, 55, 105, 140 Davis, Fred, 176, 183 Colbert, Claudette, “What Should I Davis, Nancy, 240 Do?” 163, 191, 197, 198, 207–16, Davis, Jr., Sammy, 104, 140, 265n15 208, 229 Day, Doris, 2, 4, 7, 15, 17, 21, 23, 24, Colby, Anita, 172, 202 35, 37–45, 39, 47, 48, 88, 129, Colette, 76 131–9, 143, 153, 157, 158, 175, Columbia Studios, 85, 97–8, 99, 101, 178, 197–200, 214, 227, 229, 102, 103, 123, 140, 180, 208, 210 231, 233 Index 293

and Melcher, Marty, 38–45, 135, fashion 138, 153 California sportswear, 176–8, 178, daydreaming, 10–11, 130, 147, 160, 180, 187, 200, 239, 243 163, 166–7, 176, 197, 205, 208, chemise, 183 213, 230, 236, 239, 245. See also ensemble, 148, 177, 178, 180, 182, Campbell, Colin 187, 239 Dean, James, 121, 231 lingerie, 164–5, 164, 175, 186–7,6, 186 Debbie-Eddie-Liz scandal, 15, 23, 53–5, 186, 218, 240 87, 122–5, 130, 148, 151, 154, New Look, 176–7 183, 216. See also Fisher, Eddie; sheath, 182–3, 183 Reynolds, Debbie; Taylor, Elizabeth See also Gwynn, Edith; Hepburn, decor, 100–1, 197–200, 199. See also Audrey; “Pattern of the Month”; housing; “Star in Your Home” sewing; tourism deCordova, Richard, 98 Father of the Bride, 118 Dee, Sandra, 148, 171, 172 Fawcett Publications, 5 DeFore, Don, 192, 201, 202 Federal Aid Highway Act, 7 demographics, 6, 31, 146–7, 208. Federal Housing Administration, 7, See also Magazine Audience Group 8, 195 Report; social classes Feminine Mystique, Thee (Friedan), 6, , 70, 241 24, 211 DiMaggio, Joe, 84–90, 93, 136 Ferrer, Mel, 76–80, 78, 136 Dior fashion, 69, 121, 140, 176 Finstad, Susan, 130 Disneyland, 239, 240 Fisher, Carrie, 52, 55, 138 divorce, 7, 24–5, 33, 34, 38, 45, 54, Fisher, Eddie, 5, 15, 25, 50–5, 121–8, 61–3, 90, 92, 115, 122–5, 133, 132, 135–9, 143, 151, 154, 216, 255n13 240. See also Debbie-Eddie-Liz domestic ideology, 2, 21, 60, 63, 72, 79, scandal 121, 124, 130, 135, 139, 200, 210 Flugel, J. C., 183 marriage and birth rates, 6, 31, 175–6 Fong, Benson, 204 See also togetherness food Dougherty, James, 87 cookbooks, 200–1 Dreier, Hans, 197, 199 fast food, 201 Dudley, Fredda, 225–6 packaged and convenience foods, Dyer, Richard, 2, 4, 5, 16, 145 200–5 party story genre, 201, 203 Egan, Richard, 220 recipes, 202–5 Elg, Taina, 183 “Put Glamour into Your Lunch Elizabeth, Queen, 52, 74 Box,” 204, 205 TV dinners, 201 Fabian, 148, 221, 234 See also Mulvey, Kay fans, 1–3, 143–9, 151–5, 243–7. See Forrest, Sally, 203, 227, 239 also advertising; advice columns; Fortune, 196 commodity fetishism; contests; Foucault, Michel, 21, 87, 98, 159, 217 identification; stars Francis, Connie, 222, 234 294 Index

Frank, Robert, Americans, The, 1 and Barker, Jess, 57–64 Freudianism, 48, 89, 114, 123, 127–8, and Chalkley, Floyd, 64, 137–9 145 Head, Edith, 56, 76, 182, 236 Friedan, Betty, Feminine Mystique, Hepburn, Audrey, 3, 17, 19, 23, 25, The, 6, 24, 211 75–81, 78, 130–2, 135–6, 139, Funicello, Annette, 234 153, 175, 187, 228, 233, 244 Higginbotham, Ann, 23 Gable, Clark, 69, 73, 143, 179 , 67 Gam, Rita, 68–9, 73 Hilton, Nick, 118–19, 152 Gardner, Ava, 114, 172, 177, 229, 235 Hine, Thomas, Populuxe, 196 Garland, Judy, 180 Hitchcock, Alfred, 17, 43, 72, 73, 102, Garner, James, 136 105, 231 gender, 2–3, 19, 48, 153, 186, 187, Holden, William, 98, 101, 231 244. See also advertising; beauty; Hollywood Foreign Press Association, body; fashion; glamour 19, 20, 94, 230. See also Golden General Mills, 201, 202, 205 Globe, Henrietta under awards Gentlemen Prefer Blondes, 88, 230 Hollywood Women’s Press Club, 32, GI Bill of Rights, 7, 220 34, 41, 198. See also Sour Apple Gigi, 75, 76, 233 under awards girl next door, 15–16, 31–2, 40, 47–50, Hope, Bob, 42, 233 153. See also Day, Doris; Reynolds, Hopper, Hedda, 86, 119, 124–6, 137 Debbie; Williams, Esther housing, 7–8, 15–16, 189–200, Givenchy, Hubert de, 80 20l, 205, 243. See also contests; glamour, 127, 140, 153, 157, 166, decor; demographics; social 169–73, 178, 196, 210, 235, 244, classes; suburbia 245. See also advertising; beauty; How American Buying Habits Change body; California lifestyle; fashion (Department of Labor), 9 Gledhill, Christine, 25 Hudson, Rock, 140, 154, 228, 231, Goffman, Erving, 156 233, 234 Good Housekeepingg, 134, 160, 163, 201 Hughes, Howard, 88 gossip, 5, 21, 33, 51, 140. See also rumor Hunter, Tab, 49, 108, 110, 112, 144, Graham, Sheilah, 44, 170, 174 228, 236, 237 Grant, Cary, 73, 104–5, 232, 261n1 Husted, Marjorie, 202 Greene, Milton, 90, 91, 271n17 Hutton, Betty, 38, 47, 229, 236 Griswold v. Connecticut, 214. See also Hyde, Johnny, 27, 86, 89 birth control Hyer, Martha, 170 Gwynn, Edith, 153, 176–80, 179 I Want to Live! 19, 21, 57, 64 Hanson, Jack (Jax), 91, 120, 267n6 identification, 2–3, 29, 31, 57, 60, 131, Harris, Radie, 77, 136 144–5, 147, 152– 4, 185–6, 234. Harris, Thomas, 129 See also fans; stars Hayward, Susan, 3, 19, 21, 23, 57–65, “If You Want to Be Charming” 58, 67, 123, 131, 133, 136–9, (Crawford), 216–19, 217 153, 218, 229–30 I’ll Cry Tomorrow, 57, 64 Index 295 intertextuality MacLaine, Shirley, 220, 228 of magazine pieces, 3, 24, 89, Madison, Guy, 202, 231 151–2, 163–4, 238 Magazine Audience Group Report of stardom, 41, 131 (Stewart, Dougall and Assocs.), Iveković, Sanja, 245–6 146–7. See also Macfadden; True Story Women’s Group Jackson, Kenneth T., 7 Man Who Knew Too Much, The, 43 James, Charles, 176, 278n17 Marchand, Roland, 160, 165, 166 Jameson, Fredric, 12 Marnie, 72, 73 Jhally, Sut, 156 Maxwell, Elsa, 117–19 Johnson, Erskine, 33, 86 Mayer, Arno J., 244 Jones, Carolyn, 220 Mayne, Judith, 21 Mayo, Virginia, 174–5 Kaufman, David, 134 McCall’s, 3, 6, 7 Kefauver, Estes, Senator, 16 McCardell, Claire, 39 Kelly, Grace, 3, 17, 21, 23, 34, 67–74, McCracken, Ellen, 152 70, 75, 129–31, 133–4, 136–7, McCracken, Grant, 11, 245–6 139, 153, 157, 158, 160, 187, 227, melodrama, 3, 5, 24, 25, 61–2, 228, 231, 241, 260–1nll 79, 151, 154, 160, 162, 165, Kennedy, Jacqueline, 74, 154 216. See also romance fiction; Kennedy, John F., 154 sentimentalism Kennedy, Robert, 94 Meyerowitz, Joanne, 24 Kerr, Deborah, 163, 204, 232 MGM, 15, 27, 30, 34, 47, 49, 68, Kruger, Barbara, 12, 247 70–2, 118, 124, 131, 134, 135, 143, 154, 176, 182, 234–5, 241, Ladd, Alan, 154, 199, 230 246 Ladies’ Home Journal, The, 3, 24, 135, Miles, Vera, 175, 202 189, 197, 201 Miller, Ann, 179, 203, 235 Lampert, Gavin, 130, 133 Miller, Arthur, 84, 90–3, 136–7 Leigh, Janet, 17, 180–1, 181, 203, 220, Mineo, Sal, 237 225, 227, 235 Minnelli, Vincente, 118 Leisen, Mitch, “Star in Your Home,” Modern Screen, 4, 19 191, 197–8 Monroe, Marilyn, 3, 4, 16, 17, 19, 23, Levitt, William J., 7, 8 27, 44, 74, 75, 83–95, 844, 97, Life, 27, 47, 131, 201 100, 129–37, 139, 153, 158, 164, Lukács, Georg, 11 172, 175, 192, 201, 219, 225, Lurie, Alison, 170 230, 245–6 Lynley, Carol, 148, 172, 185 Montand, Yves, 72, 92 Moore, Terry, 173, 175, 183, 185, 219, Macfadden, Bernarr, 5 220, 225, 240 Macfadden Publications, 5, 54, 114, Morin, Edgar, 59, 85, 145, 242 146–7, 165, 166, 182, 190, 192, Moseley, Rachel, 153, 187, 244 195, 196, 200, 201, 244. See also Motion Picture Magazine, 4–5, 54, True Story Women’s Group 60–2, 104, 129–30 296 Index

Muir, Florabel, 126 Macfadden; stars; True Story Mulvey, Kay, 202–4 Women’s Group My True Story, 55, 123, 165 Pillow Talk, 17, 44 pinup, 31, 47, 59, 83, 85 “Needle News,” 50, 185 Playboy, 5, 6, 11, 87 Nelson, George, 196 Popenoe, Paul, Dr., 24, 132 Nelson, Lori, 170, 228 Populuxee (Hine), 196 Nelson, Rick, 148, 154, 221, 235 Powell, Jane, 2, 203 New York Evening Graphic, 5, 54 Presley, Elvis, 111, 148, 154, 234 New York Times, 5, 247 Prowse, Juliet, 124 Nickles, Shelley, 196 Novak, Kim, 3, 17, 19, 23, Quine, Richard, 103, 105 24, 44, 97–105, 100, 131–2, 140, 143–4, 153, 158, 171, race, 2, 8, 15–16, 104, 131, 133, 147–8, 228, 231, 232 195, 234. See also blondeness; Nun’s Story, A, 80, 135, 136 housing Radway, Janice, 166 Ondine, 77, 78 Rainier, Prince, 23, 68–73, 136, 137 Orry-Kelly, 182, 239 Ray, Nicholas, 109–10 Rebel without a Cause, 109–10, 112 Paget, Debra, 170 Reed, Donna, 179, 179 Palladino, Grace, 148 Resor, Helen Lansdowne, 166 Paramount, 1, 56, 59, 76, 102, 174, Reynolds, Debbie, 2, 5, 6, 15, 16, 19, 182, 197, 212, 235, 236 21, 25, 35, 47–56, 48, 85, 87, 88, Parker, Eleanor, 85 99, 107, 114, 117, 121–3, 131–2, Parker, Maynard, 198, 199 136, 137, 138, 143, 148, 151, 153, Parsons, Louella O., 28, 31, 34, 154, 157, 162, 171, 172, 182, 185, 117–18, 124–5, 198, 214 198, 216, 225, 229, 231, 232, Pasadena Playhouse, 144, 225–7 233, 240, 246 “Pattern of the Month,” 39, 39, 50, 178, and Karl, Harry, 55–6, 123, 137, 162 178, 180–1, 181, 182, 184, 185, See also Debbie-Eddie-Liz scandal 200, 240. See also fashion; sewing Richardson, Don, 130 Peck, Gregory, 75, 76, 191, 226, 229 Riley, Vicky, 172–3, 240 Peters, Jean, 227 RKO, 52, 87, 88, 180, 181, 212 Photoplay, 1–6, 22, 24, 44–5, 47–8, Rock, Pretty Baby, 237 54, 61–2, 73, 87, 93, 98–9, 103, rock ’n’ roll, 107, 147, 149, 154, 221–3. 129–31, 140, 144, 172 See also Clark, Dick; teenagers circulation, 1, 146–7 Roman Holiday, 19, 75 covers, 151–5 romance fiction, 50, 79, 113, 119, “Living with Young Ideas,” 108, 151, 216. See also melodrama; 148, 172, 175, 182, 202 sentimentalism See also advertising; advice Rose, Helen, 52, 71, 118, 182, 184, columns; beauty; contests; decor; 184, 185, 241 fans; fashion; food; housing; Rosten, Norman, 135, 137 Index 297 rumor, 4–5, 21, 33, 51, 103–4, 140. Stacey, Jackie, 3, 145, 153, 172 See also gossip Stanislavski method, 101, 111 Rush, Barbara, 157, 170, 182 “Star in Your Home,” 197–200 Russell, Jane, 88, 198 stars, 15–25, 18, 20, 22, 29, 30, 32, 60, 92, 99, 113, 129–40, 246 scandal, 21–3, 33, 53–5, 57–8, 61–2, and demystification, 98, 151, 242 98–9, 103–4, 113–14, 122–5, 130. and family dynamics, 131–3 See also Debbie-Eddie-Liz as social types, 1–4, 16–17, 21, 58, scandal; divorce; tabloids 60, 67, 83, 85–6, 91, 125, 131, Schrum, Kelly, 155 145, 152 Schudson, Michael, 166 and voyeurism, 1, 53–4, 130, 149, 213 Scullin, George, 43 See also advertising; advice Sears Roebuck, 181–2, 218 columns; beauty; Segman, Harriet, 172 decor; fans; fashion; food; self-theatricalization, 178, 187. See also housing; identification; glamour intertextuality sentimentalism, 50, 79, 113, 119, 216. Stegner, Wallace, 28 See also melodrama; romance Stern, Bert, 94–5 fiction Stevens, George, 127 Seven Year Itch, The, 90 Stewart, Dougall and Assocs. Seventeen, 148, 155, 202 Magazine Audience sewing, 184–6. See also “Pattern of the Group Report, 146–7 Month”; “Needle News” Strasberg, Lou and Paula, 90, 91, 134 sexuality, See under body suburbia, 6–9, 11, 12, 15–16, 104, Shapiro, Laura, 201 129, 131, 145, 147, 155, 189–193, Shibutani, Tamotsu, 5. See also gossip; 195–7, 201, 243, 246. See also girl rumor next door; housing Simmel, Georg, 187 Simmons, Jean, 125, 173 tabloids, 4, 44–5, 54, 64, 93, 98–9, Simplicity Pattern Co., 185, 236–7 123, 128. See also Confidential; Sinatra, Frank, 51, 99, 103, 114, 124, Debbie-Eddie-Liz scandal; 229, 235, 240 scandal Singin’ in the Rain, 19, 47, 49 Tammy and the Bachelorr, 19, 52 Skolsky, Sidney, 44, 126 taste, 5, 10, 147, 190, 195–6, 198, Slide, Anthony, 148 244–5. See also Bourdieu, Smoodin, Eric, 21 Pierre; decor; fashion; housing; social classes, 3, 5, 7–9, 11, 146–7, 187, Populuxe; social classes 190, 196–200, 204–5, 244–5. Taylor, Elizabeth, 3, 4, 11, 15, 16, 17, See also Magazine Audience Group 19, 23, 25, 44, 47, 53–5, 61, 74, Report; Social Research Inc. 99, 114, 117–28, 120, 130–1, Social Research Inc., 196 133–6, 138–40, 148–9, 151–4, Spada, James, 130 157, 172–3, 179, 182, 1844, 220, Spock, Benjamin, Dr., 24, 192 229, 231, 235, 236, 247. See also Spoto, Donald, 130 Debbie-Eddie-Liz scandal 298 Index teenagers, 107–9, 144–9, 155–6, Warhol, Andy, 221 166–7, 221–3, 243–7. See also Warner, John, Senator, 134-5 Clark, Dick; rock ’n’ roll Warner, Lloyd, 196 Temple, Shirley, 191, 220, 227 Warner Bros., 37, 38, 43, 44, 47, 49, terror management theory, 12 59, 174, 182, 214 Todd, Mike, 53, 120–2, 124, 126, 135 Waterbury, Ruth, 94, 198 togetherness, 1, 3, 7, 11, 23, 25, 29, Weegee, 16 45, 52, 79, 88, 91, 103, 126, 139, “What Should I Do?” (Colbert), 140, 145, 176, 201, 210, 214, 207–16, 208 215. See also domestic ideology “Whatever Will Be, Will Be” tourism, 238–42. See also California (“Que Sera, Sera”), 43 lifestyle; contests Wheeler, Lyle, 197 Trillin, Calvin, 9 Wilder, Billy, 17 True Story, 5, 166, 196. See also and wife, Audrey, 136 Macfadden Wilding, Michael, 119–21, 152 True Story Women’s Group, 54, Williams, Esther, 2, 3, 7, 15, 16, 146–7, 166, 182, 192, 196. 17, 19, 23, 27–35, 28, 41, 42, 43, See also Macfadden; Magazine 47, 48, 129, 131–2, 134, 136, Audience Group Report 137–9, 152, 154, 157, 174, 175, Trujillo, Jr., Rafael, 103–4 198, 219, 235 Turner, Lana, 179–80, 220, 240 and Gage, Ben, 27, 30, 32–4, 136 Twentieth Century Fox, 64, 86, 88, and Lamas, Fernando, 34, 138, 219 90, 93, 97, 111, 125, 132, 174, Williams, Raymond, 10, 11, 152, 180, 189, 197, 210, 230 156 Wilson, Earl, 90, 99 Universal International, 52, 115, 182, 235 Winogrand, Garry, 249n1 Winship, Janice, 152, 244 Variety, 17, 18, 229–33 Winters, Shelley, 126, 191, 226 Veblen, Thorstein, 10 With a Song in My Heart, 19, 21, 58, Vertigo, 17, 102 60, 229 Veterans Affairs, 7–8 Wolff, Janet, 145, 147, 166, 185, 186 Vidor, King, 136 Wood, Natalie, 3, 23, 107–15, 109, voyeurism, 1, 117, 130, 149, 130–4, 136, 148, 153, 172, 220, 228 See also scandal; stars Wyler, William, 75

Wagner, Robert, 48, 49, 112–15, 130, Young, Loretta, 191, 197 132, 136, 203, 228 Wallach, Eli, 136 Zolotow, Maurice, 95