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The Glorious Career of Comedienne Judy Holliday Is Celebrated in a Complete Nine-Film Retrospective
The Museum of Modern Art For Immediate Release November 1996 Contact: Graham Leggat 212/708-9752 THE GLORIOUS CAREER OF COMEDIENNE JUDY HOLLIDAY IS CELEBRATED IN A COMPLETE NINE-FILM RETROSPECTIVE Series Premieres New Prints of Born Yesterday and The Marrying Kind Restored by The Department of Film and Video and Sony Pictures Born Yesterday: The Films of Judy Holliday December 27,1996-January 4,1997 The Roy and Niuta Titus Theater 1 Special Premiere Screening of the Restored Print of Born Yesterday Introduced in Person by Betty Comden on Monday, December 9,1996, at 6:00 p.m. Judy Holliday approached screen acting with extraordinary intelligence and intuition, debuting in the World War II film Winged Victory (1944) and giving outstanding comic performances in eight more films from 1949 to 1960, when her career was cut short by illness. Beginning December 27, 1996, The Museum of Modern Art presents Born Yesterday: The Films of Judy Holliday, a complete retrospective of Holliday's short but exhilarating career. Holliday's experience working with director George Cukor on Winged Victory led to a collaboration with Cukor, Garson Kanin, and Kanin's wife Ruth Gordon, resulting in Adam's Rib (1949), Born Yesterday (1950), The Marrying Kind (1952), and // Should Happen To You (1952). She went on to make Phffft (1954), The Solid Gold Cadillac (1956), Full of Life (1956), and, for director Vincente Minnelli, Bells Are Ringing (1960). -more- 11 West 53 Street, New York, New York 10019 Tel: 212-708-9400 Fax: 212-708-9889 2 The Department of Film and Video and Sony Pictures Entertainment are restoring the six films that Holliday made at Columbia Pictures from 1950 to 1956. -
12-13 Season Brochure.Indd
2012 2013 SEASON The Department of Theatre Arts has a strong tradition of excellence in graduate training, preparing professional stage directors and theatre scholars through MFA and MA programs. With small classes and strong mentorship by professors, our graduate programs offer graduate education with intensive and Gruesome Playground Injuries personalized training. directed by John Michael Sefel Baylor theatre audiences experience the work of graduate students in the MFA Directing program who direct regularly in our theatre season. Join us this season as we jet off to the French Riviera for a “dirty, The “MIDSUMMER SEASON” rotten” musical, followed by an ancient Greek tragedy. In the At the end of the first year of study, MFA Directing students are spring, we’ll laugh along with an required to design and direct a full-length play for our summertime “Midsummer Season.” Recent summer shows include Eleemosynary, American comedy classic, hang OTMA, and Circle Mirror Transformation. The summer productions on for an outrageously funny for 2012 were Rajiv Joseph’s Gruesome Playground Injuries directed Hitchcock thriller, and end the by John Michael Sefel, a graduate student from New Hampshire, season in the twilight of and Kenny Finkle’s Indoor/Outdoor directed by Nathan Autrey who communist rule on the eve of came to Baylor’s graduate program from the Dallas area. the Romanian Revolution. Thesis Shows The 2012–2013 Baylor Theatre season has it all. To complete the MFA in Directing, third-year graduate students must serve as a director in Stan Denman our mainstage season of shows, leading a Baylor Theatre production team of faculty, staff, and students throughout the production process from Chair research to rehearsal to performance. -
From from Reverence to Rape Female Stars of the 1940S
MOLLY HASKELL IIIIIIIIHIIIIIIIIIIIIIIIHIIRIIIIII"Itlltottllllllnlta�rt111111111111J1HIIIIIIIIII1IIIIIl&IMWIIIIIIII1k.ll-611111lll"lltltiiiiii111111111111HHIIIIIIHIIIIIIIIII1niiiiiiiiii1Uit111111111HIIUIHIIIIIIIIIIIIIIJ111UIIIIIIIIUUIII&IIIIII,.IIIIatlllll From From Reverence to Rape Female Stars of the 1940s Molly Haskell's From Reverence to Rape: The Treatment of Women m the MoVIes (197311S a p oneenng examination of the roles p ayed by women n film and what these ro es tell us about the place of women 1n society, changmg gender dynam ics, and shiftmg def1mt1ons of love and fam1ly Haskell argues that women were berng tncreas ngly ob1ecttf1ed and v1hfled tn the films of the 1960s and 1970s. Tttrs femrntst perspective informs a I of Haskell's work, whtch takes a nuanced vtew of the complex relation of men and women to ftlm and power. Holdmg My Own m No Man's Land Women and Men. Ftlm and Femimsts (1997) includes essays and mtervrews on femimst issues surroundmg ftlm and literature. Haskell prov'des analyses and apprec1at1ons of proto-femimst f1lms of the th1rtres, fortres, and frfttes, celebrating actresses hke Mae West and Doris Day for the1r umque forms of empowerment. She continues to write rev1ews for Town and Country and The Vlllage Votce. The preoccupation of most movies of the fo rties, particularly the "masculine" genres, is with man's soul and salvation, rather than with woman's. It is man's prerogative to fo llow the path from blindness to discovery, which is the principal movement of fiction. In the bad-girl films like Gilda and Om cifthe Past, it is the man who is being corrupted, his soul which is in jeopardy. -
Rencontre Avec George Cukor Gene D
Document généré le 28 sept. 2021 02:59 Séquences La revue de cinéma Rencontre avec George Cukor Gene D. Phillips Numéro 108, avril 1982 URI : https://id.erudit.org/iderudit/51019ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce document Phillips, G. D. (1982). Rencontre avec George Cukor. Séquences, (108), 4–9. Tous droits réservés © La revue Séquences Inc., 1982 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ *• \ ... rencontre avec GEORGE CUKOR SÉQUENCES 108 « Mesdames et messieurs, la prise était bonne, mais, si vous le voulez bien, nous allons la reprendre sur un tempo plus rapide, pour le plaisir de la chose. » Le réalisateur s'exprime sur un ton à la fois courtois et autoritaire, tout en frappant sa jambe avec le scénario roulé en spirale, comme s'il s'agissait d'une cra vache. Il s'appelle George Cukor, il a quatre-vingts ans et il est en train de diriger le tournage de Rich and Famous <'>. La prise en charge de ce film a fait de lui le cinéaste le plus âgé à avoir jamais réalisé un film pour un grand studio. -
The Representation of Women in Romantic Comedies Jordan A
Ursinus College Digital Commons @ Ursinus College Media and Communication Studies Honors Papers Student Research 4-24-2017 Female Moments / Male Structures: The Representation of Women in Romantic Comedies Jordan A. Scharaga Ursinus College, [email protected] Adviser: Jennifer Fleeger Follow this and additional works at: https://digitalcommons.ursinus.edu/media_com_hon Part of the Communication Commons, Film and Media Studies Commons, and the Gender and Sexuality Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Scharaga, Jordan A., "Female Moments / Male Structures: The Representation of Women in Romantic Comedies" (2017). Media and Communication Studies Honors Papers. 6. https://digitalcommons.ursinus.edu/media_com_hon/6 This Paper is brought to you for free and open access by the Student Research at Digital Commons @ Ursinus College. It has been accepted for inclusion in Media and Communication Studies Honors Papers by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. Female Moments/Male Structures: The Representation of Women in Romantic Comedies Jordan Scharaga April 24, 2017 Submitted to the Faculty of Ursinus College in fulfillment of the requirements for Distinguished Honors in the Media and Communication Studies Department. Abstract: Boy meets girl, boy loses girl, boy gets girl again. With this formula it seems that romantic comedies are actually meant for men instead of women. If this is the case, then why do women watch these films? The repetition of female stars like Katharine Hepburn, Doris Day and Meg Ryan in romantic comedies allows audiences to find elements of truth in their characters as they grapple with the input of others in their life choices, combat the anxiety of being single, and prove they are less sexually naïve than society would like to admit. -
Born Yesterday Garson Kanin
John Carroll University Carroll Collected Theatre Productions Communication & Theatre Arts 10-27-2006 Born Yesterday Garson Kanin Follow this and additional works at: http://collected.jcu.edu/plays Recommended Citation Kanin, Garson, "Born Yesterday" (2006). Theatre Productions. 30. http://collected.jcu.edu/plays/30 This Book is brought to you for free and open access by the Communication & Theatre Arts at Carroll Collected. It has been accepted for inclusion in Theatre Productions by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. JOHN CARROLL UNIVERSITY DEPARTMENT OF COMMUNICATION AND THEATRE ARTS PR~ENTS : fJJom l)4f#!~[t{ay OCTOBER 27, 28 OCTOBER 29 NOVEMBER 3, 4 NOVEMBER 5 7:30PM 2:00PM The John Carroll University Department of Communication and Theatre Arts Presents BORN YESTERDAY By: Garson Kanin Directed By: Karen Gygli Presented with permission by Dramatists Play Service Inc. As a courtesy to the performers and those around you: PLEASE REFRAIN FROM USING CELL PHONES, WATCH ALARMS, PAGERS AND FLASH PHOTOGRAPHY PLEASE note the emergency EXITS marked in Kulas Auditorium. Should an emergency occur, please WALK in an orderly fashion to the exit nearest you. BORN YESTERJ)AY By: Garson Kanin The Place: A Washington, D.C. hotel The Time: 1946 Act I 9PM in the evening 10 Minute Intermission Act II Late Afternoon, two months later 10 Minute Intermission Act III That same evening, around 1:30AM DIRECTOR'S NOTES Born Yesterday is a valentine to democracy written right after the war in 1946. But it is also a challenge to all those who claim to be pari of a democracy. -
Judy Holliday's Urban Working Girl Characters in 1950S Hollywood Film Judith E
University of Massachusetts Boston ScholarWorks at UMass Boston American Studies Faculty Publication Series American Studies 2010 Judy Holliday's Urban Working Girl Characters in 1950s Hollywood Film Judith E. Smith University of Massachusetts Boston, [email protected] Follow this and additional works at: http://scholarworks.umb.edu/amst_faculty_pubs Part of the American Film Studies Commons, American Popular Culture Commons, Jewish Studies Commons, and the Women's Studies Commons Recommended Citation Smith, Judith E., "Judy Holliday's Urban Working Girl Characters in 1950s Hollywood Film" (2010). American Studies Faculty Publication Series. Paper 6. http://scholarworks.umb.edu/amst_faculty_pubs/6 This Article is brought to you for free and open access by the American Studies at ScholarWorks at UMass Boston. It has been accepted for inclusion in American Studies Faculty Publication Series by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. Judy Holliday's Urban Working Girl Characters in 1950s Hollywood Film Judith Smith. American Studies, University of Massachusetts Boston A Jewish-created urban and cosmopolitan working girl feminism persisted in the 1950s as a cultural alternative to the suburban, domestic consumerism critiqued so eloquently by Betty Friedan in The Feminine Mystique . The film persona of Jewish, Academy Award-winning actress Judy Holliday embodied this working girl feminism. Audiences viewed her portrayals of popular front working girl heroines in three films written by the Jewish writer and director Garson Kanin, sometimes in association with his wife, the actress Ruth Gordon, and directed by the Jewish director George Cukor in the early 1950s: Born Yesterday (1950), The Marrying Kind (1952), and It Should Happen to You (1954). -
The Argument for Agency in the Stardom of Katharine Hepburn
Sara Bakerman Too Good for the Fan Rags: The Argument for Agency in the Stardom of Katharine Hepburn Abstract During her tenure at RKO in the 1930s, Katharine Hepburn ascended to the top echelon of stardom, establishing herself in the public eye as a gifted actress even as she resisted the formal structures of fame and celebrity. Through the examination of personal correspondences, including letters and telegrams from fans, friends, and colleagues, this paper investigates the extent to which Hepburn actively contributed to the maintenance of her image leveraged her stardom as the means to manage her own career. Of equal concern in this inquiry are the implications of the actress’s agency for the longevity of her early career; to this end, contemporary fan magazine coverage will be analyzed for its role in constructing Hepburn’s public persona. The discrepancies and overlaps in the public and private discourses surrounding her star image serve as crucial evidence of Hepburn’s privileged status within the industry, which runs contrary to broadly accepted notions of the studio system. As early as 1935, RKO memorandums reveal that the star wielded considerable power within the studio and was making decisions regarding production, which was particularly rare for actresses during this phase of the studio era. That same year, Hepburn received a letter that predicted her eventual labeling as “box office poison” and suggested ways to achieve greater influence in Hollywood; subsequent correspondence indicates the nuances of the studio’s response to Hepburn’s attempts to follow that advice. In terms of industrial agency, these communications offer a dynamic that is particularly crucial to the understanding of the ostensibly “private” star. -
The Phenomenon of the Grotesque in Modern Southern Fiction
Acta Universitatis Umensis Maria Haar The Phenomenon of the Grotesque in Modern Southern Fiction Some Aspects of Its Form and Function Universitetet i Umeå Almqvist & Wiksell International, Stockholm, Sweden ACTA UNIVERSITATIS UMENSIS Umeå Studies in the Humanities 51 Maria Haar The Phenomenon of the Grotesque in Modern Southern Fiction Some Aspects of Its Form and Functio n Doctoral Dissertation by due permission of the Faculty of Arts of the University ofUm eå to bepu blicly discussedin the lecture hallF on March 11,1983 at 10a.m . for the degreeof Doctor of Philosophy Umeå 1983 ABSTRACT Author: Maria Haar Title: The Phenomenon o f the Grotesque in Modern Sou thern Fiction - Some Aspects of Its Form and Function Address: Department of English, Umeå University, S-901 87 Umeå, Sweden After a general historical outline of the term and c on cept 'grotesque' attention is focused on the grotesque in Southern fiction and an attempt is made t o explain the abun dance o f this mode in the literature of the South. It can seemingly be linked to the distinctiveness of that region as compared to the rest of the United States—a distinctiveness that has been brought about by historical, geographical, socio logical and economi c factors. Basing the discussion on the theory of Philip Thomson, who d efines the grotesque as "the unresolved clash between in compatibles in work and re sponse," various critical approaches to the Southern grotesque are examined, all of which are found to be too all-embracing. An e ffort is then made t o analyse the grotesque as displayed particularly in Caldwell, Capote, Faulkner, Goyen, McCullers, O'Connor and W elty. -
The Actress ART and REALITY
The Actress ART AND REALITY By RICHARD LIPPE George Cukor’s The Actress (1953) is a consistently overlooked must face the disapproval of her commonsensical father, film. In part this reaction may stem from the fact that the work, Clinton/Spencer Tracy, a man of little formal education who in scale and subject matter, suggests a modest project. barely supports his family, holding a low-paying, menial job. Additionally, The Actress , which is based on Ruth Gordon’s auto - The most extravagant aspect of Ruth’s life and image is her biographical play, Years Ago , has been eclipsed by the critical clothing that her mother sews. Ruth’s clothes are inspired by successes of the four Ruth Gordon/Garson Kanin/George Cukor the costumes she sees in theatre magazines and reflect her collaborations. The film, in fact, is treated often as the least sig - wish to be a part of that world of daring and glamour. The nificant of the various projects that involved Gordon and/or Actress, in foregrounding that the Joneses are an impoverished Kanin with Cukor. Yet, The Actress , in addition to embodying family, makes Ruth’s desire to be an actress, which she thinks Cukor’s thematic concerns, admirably illustrates again his abili - will make her rich and famous, both understandable and ty to respond to a project with original and fresh approach. seemingly foolish. The Actress belongs to the small town domestic comedy Not only do Meet Me in St. Louis and The Actress take oppo - genre and, given that it is a period film, it is a piece of site visual approaches, the films differ in their respective han - Americana in the tradition of Minnelli’s classic Meet Me in St. -
The Woman Lawyer and Her Quest for Power in Popular Culture
Louisiana State University Law Center LSU Law Digital Commons Journal Articles Faculty Scholarship 2003 "We Don't WANT Advantages": The Woman Lawyer and Her Quest for Power in Popular Culture Christine Corcos Louisiana State University Law Center, [email protected] Follow this and additional works at: https://digitalcommons.law.lsu.edu/faculty_scholarship Part of the Law Commons Repository Citation Corcos, Christine, ""We Don't WANT Advantages": The Woman Lawyer and Her Quest for Power in Popular Culture" (2003). Journal Articles. 225. https://digitalcommons.law.lsu.edu/faculty_scholarship/225 This Article is brought to you for free and open access by the Faculty Scholarship at LSU Law Digital Commons. It has been accepted for inclusion in Journal Articles by an authorized administrator of LSU Law Digital Commons. For more information, please contact [email protected]. "WE DON'T WANT ADVANTAGES" THE WOMAN LAWYER HERO AND HER QUEST FOR POWER IN POPULAR CULTURE Christine Alice Corcos t CONTENTS INTRODUCTION .............. .... ....... ......................................................... 1225 I. THE UNRULY FEMALE LAWYER ................................................... 1239 II. A RATIONALE FOR THE USE OF COURTROOM DRAMAS TO CRITIQUE WOMEN'S PROFESSIONAL ROLES ................................ 1244 III. CASE STUDIES: ADAM'S RIB, THE ACCUSED, LEGALLY BLONDE .... 1248 A. Adam's Rib .................. ......... .... ............... .... ........ ..... .... .. .... 1253 B. The Accused .. ............. ................... ....................................... -
A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z FEBRUARY 2021 D 12 Angry Men (1957) 2/27 D Black Panthers (1968) 2/28 D Convicts 4 (1962) 2/10 a ADVENTURE z 20,000 Years in Sing Sing (1932) 2/3 D Black Patch (1957) 2/19 D The Corn is Green (1945) 2/21 m 42nd Street (1933) 2/7 D Blackboard Jungle (1955) 2/3 sD The Cossacks (1928) 2/21 c COMEDY S z Blackwell’s Island (1939) 2/3 D Countryman (1982) 2/21 –––––––––––––––––––––– ––––––––––––––––––––––– A y Blazing Saddles (1974) 2/6 u Crossfire (1947) 2/9 z CRIME u Act of Violence (1949) 2/9 y Blood on the Moon (1948) 2/19 R Crossing Delancey (1988) 2/12 S c Adam’s Rib (1949) 2/22 D Body and Soul (1947) 2/9 D Cry, the Beloved Country (1951) 2/3 o DOCUMENTARY a The Adventures of Huckleberry Finn (1939) 2/10 D Bombshell (1933) 2/21 c The Affairs of Martha (1942) 2/24 a Boom Town (1940) 2/25 P –––––––––––––––––––––– D ––––––––––––––––––––––– D DRAMA c Affectionately Yours (1941) 2/10 D Born to Be Bad (1950) 2/9 y Dances with Wolves (1990) 2/27 u After Office Hours (1935) 2/1 c Born Yesterday (1950) 2/21 D Dancing Co-Ed (1939) 2/8 e EPIC P R The Age of Innocence (1993) 2/14 c Boys’ Night Out (1962) 2/11 D Dangerously They Live (1941) 2/23 S S S w Air Force (1943) 2/23 D The Breaking Point (1950) 2/9 R Daughters Courageous (1939) 2/16 S HORROR/SCIENCE-FICTION z Al Capone (1959) 2/16 R Brief Encounter (1945) 2/12 D Days of Wine and Roses (1962) 2/28 P m sc Algie the Miner (1912) 2/7 m Brigadoon (1954) 2/18, 2/25 D Death in Venice (1971) 2/23 MUSICAL y Along The Great Divide (1951) 2/19 D Broadway Musketeers (1938) 2/6 cR Design for Living (1933) 2/21 R ROMANCE HD The Amazing Mr.