Tola

2018 ◽  
Author(s):  
Allan R. Ellenberger
Keyword(s):  
United States ◽  
The United States ◽  
American Film ◽  
Gone With The Wind ◽  
Bette Davis ◽  
Anatole Litvak ◽  
Theatre Guild

On her return to the United States, Hopkins meets Russian-born director Anatole Litvak. They become close, and she stars in his first American film, The Woman I Love. Her costar Paul Muni is bothered by Hopkins’s interference, and fights ensue. Hopkins buys the former estate of John Gilbert. Warner Bros. plans to make Jezebel, a part Hopkins wants, however, she is tricked into selling her rights and the role is given to Bette Davis. Discouraged, Hopkins returns to Goldwyn and makes Woman Chases Man. Polls claim that Hopkins is the number one choice to play Scarlett O’Hara in Gone with the Wind, but David O. Selznick has other plans. Hopkins moves into her new Tower Grove home. She elopes with Anatole Litvak and appears in Wine of Choice for the Theatre Guild, but it fails to meet her standards. She is devastated at the death of her ex-husband “Billy” Parker. After the funeral, she collapses and is admitted to the hospital.

Anti-Americanism in Retreat: Jack Lang, Cultural Imperialism, and the Anti-Anti-Americans

2011 ◽  
Author(s):  
Richard F. Kuisel
Keyword(s):  
United States ◽  
Popular Culture ◽  
Mexico City ◽  
The United States ◽  
Cultural Imperialism ◽  
American Film ◽  
Film Festival ◽  
American Popular Culture ◽  
Movie Star

This chapter details the rise of anti-Americanism in France, in particular French socialist minister of culture Jack Lang's attack against American popular culture. Lang began by refusing to attend the American film festival at Deauville in September 1981; several months later he gave a notorious address denouncing American cultural imperialism at a UNESCO conference in Mexico City; and then he tried to organize a global “crusade” to combat cultural imports from the United States. Lang was a flamboyant young politician whose movie-star good looks, iconic pink jacket, dramatic initiatives, and hyperactive ways won him both admiration and ridicule. He presided over the Ministry of Culture from 1981 to 1986 and again from 1988 to 1993.

scholarly journals Formation Of The Ambiguous Heroic Archetype: Three Jewish-American Film Actors And The United States’ Film System, 1929-1948

2021 ◽  
Vol 9 (1) ◽  
pp. 200-245
Author(s):  
John Thomas McGuire
Keyword(s):  
United States ◽  
The United States ◽  
Film Noir ◽  
Carl Jung ◽  
American Film ◽  
Film System ◽  
Jewish American ◽  
Joseph Campbell ◽  
Studio System

As Carl Jung and Joseph Campbell note, archetypes, or general ideas of human types, strongly influence societies, particularly the heroic archetype. Since the 1890s mainstream cinema has facilitated the heroic archetype for worldwide audiences. This article argues that Paul Muni (1895-1967), Edward G. Robinson (1893-1973), and John Garfield (1913-1952) became the first important Jewish-American film actors to help develop the ambiguous heroic archetype in the United States’ studio system from 1929 through 1948 in two ways: Muni’s and Robinson’s critical performances in the 1930s and 1940s, particularly in gangster and film noir films, and Garfield’s films from 1946 through 1948.

scholarly journals Racial Disparities in Mortality Among American Film Celebrities: A Wikipedia-Based Retrospective Cohort Study

10.2196/13871 ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. e13871
Author(s):  
Hannah Speaks ◽  
Alyssa Falise ◽  
Kaitlin Grosgebauer ◽  
Dustin Duncan ◽  
Adam Carrico
Keyword(s):  
United States ◽  
Racial Disparities ◽  
Racial Bias ◽  
Semiparametric Regression ◽  
The United States ◽  
Occupational Prestige ◽  
American Film ◽  
Black And White ◽  
Kaplan Meier ◽  
All Cause Mortality

Background In the United States, well-documented racial disparities in health outcomes are frequently attributed to racial bias and socioeconomic inequalities. However, it remains unknown whether racial disparities in mortality persist among those with higher socioeconomic status (SES) and occupational prestige. Objective As the celebrity population is generally characterized by high levels of SES and occupational prestige, this study aimed to examine survival differences between black and white film celebrities. Methods Using a Web-based, open-source encyclopedia (ie, Wikipedia), data for 5829 entries of randomly selected American film actors and actresses born between 1900 and 2000 were extracted. A Kaplan-Meier survival curve was conducted using 4356 entries to compare the difference in survival by race. A Cox semiparametric regression analysis examined whether adjusting for year of birth, gender, and cause of death influenced differences in survival by race. Results Most celebrities were non-Hispanic white (3847/4352, 88.4%), male (3565/4352, 81.9%), and born in the United States (4187/4352, 96.2%). Mean age at death for black celebrities (64.1; 95% CI 60.6-67.5 years) was 6.4 years shorter than that for white celebrities (70.5; 95% CI 69.6-71.4 years; P<.001). Black celebrities had a faster all-cause mortality rate using Kaplan-Meier survival function estimates and a log-rank test. However, in a Cox semiparametric regression, there was no longer a significant difference in survival times between black and white celebrities (hazard ratio 1.07; 95% CI 0.87-1.31). Conclusions There is some evidence that racial disparities in all-cause mortality may persist at higher levels of SES, but this association was no longer significant in adjusted analyses. Further research is needed to examine if racial disparities in mortality are diminished at higher levels of SES among more representative populations.

scholarly journals Man In A Hat: Martin Balsam And The Refining Of Male Character Acting In American Films, 1957-1976

2020 ◽  
Vol 8 (1) ◽  
pp. 30-59
Author(s):  
John Thomas McGuire
Keyword(s):  
United States ◽  
The United States ◽  
American Film ◽  
Male Character ◽  
American Films ◽  
Private Investigator ◽  
Definition Of

This article attempts a definition at what constitutes “character acting” in mainstream cinema in the United States and argues that throughout the peak of his film career—roughly, 1957 through 1976--Martin Balsam refined the definition of male character acting in American film, a parameter previously established by such skilled practitioners as Eugene Pallette and Claude Rains.  Balsam did this through his ability to portray what can be termed “a man in a hat” portrayals: tartly humorous, reliable, and sometimes authoritative supporting characters, usually wearing a chapeau.  This is clearly seen in such performances as the private investigator in Alfred Hitchcock’s Psycho (1960) and most interestingly, a partner in an unusual subway hijacking in Joseph Sargent’s The Taking of Pelham One, Two, Three (1974). 

Cinematic Badges

2021 ◽  
pp. 83-130
Author(s):  
Noah Tsika
Keyword(s):  
United States ◽  
Public Relations ◽  
The United States ◽  
American Film ◽  
Film Culture ◽  
Police Departments ◽  
Police Power ◽  
American Police

This chapter examines some of the tensions involved in the development and maintenance of film-specific forms of police public relations and addresses the persistence of certain cultural and institutional anxieties. From the threat of repetition and generic stagnation to the frictions resulting from the coexistence of strict representational codes and countervailing “realist” imperatives, these tensions and anxieties further illustrate the sheer complexity of cinema’s intersections with police power in the United States. American police departments have long been committed to shaping American film culture to their own advantage. American police officials were not necessarily easily satisfied by screen representations, and their ongoing demands had unexpected and sometimes contradictory effects.

Lawson, John Howard (1894–1977)

2018 ◽  
Author(s):  
Jonathan Chambers
Keyword(s):  
United States ◽  
New York ◽  
New York City ◽  
York City ◽  
The United States ◽  
Labor Dispute ◽  
John Howard ◽  
Theatre Guild

John Howard Lawson was born in New York City on September 25, 1894. His first major play, Roger Bloomer (1923), advanced expressionism in the United States, trading the pessimism that frequently defined the form for optimism. Processional (1925), produced by the Theatre Guild, was also formally adventurous. Combining jazz, vaudeville, and Dada, and focussing on a labor dispute, it is Lawson’s masterwork.

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