Panama Hats Are Made in Ecuador

Ecuadorians had fashioned small quantities of hats made from vegetative material since pre-Hispanic times. Between 1850 and 1950, however, Ecuador greatly expanded its output and supplied the world with fashionable summertime headwear that erroneously, because of the place of transshipment, bore the name Panama hats. Woven by artisans from the fronds of the toquilla palm tree that flourished near the coast of Manabí province, Ecuadorian-made Panama hats first found favor with Forty-Niners crossing through the isthmus because their light weight and broad brims protected wearers from the tropical sun. Likewise, European elites and middle-class consumers found the hats ideal as they enjoyed summer vacations at resorts or strolled through city streets. Panama hats contributed only modestly to Ecuador’s economic growth, primarily by earning tax revenues that helped pay for infrastructure projects such as the Guayaquil & Quito Railroad. But Manabí’s hand-crafted hats did not create high-paying jobs benefiting workers. Later, when the weaving center shifted to Azuay province, only the final stages of production used any type of machinery. Ultimately, only Ecuadorian exporters and foreign retailers made much money; hence, Panama hats were not an engine of development creating prosperity for the nation. Despite their minimal effect on Ecuador’s economy, the hats represented an important element of the national patrimony visible throughout the world of fashion. Politicians, movie stars, and millions of people in the middle class sported Panama hats during the summer months for generations, even though few knew they came from Ecuador. Once men stopped wearing formal hats in the late 1950s, the profitable Panama hat trade shrank.

A Study of Autobiographies: Confessions, Facts, Fiction and Hypothesis

Since ancient times, man has attempted to express his inner feelings, covetousness and inclination to the world through various mediums e.g. poetry, drama, story, etc. Literature is one of the outcomes of the man’s efforts to reveal his aspirations to the world. Literature has avalanche of the widespread genre which is always subject to precisely apprehend and assimilate. Biography and autobiography are the two different genres of literature. The life of an individual is full of sweet and bitter experiences. There are incidences in an individual’s life which he or she never wants to share with anybody. Politicians, Rulers, Socialites, Movie Stars and other public personalities are also normal human beings. They too have their personal share of problems in their lives and in an attempt to resolve those issues they sometimes commit mistakes and even crimes which they never want anyone to know. Sometimes they commit these mistakes, misdemeanours, felonies or crimes because of their lustful desires or inclinations. The present paper is a result of interest and curiosity to know if individuals share such information in their autobiographies.

Conclusion

The conclusion examines the last gasps of the Hollywood novel following the collapse of the studio system. As the inner workings of the industry became less and less of a secret, the Hollywood novel began emulating scandal magazines and the burgeoning porn industry to stay afloat. By the 1960s, it had devolved into a toothless genre that offered readers little more than erotic fantasy of movie stars behind closed doors. Once the film industry implemented a ratings system in the late 1960s, several screenwriters managed to restore the integrity of the Hollywood novel, only now approaching their literary endeavors not as antithetical to film work but as the first step in bringing their R-rated vision of Hollywood to the screen.

The Last Word

The Last Word argues that the Hollywood novel opened up space for cultural critique of the film industry at a time when the industry lacked the capacity to critique itself. While the young studio system worked tirelessly to burnish its public image in the wake of celebrity scandal, several industry insiders wrote fiction to fill in what newspapers and fan magazines left out. Throughout the 1920s and 1930s, these novels aimed to expose the invisible machinery of classical Hollywood cinema, including not only the evolving artifice of the screen but also the promotional discourse that complemented it. As likeminded filmmakers in the 1940s and 1950s gradually brought the dark side of the industry to the screen, however, the Hollywood novel found itself struggling to live up to its original promise of delivering the unfilmable. By the 1960s, desperate to remain relevant, the genre had devolved into little more than erotic fantasy of movie stars behind closed doors, perhaps the only thing the public couldn’t already find elsewhere. Still, given their unique ability to speak beyond the institutional restraints of their time, these earlier works offer a window into the industry’s dynamic creation and re-creation of itself in the public imagination.

Picturing Peter Bogdanovich

Drawn from interviews conducted from 2003 to 2019, Picturing Peter Bogdanovich is a unique double portrait of a filmmaker and a fan. As the director of such New Hollywood classics as The Last Picture Show, What’s Up, Doc?, and Paper Moon, Peter Bogdanovich is considered one of the first superstar directors of the 1970s, whose celebrity equaled that of many movie stars of the era. Growing up as an admirer of Bogdanovich’s films, film critic and journalist Peter Tonguette first had the chance to interview Bogdanovich for an online magazine piece in 2003—kicking off what became a decade-and-a-half series of conversations about his life and his films. The first part of the book features Tonguette’s exhaustive, film-by-film survey of Bogdanovich’s career and personal account of getting to know Bogdanovich; the second features a Q&A drawn from sixteen years’ worth of interviews, encompassing all of his film and TV projects, his background, his triumphs, his tragedies. The result is a film book like few others in its depth and detail.

Emergence of Indian Film Industry in the International Markets

The Indian film industry serves as the second movie capital of the world next to only Hollywood, supporting the livelihood of over 60 lakh people. Madame Tussauds museum in London, which has the wax statues of celebrities from across the world, has included as much as 9 Indian Bollywood stars since 2000, which indicates the growing acceptance of Indian movie stars in the International level. Yet, Indian cinema which has been positioned in the international market merely as a commodity for a long time, has started emerging out into a unique product with clear identity and packaging, gaining international crossover appeal. There is a definite improvement in the interest of foreign investors on the Indian film companies. The article aims at exploring the factors which contribute to the recent developments of Indian film Industry leading to the improvement in its International appeal and attempts to identify the disorders which plague its establishment in International market and develop a conceptual framework, which would provide ample inputs to the various stakeholders of the industry.

A New Scale to Capture the Multidimensionality of Celebrity Image

The present study aims to develop a reliable and valid scale that measures the multidimensionality of celebrity images and is generalizable across diverse celebrity professions. A survey has been conducted using a sample of 484 respondents to gather data relating to the dimensions of celebrity images of four selected celebrities from two celebrity profession categories, namely, movie stars and sport stars. EFA, CFA and SEM have been used for developing a reliable and valid scale of celebrity images. The scale encompasses seven dimensions of celebrity image: social and ethical responsibility, life and style, professional capabilities, perspective towards celebrity’s profession, orientation towards fans, attractive physique and public image. Marketers can use the scale to identify the dimensions of celebrity images to select appropriate celebrities for their product endorsement. They can also use the identified dimensions of celebrity images to better differentiate, position and extend their brands while designing their marketing strategies related to product positioning, celebrity endorsements and celebrity brand extensions. It would enable researchers and practitioners to bring standardization to celebrity image research in the field of brand endorsements.