The making of a (dog) movie star: The effect of the portrayal of dogs in movies on breed registrations in the United States

The media is a powerful force that can affect the welfare of the domiciled dog population. Dogs have long been in human stories and their depictions can create demand for the breeds shown. While previous research has found that this effect can last for up to ten years after the release of a movie, how this phenomenon occurs is unknown. This paper examines if how a dog is portrayed in a movie is associated with a subsequent change in American Kennel Club breed registrations for that breed. Following a systematic literature review, four key themes were identified in how dogs are portrayed in the media; dogs portrayed as heroes, as anthropomorphised, as embodying the ideals of Western societies (Whiteness and heteronormativity) and as boundaries between wilderness and human society. Forty movies from between 1930 to 2004 were analysed, resulting in 95 dog characters scored, and hierarchical multiple linear regression was run. Movies with dogs portrayed as heroes were followed by significant increases in the number of American Kennel Club breed registrations for the breed shown, while anthropomorphised dogs were followed by significant decreases in the number of dogs registered for up to five years after a movie’s release. These results indicate that how dogs are portrayed may be an important driver of demand for breeds. Future work should investigate whether these portrayals may have negative welfare implications for real dogs by leading to owners having unrealistic expectations for dogs or increasing demand for dogs with in-breeding related disorders.

A Study on the Aesthetic Properties of Feminism Make-up in Cindy Sherman's Instagram Selfie

Feminism sheds light on women's identities in a variety of ways, along with criticism of gender discrimination and male-centered thinking. In particular, Cindy Sherman's selfie, known as a feminist photographer, expresses various women's images, showing a new identity of women. This study examined feminism makeup that expresses women's self-identification in the recent emergence of Me Too and feminism, and analyzed feminism makeup in Cindy Sherman's self-portrait to find out its aesthetic characteristics. First, the nature of Cindy Sherman's feminism makeup was expressed as dominant masculinity. Through various typical forms of beard, he strongly emphasized masculinity, and his eyebrows were thick and dark, and his facial contour was manly. The beard is a symbol of masculinity and a facial expression of social status and character, so Cindy Sherman actively expresses herself as a feminine figure with feminism makeup. Second, Cindy Sherman's characteristics of feminism makeup expressed the characteristics of benignity, which are caused by the confusion of femininity and masculinity. It emphasizes a positive image to exaggerate the image of a man with feminine features and a manly hairstyle and long, voluminous eyelashes. This positive image can also be seen in postmodernism Androgenus look or Genderless look, and is also the best characteristic of feminism makeup. Third, Cindy Sherman's feminism makeup characteristics had the characteristics of typistic femininity. She expresses her female identity through the image of a powerless and shabby woman by turning herself from a young movie star to an old woman. Fourth, Cindy Sherman's feminism makeup characteristics express the characteristics of detachment with ugly beauty. Such makeup is unstable in shape, and there are many distorted or modified images, but Cindy Sherman's selfies also showed this ugly look of herself. Fifth, Cindy Sherman's feminism makeup is bizarre and gives grotesque horror in the form of witches or vampires. Witches and vampires, who lack femininity, expressed feminism not in the image of women obedient to patriarchal men, but rather in horror. Sixth, Cindy Sherman's characteristic of feminism makeup is to portray herself as a clown or a clown, or a clown, to represent a caricature. Sherman's clown series is already well known for its makeup that shows feminism in women. The clown always smiles in the costume, but the inner figure symbolizes the repressed and sad woman herself and is an expression of Sherman's own image.

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Jayne and Mickey buy and begin building upon what will become their world-famous Pink Palace, the most famous movie-star home since Pickfair. They perform in Las Vegas, Jayne tours with Bob Hope's USO troupe. Jayne and Mickey marry on January 13, 1958.

Ghost Players

This chapter narrates the author's experience during the twenty-fifth anniversary of the Field of Dreams film. The celebration, timed to coincide with Father's Day, represented a chance for the movie's disciples and defenders — the fellowship of the Field — to experience communally the spiritual satisfactions of an intensely personal cinematic experience. For the moment they do not care about the film's many detractors, movie snobs who find it too allegorical, too Midwestern, or simply too corny. They came to nourish their souls in the company of others who have likewise come to associate the film with peace and renewal: the crisp clapboard house with its long curving verandah, the upright picket fence, the Eastergreen grass, the handsome boy-next-door movie star who might as well be Jimmy Stewart or Cary Grant, and the storyline and setting that is so powerfully elemental. On that night, the Field's devoted followers, seek paradox: achieving personal salvation together.

Rock Star/Movie Star

When midcentury Hollywood found itself struggling to compete within an expanding entertainment media landscape, certain producers and studios saw an opportunity in making films that showcased performances by rock ’n’ roll stars. Such stars eventually found cinema to be a useful space to extend their creative practices, and the motion picture and recording industries increasingly saw cinematic rock stardom as a profitable means to connect multiple media properties. This book examines how casting rock stars for film provided a tool for bridging new relationships across media industries and practices. Rock Star/Movie Star offers a new perspective on the role of stardom within the convergence of media industries. While hardly the first popular music culture to see its stars making the transition to screen, the timing of rock’s emergence and its staying power within popular culture proved fortuitous for a motion picture business searching for its place in the face of continuous technological and cultural change. At the same time, a post-star-system film industry provided a welcoming context for rock stars who have valued authenticity, creative autonomy, and personal expression. Examining stars from Elvis Presley to Madonna, this book uses illuminating archival resources to demonstrate how rock stars have often proven themselves to be prominent film workers exploring this terrain of platforms old and new—ideal media laborers whose power lies in the fact that they are rarely recognized as such.

“Thinking White”: Performing Racial Tension in Blue Collar

By most accounts, as Paul Schrader’s first film as director, Blue Collar was a tension-filled production with the three leading actors coming to blows on multiple occasions. This chapter, will explore the performance styles of Harvey Keitel, Yaphet Kotto, and Richard Pryor with particular focus paid to the latter’s identity as a stand-up comic and movie star during the mid- to late- 1970s. Through casting Pryor, Schrader does not fundamentally alter this comic persona but rather captures a dramatic variation of it, employing it as a defying signifier against the midcentury “realist” acting styles of Keitel and Kotto, who both trained on the New York stage. Through a fostering and challenging of Pryor’s persona and style, Schrader produces a tension between his performers that feels acutely aware of the comedian’s “territorialized” black identity as well as his ability to challenge racial boundaries through his humor. The contrasting styles of Keitel, Kotto, and Pryor provide a dramatic tension attuned to the complicated racial conflicts found in the more integrated work spaces of the 1970s.