Thematische Bibliographien / The nephew of Katharine Hepburn

Auswahl der wissenschaftlichen Literatur zum Thema „The nephew of Katharine Hepburn“

Autor: Grafiati
Veröffentlicht am 27. Juli 2024
Zuletzt aktualisiert am 28. Juli 2024

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Zeitschriftenartikel zum Thema "The nephew of Katharine Hepburn"

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Reynolds, Charles F. „Katharine Hepburn: Markings and Remembrances“. American Journal of Geriatric Psychiatry 27, Nr. 4 (April 2019): 458. http://dx.doi.org/10.1016/j.jagp.2019.01.007.

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Thumim, Janet. „'Miss Hepburn Is Humanized': The Star Persona of Katharine Hepburn“. Feminist Review, Nr. 24 (1986): 71. http://dx.doi.org/10.2307/1394636.

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Thumim, Janet. „‘Miss Hepburn is Humanized’: The Star Persona of Katharine Hepburn“. Feminist Review 24, Nr. 1 (November 1986): 71–102. http://dx.doi.org/10.1057/fr.1986.32.

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Watney, Simon. „Katharine Hepburn and the Cinema of Chastisement“. Screen 26, Nr. 5 (01.09.1985): 52–63. http://dx.doi.org/10.1093/screen/26.5.52.

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Scharnhorst, Gary. „A Note on Charlotte Perkins Gilman and Katharine Hepburn“. American Literary Realism 55, Nr. 2 (01.01.2023): 179–80. http://dx.doi.org/10.5406/19405103.55.2.06.

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Zaidan Granato, Luíza, und Eduardo Bordinhon. „Sobre Acting in the Cinema, de James Naremore“. Revista ECO-Pós 22, Nr. 1 (21.06.2019): 325–42. http://dx.doi.org/10.29146/eco-pos.v22i1.26396.

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Acting in the Cinema, de James Naremore, foi publicado em 1988 e permanece entre as principais referências no campo dos estudos atorais. Sua abordagem metodológica aparece esmiuçada na primeira parte do livro, onde o autor desenvolve um sistema de análise do jogo cênico para, em seguida, aplicá-lo em estudos de caso dedicados a trabalhos de Lillian Gish, Chaplin, Marlene Dietrich, James Cagney, Katharine Hepburn, Marlon Brando e Cary Grant - sete registros de jogo que exemplificam e dão corpo às proposições de Naremore. A parte final apresenta a análise de dois longas-metragens, Janela Indiscreta (Alfred Hitchcock, 1954) e O Rei da Comédia (Martin Scorsese, 1982), onde o leitor encontra uma síntese dos conceitos apresentados anteriormente, agora empregados em uma leitura crítica dos textos fílmicos. Esta resenha revisita o livro a fim de compreender quais aspectos da metodologia de Naremore podem servir de ferramenta para pesquisadores que pretendem se debruçar sobre o trabalho do ator.
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Matcan-Lisenco, Inga. „An Overview of the Life and Legacy of Harry Winston, the King of Diamonds. Contemporary Influences“. Intertext, Nr. 1(61) (Dezember 2023): 160–69. http://dx.doi.org/10.54481/intertext.2023.1.17.

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Stone can be considered as a piece of resistance for jewelry, not just an accessory fixed on a noble metal. This current study reflects the biography and the activity of Harry Winson – one of the most important american diamond collectors and specialists of 20th century. Winston House, during several decades, presents one of the most impressive natural stones, rarely found in sizes, unique properties, such as President Vargas’ diamond, Hope, the sapphire of Queen Maria of Romania and so on, creations of clothing jewelry and watches produced in history for royal houses (Duchess Windsor, Queen Elizabeth's II, Queen Maria of Romania...) and also for cinema stars (Katharine Hepburn, thus, Winston is a remarkable personality. Refurbishing jewelry by reshaping into contemporary clothing ornamental items. His authority and professionalism were so imposing, that it was impossible for him not to be a source of influence and inspiration in contemporary art, such as jewelry making, painting, sculpture from the territory of Bessarabia and the whole world. The goal of this study was to shortly reflect the most representative stones and well-known jewelry from Winston’s House, and their impact in the jewelry making field and fashion, which lasted in time.
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McKee. „To Have and to Hold: The Possessive Spectator, the Spinster Narrative, and Katharine Hepburn in David Lean's Summertime (1955)“. Journal of Film and Video 73, Nr. 2 (2021): 26. http://dx.doi.org/10.5406/jfilmvideo.73.2.0026.

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Bauer, Nancy. „An Essay Concerning Beauvoir, Cavell, Etc.“ Conversations: The Journal of Cavellian Studies, Nr. 6 (28.12.2018): 24–31. http://dx.doi.org/10.18192/cjcs.v0i6.4105.

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This is the story of my coming to read Le Deuxième Sexe in the rather unusual way that I do.I was raised, as it were, in the Philosophy Department at Harvard University as part of the last generation working seriously under the tutelage of Stanley Cavell. Though Cavell’s tastes in philosophy were strikingly wide-ranging, crisscrossing the divide between analytic and continental philosophy, not to mention genres and mediums, there were limits to his tastes, as there of course are in every person’s case. He was interested in Heidegger, but not in European phenomenology more generally. (The one thing I recall him saying about Sartre was this offhand remark, perhaps something he had heard or read before, during a seminar: “Sartre thinks it’s very important that no one can die my death for me. Well, no one can take my bath for me, either.”) He was interested in the great film actresses of Hollywood’s golden period—Katharine Hepburn, Barbara Stanwyck, Irene Dunne, Bette Davis, Ingrid Bergman—and even thought of them as, in their own way, philosophers on screen; but he was not as interested, at least publicly, in women writers. He did engage with feminist thinkers in his own writing about film, but he was concerned in those moments mostly to worry about what he experienced as a certain theoretical rigidity in feminist film theory and what he saw as its failing to allow the objects of it criticism breathing room and to give his own way of thinking, which he saw as very much sympathetic to women’s concerns, a chance.
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„Katharine Hepburn“. Choice Reviews Online 33, Nr. 01 (01.09.1995): 33–0194. http://dx.doi.org/10.5860/choice.33-0194.

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Dissertationen zum Thema "The nephew of Katharine Hepburn"

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Kimball, Amy R. „Investigations of iconography reading Katharine Hepburn through biography and film /“. [Gainesville, Fla.] : University of Florida, 2003. http://purl.fcla.edu/fcla/etd/UFE0000722.

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Sandeau, Jules. „The Unsinkable Kate : l'évolution de la persona de Katharine Hepburn et sa réception aux Etats-Unis“. Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30048.

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Partant du constat de l’extraordinaire pérennité de Katharine Hepburn en tant que star hollywoodienne de premier plan, ce travail se propose d’élucider les raisons de ce succès durable en examinant la réception dont l’actrice a fait l’objet aux États-Unis tout au long de sa carrière. À la croisée des star studies et des études de réception, cette étude articule analyse de sa persona (rôles interprétés à l’écran et à la scène, jeu d’actrice et image médiatique) et des traces de sa réception auprès du public états-unien (critiques de professionnels, courriers de fans, sondages, données de box-office, etc.). Grâce à une approche diachronique, les évolutions de son image et de sa réception sont réinscrites dans un contexte socio-historique en perpétuelle évolution, auquel la star a tenté de s’adapter avec plus ou moins de succès suivant les périodes. L’examen des matériaux extra-filmiques participant à la construction de son image ou témoignant de sa réception permettent d’éclairer sous un nouveau jour les performances de Hepburn, analysées dans leur dimension socio-culturelle, esthétique et actorale. Une attention particulière est portée aux dimensions de genre, de classe et de génération de sa persona
Acknowledging the extraordinary longevity of Katharine Hepburn as a high-profile Hollywood star, this study seeks to shed light on the reasons behind this lasting success by examining her reception in the United States throughout her career. Combining both star studies and reception studies, this thesis articulates the analysis of her persona (her theater and film roles, her acting and media image) with evidence of her reception by the United States audience (critics, fan letters, polls, box-office figures, etc.). Using a diachronic approach, the evolutions of her image and its reception are incorporated within the framework of a socio-historical context in constant evolution, to which Hepburn tried to adapt with differing success depending on the period. The examination of the extra-filmic materials that contribute to her image or testify to her reception allow us to shed new light on Hepburn’s performances, analyzed from a socio-cultural, aesthetic and acting perspective. Special attention is given to the gender, class and age-related dimensions of her persona
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Barnett, Katrina. „Nine Lives: A History of Cat Women, Subversive Femininity, and Transgressive Archetypes in Film“. Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707290/.

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The intention of this thesis is to identify and analyze the cat woman archetype as a contemporary extension of the transgressive witch archetype, which rampantly appears over the course of cinema history, working as a signifier of a patriarchal society's fear of autonomous and subversive women. The character of Catwoman is the ultimate representation for this archetype on grounds of her visibility, longevity, and ability to return again and again. More importantly, Catwoman and her sisterhood of cat women work against male creators as a means of female empowerment through trickery. Within this thesis, key films of varying genres are drawn from throughout cinema history and analyzed in order to demonstrate the intertextual network of characters that make up the cat woman archetype, and the importance of the Catwoman character in her many forms.
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Bücher zum Thema "The nephew of Katharine Hepburn"

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Leaming, Barbara. Katharine Hepburn. New York: Crown Publishers, 1995.

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Katharine Hepburn. London: Crescent, 1986.

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Holland, Barbara. Katharine Hepburn. New York: Park Lane Press, 1998.

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Leaming, Barbara. Katharine Hepburn. New York: Avon Books, 1996.

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Edwards, Anne. Katharine Hepburn: A biography. (Sevenoaks): Coronet, 1987.

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Thain, Andrea. Katharine Hepburn: Eine Biographie. Reinbek bei Hamburg: Rowohlt Verlag, 1990.

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Morley, Sheridan. Katharine Hepburn: A celebration. London: Pavilion [in association with] Michael Joseph, 1989.

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Carolyn, Noyes, Hrsg. Katharine Hepburn: American classic. [New York, N.Y.?: Meredith Corp., 1993.

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Museum, Kent State University, Hrsg. Katharine Hepburn: Rebel chic. New York: Skira Rizzoli, 2012.

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Kate: The Katharine Hepburn album. New York: Perigee, 1993.

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Buchteile zum Thema "The nephew of Katharine Hepburn"

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Engel, Laura. „Epilogue: Body Double—Katharine Hepburn at Madame Tussauds“. In Intimacy and Celebrity in Eighteenth-Century Literary Culture, 293–98. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76902-8_13.

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Platz, Jenny. „Carole Lombard, Katharine Hepburn, Barbara Stanwyck and the Gendered Agency of Screwball Comedies“. In Cinematic Representations of Women in Modern Celebrity Culture, 1900–1950, 201–22. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003174134-13.

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„Katharine Hepburn“. In Best Actress, 45–54. Rutgers University Press, 2022. http://dx.doi.org/10.36019/9781978809598-008.

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Gavin, E. A. „Katharine Hepburn 1907–2003“. In Encyclopedia of Creativity, 595–600. Elsevier, 2011. http://dx.doi.org/10.1016/b978-0-12-375038-9.00275-2.

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„10. Katharine Hepburn in Holiday (1938)“. In Acting in the Cinema, 174–92. University of California Press, 2019. http://dx.doi.org/10.1525/9780520910669-011.

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Ray, Robert B. „Red“. In The ABCs of Classic Hollywood, 124–25. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195322910.003.0044.

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Abstract Although Katharine Hepburn’s father called her “Redtop,” she has been alternately described as having “red,” “coppery-reddish,” “reddish-brown,” or “auburn” hair. Pinpointing the exact shade proves difficult. Hepburn didn’t make a color film until 1951’s The African Queen, when she had reached her mid-40s, and her hair had begun to turn gray. Even the promotional posters for Holiday (1938), another Barry-Cukor-Grant-Hepburn production, offer contradictory images of a coppery-reddish and an auburn-haired Hepburn, dueling representations repeated by The Philadelphia Story’s ads.
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Helford, Elyce Rae. „Collaboration and Chastisement“. In What Price Hollywood?, 34–48. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813179292.003.0003.

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This chapter shifts from content analysis to study of production context in an exploration of methods and impacts of collaboration between George Cukor and Katharine Hepburn. The ten films the duo made together span much of Cukor’s career, but the chapter centers on study of three key pictures: The Philadelphia Story (1940), Adam’s Rib (1949), and Love in the Ruins (1975). Examined together, this trio of films illustrates the professional bond between director and actor, focusing in particular on how the Cukor/Hepburn alliance utilized a feminist understanding of audience reception, where gendered chastisement of the characters Hepburn plays allows for celebration of her iconoclastic stature as a female Hollywood star.
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„Chapter 2. Katharine Hepburn and a Hollywood Story“. In Beyond the Looking Glass, 35–54. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781782384007-005.

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„9. Cary Grant and Katharine Hepburn: Domesticated Mavericks“. In What Dreams Were Made Of, 192–216. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813550848-011.

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Naremore, James. „Chapitre IX. Katharine Hepburn dans Vacances (Holiday, 1938)“. In Acteurs, 197–217. Presses universitaires de Rennes, 2014. http://dx.doi.org/10.4000/books.pur.74391.

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