Relevant bibliographies by topics / Actress

Academic literature on the topic 'Actress'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 May 2024

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Journal articles on the topic "Actress"

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Wiet, Victoria. "The Actress in Nature: Environments of Artistic Development in Victorian Fiction and Memoir." Nineteenth Century Theatre and Film 45, no. 2 (November 2018): 232–53. http://dx.doi.org/10.1177/1748372718823663.

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This essay provides a new approach to reading actress memoirs in light of the influence of environmental thinking on Victorian culture more broadly and acting theory in particular. By demonstrating that actress autobiographies were written within a discursive domain that understood human temperaments and biographical trajectories to be fundamentally shaped by social and physical surroundings, I examine how renowned actresses narrate the conditions within which their temperament developed. In order to do so, I first examine the entanglement of environment and character in novels about actress protagonists in order to develop a framework for analysing the narrative qualities of actress memoirs. This essay focuses specifically on the trope of the ‘wild’ girl who, undisciplined by parents or teachers, develops a sensitive yet wilful and even anti-social temperament that enables her to become an actress praised for her authentic displays of spontaneous emotion.
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Zapperi, Giovanna. "From Acting to Action: Delphine Seyrig, Les Insoumuses, and Feminist Video in 1970s France." Konturen 12 (2022): 24–46. http://dx.doi.org/10.5399/uo/konturen.12.0.4914.

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Mostly known as one of the leading actresses in 1960s-1970s French cinema, Delphine Seyrig was also a media and a feminist activist working collaboratively within the framework of the women’s liberation movement. This article proposes to tackle Seyrig’s involvement in feminist video production the 1970s and explores the continuum she inhabited, from the auteur cinema in which she was actress and muse, to the disobedient practices in which she was video maker, actress and activist. Seyrig’s meditation on her work as an actress, as well as on the patriarchal structures sustaining the film industry, strongly resonates with recent debates prompted by the #metoo movement.
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Syarief, Fauzi, Susana Susana, and Jaqualine Pramanta Putra. "Fenomena Film Dalam Keberagaman Seni Peran dan Budaya." Akrab Juara : Jurnal Ilmu-ilmu Sosial 8, no. 2 (May 5, 2023): 49. http://dx.doi.org/10.58487/akrabjuara.v8i2.2083.

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This research suggests an actor or actress, i.e. how an actor or actress in the role of a local character in a movie that was themed cultural diversity. The researchers used a qualitative research method with the approach of the study of Phenomenology that became a phenomenon and how the experience of an actor or actress in the role of animates to look realistic se maybe. Social construction theory researchers wear property of Peter l. Berger. These studies resulted that in any one actor or role animates actresses observational or should do the work directly into the field in order to adapt to the environment that will be lakoninya later especially in a movie that was themed cultural diversity, with different cultural dipeankan it be a challenge or a valuable experience of an actor or actress himself because it can know how the sense of difference from a variety of cultures
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Miquel-Baldellou, Marta. "From Margo Channing to Margaret Elliot: The Aging Actress, Age Performance, and the Dictates of Aging in Joseph Mankiewicz’s All about Eve and Stuart Heisler’s The Star." Athens Journal of Humanities & Arts 10, no. 3 (June 23, 2023): 267–86. http://dx.doi.org/10.30958/ajha.10-3-5.

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Bette Davis played the role of an aging actress in different films throughout her career. In Joseph Mankiewicz’s All about Eve (1950), Davis performs one of her most highly acclaimed parts as Margo Channing, a mature actress who must face the decline of her acting career upon the arrival of a younger and ambitious counterpart. Only two years later, in Stuart Heisler’s The Star (1952), Davis once more played the role of an aging actress, Margaret Elliot, who refuses to accept that her career as an actress has come to an end, thus taking a bleaker approach in comparison with Mankiewicz’s film. Bearing in mind the intertextuality existing between both films, since All about Eve and The Star address the figure of the aging actress and are both considered self-referential films insofar as they are films about the film industry, this article will analyse how these two films address the performance of aging on and off screen, as actresses switch roles between acting younger or older in relation to characters that function as mirrors of aging, and how they eventually come to terms with the dictates of aging and their own aging process as women.
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Bonapfel, Elizabeth M. "Reading Publicity Photographs through the Elizabeth Robins Archive: How Images of the Actress and the Queen Constructed a New Sexual Ideal." Theatre Survey 57, no. 1 (December 9, 2015): 109–31. http://dx.doi.org/10.1017/s0040557415000587.

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In this article, I trace the origins of the normalization of pornographic tropes as the new sexual ideal in contemporary visual culture to late nineteenth- and early twentieth-century publicity photos of actresses and monarchs by examining one prominent transatlantic actress's collection of publicity photos, the Elizabeth Robins Papers at the Fales Library at New York University. As I show, around the turn of the twentieth century, a new standard of idealized feminine beauty was produced by the combination of two contradictory images of celebrity: the distant decorum of the monarch and the perceived erotic sexuality of the actress. The mass production of publicity photographs, which took the form of cartes-de-visite in the 1860s and cabinet photos in the 1870s, broadened the spectrum of sexuality by positioning these two quintessential celebrity types—the actress and the monarch—in relation to the tableau vivant and to existing and emerging tropes of portraiture. The image of the actress existed in relation to several mutually dependent discourses in the late nineteenth and early twentieth centuries: the rise of photography in relation to other art forms; the rise of theatrical spectacle in relation to advertising, consumerism, and fashion; the rise of women's public role in relation to sexuality, the body, and beauty culture; and the paradoxical democratization of celebrity culture as related to the monarchy. All of these factors center on a figure who lived so vividly in the public imaginary that she could be found in multiple spaces: on the stage, in stationers’ shops, on postcards, in newspapers, in photograph albums.
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Schweitzer, Marlis. "Assuming the Whore Position: Theatrical Performance and Prostitution." Canadian Theatre Review 134 (March 2008): 77–79. http://dx.doi.org/10.3138/ctr.134.014.

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Kirsten Pullen’s Actresses and Whores: On Stage and in Society explores the long-standing and still-lingering association between theatrical performance and prostitution. Although theatre historians have explored this subject at some length, as seen most prominently in Tracy C. Davis’s Actresses as Working Women, Faye E. Dudden’s Actresses and Audiences, and Katie N. Johnson’s Sisters in Sin, the transnational and transhistorical scope of this engaging book makes it an exciting addition to the field. Indeed, what is perhaps most notable about Actresses and Whores is its methodology. Rather than attempt to write a definitive history of the actress/whore dynamic — a near-impossible and highly problematic project — Pullen offers a series of thoroughly researched “case histories.” Beginning in the Restoration period and continuing to the late twentieth century, she examines key “nodal moments” when public perceptions of the actress/whore figure were in flux and “when a new performance engendered new terms within discourse” (5).
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Savage, Elizabeth. "Making Mary: Imitation and Infamy in the Eighteenth-Century Theater." Restoration and Eighteenth-Century Theatre Research 30, no. 1-2 (2015): 73–87. http://dx.doi.org/10.5325/rectr.30.1-2.0073.

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Abstract This essay interrogates how the scandalous actress Mary Wells “shadowed” Sarah Siddons through her imitations of the actress; using performance theory and contemporary reviews, it suggests that these imitations allowed Wells to borrow some of Siddons’ fame at the same time that they exposed the duplicity at the heart of the tragic queen’s performance. The contrast between the simultaneously shifting and transparent Wells and the static and opaque Siddons would have been striking to the audience, as Siddons’ aloof distance from her admirers left a path of access to Wells, who would gladly make herself available instead. Wells also used her imitations to carve out a unique niche for herself as an actress, though those imitations simultaneously created a dependence on the actresses she imitated, ultimately leaving Wells with a marginalized place in theater history.
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COLLETT, EMILY. "THEATRE COSTUME, CELEBRITY PERSONA, AND THE ARCHIVE." Persona Studies 5, no. 2 (February 7, 2020): 83–97. http://dx.doi.org/10.21153/psj2019vol5no2art918.

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This essay considers the archived costume in relation to the concept of the celebrity performer’s persona. It takes as its case study the Shakespearean costume of Indigenous actress Deborah Mailman, housed in the Australian Performing Arts Collection. It considers what the materiality of the theatre costume might reveal and conceal about a performer’s personas. It asks to what extent artefacts in an archive might both create a new persona or freezeframe a particular construct of a performer. Central to the essay are questions of agency in relation to the memorialisation of a still living actress and the problematisation of persona in terms of the archived object. Can a costume generate its own persona in relation to the actress? And what are the power dynamics involved in persona construction when an archived costume presents a charged narrative which is very different to the actress’s current construction of her persona?
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Schweitzer, Marlis. "“The Mad Search for Beauty”: Actresses' Testimonials, the Cosmetics Industry, and the “Democratization of Beauty”." Journal of the Gilded Age and Progressive Era 4, no. 3 (July 2005): 255–92. http://dx.doi.org/10.1017/s1537781400002656.

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“Actresses as a rule know no more about making themselves beautiful than does the average woman; neither are they naturally more beautiful,” wrote actress Margaret Illington Banes in a 1912 article entitled “The Mad Search for Beauty.” “The truth of the matter is,” she continued, “that no actress—or any woman—can impart the secrets of beauty to another, any more than the rich man can impart the secrets of business success to some other man.” Disturbed by recent trends in the theatrical profession that required actresses to present themselves as “beauty specialists,” Banes sought to expose the constructed nature of their on- and offstage performances. Stage stars captivated audiences because they had numerous opportunities to appear onstage dressed in the height of style; “under the same circumstances,” she concluded, most women “would look quite as well.”
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Martínez-García, Laura. "Nelly or Ellen? Revamping the first English actresses in contemporary popular culture." Sederi, no. 27 (2017): 213–28. http://dx.doi.org/10.34136/sederi.2017.10.

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The first British actresses have been the focus of extensive scholarly study, transposing the boundaries of academic life and irrupting in popular culture and becoming a part of the public imagination and folklore. This paper studies the perception we have inherited of “Pretty, Witty Nell,” probably the best-known actress of the Restoration, through the analysis of two novels—Priya Parmar’s Exit the Actress and Gillian Bagwell’s The Darling Strumpet—that reconstruct Gwyn’s life turning the “Protestant Whore” into a learned lady and a devoted mother. This revamping of her figure not only entails the erasure of the subversive potential of actresses’ break with the public-masculine/private-feminine dichotomy, but it also works as an attempt at neutralizing the threat that these “public” women pose to the gender roles that became normative in the seventeenth century and that are still seen as such nowadays.
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Dissertations / Theses on the topic "Actress"

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Droney, Lorraine Michelle. "The eighteenth-century actress : gender and agency." Thesis, University of Hull, 2014. http://hydra.hull.ac.uk/resources/hull:10544.

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Actresses epitomized the pluralism of the female gender, exposing the variable images of women in their performances, painted images and in literature narrating the histories of performing women. The classification of actresses as either virtuous or immoral was not unique to professional actors and was suffered by women of all classes. And yet, with the theatrical stage as a platform to either conform or challenge conventional gender constructions, actresses possessed exclusive access to the public where they could establish alternative images of femininity. This thesis examines the methods used by actresses in exerting their influence, but also identifies the abuses actresses endured that were distinctive to their profession. Their ability to mimic the manners and fashions of the upper classes and the acceptance of actresses into elite company, demonstrated the changeable nature of what individuals viewed as class identity. The transience of successful actresses in elevating their social status, posed a threat to social hierarchy that was founded on patriarchal authority. However, in appearing to conform to prescribed gender roles that placed women as the subordinates of men, actresses manipulated their identities to complement the public’s attitude. The changeable nature of class identity juxtaposed the capriciousness of female representations, with descriptions of actresses varying from admirable women who were admitted into upper class society, to images of unworthy and immoral seductresses from the lower classes. Virtue once lost was not irreversible and the exploitation of this knowledge by actresses is discussed in relation to the increased visibility of businesswomen who utilised their ambiguous sexuality for career progression. Actresses throughout the eighteenth century were influential public figures, but the agency of the more successful performers aided in the construction of femininity that related to a broader spectrum of women.
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Leask, Margaret. "Lena Ashwell, 1869-1957 'actress, patriot, pioneer' /." Connect to full text, 2000. http://hdl.handle.net/2123/360.

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Thesis (Ph. D.)--University of Sydney, 2001.
Title from title screen (viewed Apr. 21, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Degree awarded 2001; thesis submitted 2000. Includes bibliography. Also available in print form.
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Morrison, Joanna. "The actress and the look of the other." Thesis, Morrison, Joanna (2014) The actress and the look of the other. PhD thesis, Murdoch University, 2014. https://researchrepository.murdoch.edu.au/id/eprint/27928/.

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This thesis, titled The Actress and the Look of the Other, comprises a novella and a dissertation. The thesis consists of a work of fiction and a critically-based literary dissertation, with the two complementing each other. That is, this is not a practice-based exegesis where an analysis of a creative component is undertaken. The dissertation analyses two novelistic representations of actresses—Regina in Simone de Beauvoir’s All Men Are Mortal (1946) and Sibyl Vane in Oscar Wilde’s The Picture of Dorian Gray (1891)—through relevant aspects of Existentialism. The application of de Beauvoir’s ideas about female “transcendence” and acting in The Second Sex, and Jean-Paul Sartre’s existentialist philosophy of the other’s look, draws out and illuminates themes of objectivation and alienation in the novels, in relation to these hitherto neglected characters. The thesis addresses the previous neglect of these two figures in literary analyses and illustrates their relevance to the often inexplicit use of Existentialism in celebrity studies. It answers the research question: to what extent does Existentialism inform the actress characters in All Men Are Mortal and The Picture of Dorian Gray? Further, to what extent has Existentialism informed interpretations of the actor in celebrity studies? The research question also informs the creative component of the thesis, which is titled As Though Floating. Engaging with de Beauvoir’s ideas about acting, “transcendence”, gender and fame, and Sartre’s ideas about self-estrangement in the other’s look, the novella explores how these existentialist themes relate to mortality, insignificance, fame and the acting craft. The novella explores a female actor’s unhappy pursuit of fame and her realisation that fulfilment may lie elsewhere. Fen is dissatisfied in her career as an understudy in London’s West End theatres, and is so preoccupied with recognition and success that she forgets her love of acting itself. When she returns home to Perth for a former lover’s funeral, Fen works through her memories and grief. In doing so, she reconciles with family and friends, and with her past treatment of the former lover whose celebrity and death play a key role in the novel.
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Rentschler, Brittney. "Machinal: A Sourcebook For the Actress Playing "Young Women"." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3405.

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This thesis will document four phases of my rehearsal process/performance while portraying the role of Helen in Sophie Treadwell's Machinal. The first phase of the project will be researching and analyzing historical material on: Sophie Treadwell (the playwright) Ruth Snyder (the murderess upon whom the character of Helen is based), and the actual murder that occurred in the 1920's. The second phase that will be documented is a character analysis. I will take each episode and divide it into the following sections: given circumstances, what is said about the character by the playwright, by others, or by herself, objectives, tactics, vocal traits, and physical traits. The third phase will include a written journal of my experiences as an actor as they occurred during the rehearsals and performances. The fourth and final phase will include a self-analysis of the performance. I will reflect on my abilities in synthesizing the research and character analysis found in phase one and two into the actual performance. In addition, Committee Chair, Mark Brotherton, and my thesis Committee Members, Kate Ingram and Vanduyn Wood will also give written responses. The performances will be held February 14-17, and 21-24, 2007 in the University of Central Florida's Black Box Theatre. Dr. Julia Listengarten will direct the performance.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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Rentschler, Brittney. "Machinal a sourcebook for the actress playing "young woman" /." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002643.

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Stevens, Johanna J. ""The prettiest little actress" : performance theory and Frances Burney's E̲v̲e̲l̲i̲̲̲n̲a̲ /." Electronic version (PDF), 2006. http://dl.uncw.edu/etd/2006/stevensj/johannastevens.pdf.

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Burton, Sarah. "The public woman : an investigation into the actress-whore connexion." Thesis, Royal Holloway, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286296.

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Grime, Helen Elisabeth. "A strange omission? : Gwen Ffrangcon-Davies, twentieth-century Shakespearean actress." Thesis, University of Winchester, 2008. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503838.

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Wooler, Stephanie. "Performance Anxiety: Hysteria and the Actress in French Literature 1880-1910." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10246.

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My dissertation uses close readings of four texts dealing with the actress, spanning the naturalist novel (Zola’s Nana, 1880, and Edmond de Goncourt’s La Faustin, 1882), autobiography (Sarah Bernhardt’s Ma double vie, 1907) and autobiographical fiction (Colette’s La Vagabonde, 1910), in order to examine late nineteenth-century representations (and self-representations) of the actress in relation to the discourse of hysteria. I argue that in late nineteenth and early twentieth-century France, pathology and performance came together in the stereotype of the hysterical actress. In the wake of the French Revolution, and the subsequent political upheavals of the nineteenth century along with the emergence of a consumer capitalist society, \(fin-de-si\grave{e}cle\) society was living a moment of particular anxiety. This anxiety found a focal point in the hystericised figure of \(la com\acute{e}dienne\), who came to embody a threatening blurring of gender and class distinctions. Actresses were pathologised in a discursive gesture which sought to identify and contain the threat which they were seen to pose, and which seemed to offer an objective narrative which re-established boundaries and identities. The discourse of hysteria, however, was by no means as secure or monolithic as it might seem. I argue that the discourse of hysteria is underpinned by a fundamental performativity which has the potential to be profoundly subversive. By examining different modalities of response to the phenomenon of the hystericisation of the actress, I show how in both male and female-authored texts the discourse of pathology is undermined and reappropriated in a way which foreshadows twentieth-century feminist theories.
Romance Languages and Literatures
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DiSalvo, Mary Lorraine. "Redirecting Neorealism: Italian Auteur-Actress Collaborations of the 1950s and 1960s." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11518.

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The aftermath of Italy's cinematic movement neorealism left several directors searching for a new cinematic practice and a new directorial identity. Many of the most artistically intrepid directors of the era turned to women as a means of professional and personal reinvention. This study analyzes the collaborations of Vittorio De Sica, Roberto Rossellini, Federico Fellini, and Michelangelo Antonioni with the actresses Sophia Loren, Ingrid Bergman, Giulietta Masina, and Monica Vitti, respectively.
Romance Languages and Literatures
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Books on the topic "Actress"

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Actress to actress. New York: N. Lyons, 1986.

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The actress. New York: St. Martin's Minotaur, 2008.

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LaFay, Vivienne. The actress. London: Black Lace, 1996.

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Rosensteel, Mary C. The actress. Wisbech: LDA, 1996.

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Best actress. New York: Ballantine Books, 1998.

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The Actress. London: Taylor and Francis, 2006.

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The mattress actress. London: Faber and Faber, 1993.

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Love, Dorothy. A respectable actress. Thorndike, Maine: Center Point Large Print, 2016.

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Exit the actress. New York: Touchstone/Simon & Schuster, 2011.

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Theodora: Actress, empress, whore. Virago: London, 2011.

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Book chapters on the topic "Actress"

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Fisk, Deborah Payne. "The Restoration Actress." In A Companion to Restoration Drama, 69–91. Carlton, Victoria, Australia: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118663400.ch5.

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Richards, Sandra. "The Modern Actress." In The Rise of the English Actress, 205–29. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-09930-6_10.

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Richards, Sandra. "The Recent Actress." In The Rise of the English Actress, 230–60. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-09930-6_11.

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Leach, Robert. "The aspiring actress." In Partners of the Imagination, 24–30. London ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003043515-6.

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"Actress as Woman, Woman as Actress." In The Problem of the Actress in Modern German Theater and Thought, 47–76. Boydell & Brewer, 2021. http://dx.doi.org/10.2307/j.ctv136btzr.8.

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Rice, Christina. "Child Actress." In Ann Dvorak, 13–24. University Press of Kentucky, 2013. http://dx.doi.org/10.5810/kentucky/9780813144269.003.0003.

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Hoek, Lotte. "Actress/Character." In Cut-Pieces, 91–128. Columbia University Press, 2013. http://dx.doi.org/10.7312/columbia/9780231162890.003.0004.

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"The Actress." In Feminist Film Studies, 257–92. Routledge, 2012. http://dx.doi.org/10.4324/9780203146804-15.

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"The Actress." In Performing Femininity. I.B.Tauris, 2017. http://dx.doi.org/10.5040/9781350987487.ch-007.

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"The Actress." In The Woman Who Dared, 22–34. The University Press of Kentucky, 2023. http://dx.doi.org/10.2307/j.ctv34h094d.5.

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Conference papers on the topic "Actress"

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Freudenreich, Tobias, Stefan Appel, Sebastian Frischbier, and Alejandro P. Buchmann. "ACTrESS." In the 6th ACM International Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2335484.2335505.

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Křikava, Filip, Philippe Collet, and Robert B. France. "ACTRESS." In SAC 2014: Symposium on Applied Computing. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2554850.2555020.

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Satoh, Shiníchi. "Towards actor/actress identification in drama videos." In the seventh ACM international conference. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/319878.319899.

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Satoh, Shin'ichi. "an actor/actress annotation system for drama videos." In the seventh ACM international conference. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/319878.319939.

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Karthika, C. "Cyberbullying on celebrities: A case study on actress Parvathy." In INTERNATIONAL CONFERENCE ON RECENT INNOVATIONS IN SCIENCE AND TECHNOLOGY (RIST 2021). AIP Publishing, 2022. http://dx.doi.org/10.1063/5.0080175.

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Kim, Sihyun. "REPRESENTATION OF FICTIONAL SUBJECT AS AN ACTRESS: BLANCHE’S DESIRE AND LACK." In 40th International Academic Conference, Stockholm. International Institute of Social and Economic Sciences, 2018. http://dx.doi.org/10.20472/iac.2018.040.032.

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Nakai, A., M. Ohashi, and N. Ito. "Access network operation support tool (ACTRESS-OpS) based on object-oriented technology." In Proceedings of APCC/OECC'99 - 5th Asia Pacific Conference on Communications/4th Optoelectronics and Communications Conference. IEEE, 1999. http://dx.doi.org/10.1109/apcc.1999.820489.

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Chistyuhin, Igor Nikolaevich. "About translation of the therm "actress" from greek on slavic and russian languages." In IX International applied research conference. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-112274.

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Макарова, Е. А. "THE FATE AND ACTIVITIES OF ELIZABETH INCHBALD (1753–1821): IN THE CIRCLE OF ENGLISH RADICALS." In Конференция памяти профессора С.Б. Семёнова ИССЛЕДОВАНИЯ ЗАРУБЕЖНОЙ ИСТОРИИ. Crossref, 2021. http://dx.doi.org/10.55000/mcu.2021.44.42.015.

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Статья посвящена практически не изученной в отечественной историографии фигуре – ак-трисе, писательнице, драматургу и литературному критику Элизабет Инчбальд (1753–1821), кото-рая в 1790-е годы XVIII века, когда во Франции разыгрывались драматические события револю-ции, входила в тесный круг английских политических радикалов, к которому принадлежали Уильям Годвин, Томас Холкрофт и другие, и в своих произведениях отразила политический дис-курс эпохи. The article is devoted to an almost unknown figure in Russian historiography – the actress, writer, playwright and literary critic Elizabeth Inchbald, who in the 1790s of the XVIIIth century, when the dramatic events of the revolution were played out in France, was part of a close circle of English political radicals, to which William Godwin, Thomas Holcroft and others belonged, and in her works reflected the political discourse of the epoch.
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10

Žofčák, Jakub. "DETERMINING FACTORS OF CZECH FILM ATTENDANCE IN THE YEARS 2003–2017." In 4th International Scientific Conference – EMAN 2020 – Economics and Management: How to Cope With Disrupted Times. Association of Economists and Managers of the Balkans, Belgrade, Serbia, 2020. http://dx.doi.org/10.31410/eman.2020.295.

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The paper analyzes the determining factors affecting Czech film attendance in the years 2003–2017 and places this topic into the context of the information asymmetry faced by film-goers. Using the regression (OLS) model and a unique population-level dataset (415 observations), the hypothesis of a positive relationship between film attendance and audience rating is confirmed. The increase in audience ratings by Czech-Slovak Film Database website’s users by one percentage point is, ceteris paribus, associated with an increase in attendance by 1.8%. Factors which have proven to determine film attendance also include: specific genres; film sequels; casting of a popular actor, actress or director; the personality of the director Zdeněk Troška; the Czech Lion Awards; and a premiere in certain years. In the decision-making process of a viewer who faces information asymmetry one can rely on these determinants as economic signals and on viewer ratings as information from an intermediary.
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Reports on the topic "Actress"

1

Jenkins, Ruth. The Affects of Vocal Fatigue on Fundamental Frequency and Frequency Range in Actresses as Opposed to Non-Actresses. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6938.

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