Relevant bibliographies by topics / Motion picture actors and actresses

Academic literature on the topic 'Motion picture actors and actresses'

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Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Motion picture actors and actresses"

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Gadihoke, Sabeena. "Capturing Stars: Bengali Actresses Through the Camera of Nemai Ghosh." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 30–45. http://dx.doi.org/10.1177/0974927617701568.

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This essay explores the rich archive of photographer Nemai Ghosh whose production stills on the sets of Satyajit Ray kept his cinema alive in popular memory. While it might appear that Ghosh was overwhelmed by the vision of Satyajit Ray, the essay explores how the documentary impulse in his work created continuity as well as rupture with the cinema of Ray and others in Bengal. Nemai Ghosh’s forte lay in capturing candid moments of actors just before and after filming on the sets. These interstitial moments caught between the vision of the director and the photographer shooting a production still could be used to tease out other deeper meanings about star personas. As we look through Nemai Ghosh’s larger body of work, particularly at images which may not have found public circulation as film stills, we see other kinds of mediations between the photographer, the camera and his subjects. By extricating still frames out of motion, Ghosh’s photographs invite us to contemplate certain tensions between female actors, their roles and their extra cinematic lives. Recollections of these stars are layered by stories, anecdotes and popular myths. In this essay, I explore what it might mean to look back at Nemai Ghosh’s images through the prism of these overlapping memories.
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Schumacher, Claude. "Would You Splash Out on a Ticket to Molièe's Palais Royal?" Theatre Research International 25, no. 3 (2000): 248–54. http://dx.doi.org/10.1017/s0307883300019702.

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Little by little we are building up a reliable picture of what a seventeenth-century Parisian theatre looked like. In Theatre Research International we published an important article by Graham Barlow's on the Hôtel de Bourgogne in our first volume, and we return to the subject with the eye-opening reconstruction of the Palais Royal by Christa Williford in this, our last issue. In the intervening twenty-five years we have published articles on the problem of law and order in the auditorium, on actors and acting in seventeenth and eighteenth-century France; on the interaction between tragedy and the emerging opera, on theory, on dramatic literature, on the morality of actors and actresses, even on publicity; but nothing, specifically, on the identity of the spectator. And without a clearer impression of who patronized the Parisian theatres, we are in danger of missing important clues, not only concerning the theatrical performance, but also in our reading of the dramatic text—which will inform our theatrical decisions.
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Wirtz, Bernd W., Marina Mermann, and Peter Daiser. "Success factors of motion picture actors – an empirical analysis." Creative Industries Journal 9, no. 2 (July 2, 2016): 162–80. http://dx.doi.org/10.1080/17510694.2016.1206359.

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Kalenichenko, O. M. "Interpretation of Gogol’s works on the puppet theater stage (based on the spectacle by Oksana Dmitrieva «May night, or Moonlight Witchcraft»)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 148–62. http://dx.doi.org/10.34064/khnum2-17.10.

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Background. M. Gogol’s «Evenings on a Farm Near Dikanka» often attract the attention of theater directors. Thus, in June 2009, the premiere of the play «May night, or Moonlight Witchcraft» directed by Oksana Dmitrieva, took place at the Kharkov Puppet Theater. Trying to reveal the genre nature of the production, theater critics give it such definitions as a fairy tale, musical, fantasy, ethno-folk show, liturgy, mystery play, as well as analyze individual finds of a young director, but the complete picture of the artistic features of this performance is absent yet. In this regard, the purpose of the article is to identify the features of the interpretation of the Gogol story by director O. Dmitrieva. Results. The «May night...» begins with a musical introduction consisting of two themes: the lyrical theme of the pipe with intonations of Transcarpathian melodies (which is connected with the young couple Hanna and Levko and the image of Pannochka) and the theme of hand drums, which reveals the inner strength of the Ukrainian people, as well as demonological beginning associated with the witch-stepmother. The music gives way to the sounds of night nature and the stars appear on the backdrop. Their low location and shape resemble the Christmas stars, with which carolers sing for Christmas. In the dark, the figure of Pannochka appears, wrapped in white cloths remembering a shroud. The unfolding of intersecting clothes above Pannochka’s head, and then their rotation symbolize both the alternation of day and night and the winter solstice. Thus, there are both, the Orthodox and the Pagan features, in depiction of the Ukrainian village. From several notes that the heroine sings, her leitmotif grows up. He fits well on modern arrangements of Ukrainian music, and is easily recognizable on his own. In combination with Pannochka’s sudden gusty movements (as if a bird is trying to break out of the snare, fly up into the sky), it helps to reveal her ambivalent nature: on the one hand, of the martyr, on the other – the representative of evil forces. Pannochka becomes the main character of the performance, and the Moon becomes her attribute, which can turn into the tambourine of shaman, the lyre, the sword, etc. The youth walking scene “on the garden” with the use of the jigging puppet, accompanied by folk songs differs in tempo and rhythm from previous mysteriously lyrical scenes. In the next episode, Pannochka enchants the characters on the stage with moonlight, so the meeting and the dialogue between Hanna and Levko begin to be perceived as a dream of heroes. This is facilitated by both the slow movements of the actors, the lengthy summons into the names of the characters, their flight around the stage, and the dialogue with the Moon that Pannochka props up. The tragic history of Pannochka is depicted first with the help of portraits of its participants on round screens, and then the screens are assembled into the figure of a Witch-Cat. This form also is reminiscent of a Chinese dancing Dragon. The episode with the hand fans depicting the “cat’s claws” is accompanied by alarming drum sound: Pannochka has no repose from the Witch even after death. The village in the new picture is reflected in the ripples of water: the real world is floating, swinging. Hanna and Levko confess their love to each other, however, Kalenik suddenly appears, recalling the Head. The image of the Head is solved by the director using two masks – large and small. At the beginning of the second act, the actors appear on the stage with long poles, which are similar both to the Chinese combat weapon and to the Ukrainian musical instruments “trembits”, allowing the actors to show brilliant plastic technique of “slow-motion”. Stylized masks of animals (cows, goats, pigs, roosters), which the walking lads pulling on themselves are the allusion to the Christmas fests. The lad boys strive to annoy the Head, so Head masks reappear on the scene, but there are already three of them: large, medium and small. With their help, there is a debunking of this character losing his power. The action transferred to the bottom of the pond, as symbolized by stylized fish. The drums and the fans – the cat’s claws – once again remind of the conflict between Pannochka and the Witch. Like in Gogol’s novella, the heroine asks Levko to find the Stepmother-Witch. The marionnette a la planchette and then – a shadow paper doll represent the image of the hero. Thanks to Levko, Mermaids (the original puppets) seize the Witch, and her death is symbolized by a broken rattle-rattle with the image of the cat’s muzzle. Next, the scene action follows by the Gogol’s novella: grateful Pannochka given to Levko the note, Head read it and allowed his son to marry Hanna. The image of Levko is represented here both in the system of the tablet puppet and in the means of the shadow theater. And the long clothes-shrouds acquainted from the first episodes of the play perform a number of new functions: this is the water of the pond, where Pannochka floats, and the paper, on which the note is written, and later – the wedding table. In this way the end of the Pannochka plot line comes. The spiritual verse «The soul with the body was parting» sounds, and in the hands of actress V. Mishchenko, the light paper doll, as the soul of her heroine, seeks up into the sky. Pannochka redeemed her sins, and now her soul can fly to heaven, because Easter has come. The last episode uses the “time-lapse” technique symbolizing the cleansing of the world from evil, and Pannochka’s leitmotif is organically superimposed on the Easter chime of bells. The action ends with a rap on the words “The Angels had opened the windows and they are looking on us” and the news that Easter has come. The final supports an idea that a person’s life moves from Christmas to Easter, from suffering to light, thus closing the spectacle into a ring composition. Conclusions. The original Gogol’s text allowed O. Dmitrieva to show a wide palette of modern possibilities of the puppet theater and the high skill of the actors of the “live plan”. In addition, the interweaving of national and foreign, Orthodoxy and paganism, an appeal to the expressive possibilities of the Ukrainian folk and modern music and to the ballet plastique suggest the postmodern nature of the play «May night, or MoonlightWitchcraft».
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C, Antonius Rachmat, and Yuan Lukito. "Deteksi Komentar Spam Bahasa Indonesia Pada Instagram Menggunakan Naive Bayes." Jurnal ULTIMATICS 9, no. 1 (June 16, 2017): 50–58. http://dx.doi.org/10.31937/ti.v9i1.564.

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Instagram is the most famous pictures and videos media sharing based on the web & mobile application. Instagram users can have picture posts that can be commented by their followers. Indonesian public figures such as actors, actresses, musicians use Instagram to promote their activities to their followers. Unfortunately, there are a lot of spam comments in Instagram that need special attention and have to be removed. This research grabs Instagram comments and builds the dataset from Indonesian public figures who have more than one million followers. By using preprocessing (tokenization, stop words removal, and stemming), TF-IDF weighting, and supervised learning, Naive Bayes method is used to detect spam comments in Indonesian. Naive Bayes produces 74,31% accuracy rate on unbalanced datasets and 77,25% accuracy rate on balanced datasets. This result shows that Naïve Bayes can be used to build an automatic Indonesian spam comments detector on Instagram with high accuracy rate. The novelty of this research is that Naive Bayes can be used to detect spam comment on our Indonesian Instagram comments dataset. Index Terms—Instagram, Naive Bayes, Indonesian spam comments, spam comments detection.
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Hashimi, Sayed Samim, Azizullah Jabarkhail, and Abdullah Awwab. "Overview of Structural Elements of Pashto Radio Dramas." Sprin Journal of Arts, Humanities and Social Sciences 2, no. 10 (October 14, 2023): 53–59. http://dx.doi.org/10.55559/sjahss.v2i10.173.

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Drama is an ancient representational art that dates back to the first centuries of human existence. There has been some discussion about the antiquity of the origin of the drama. This genre has specific types, such as stage, radio, television, one-act and interactive dramas. In this, the radio drama is the one that is broadcasted on the radio and each character and actor presents a scene, it is recorded in the studio and then broadcast so that the audience listens to it. It represents the events that can only be presented with sound. In the structural elements, the story and the incident come from which the drama is built, the plot and design are the foundation of the drama and it is based on it. It has main and secondary characters without which the drama does not exist because it gives it movement. It is a dialogue that provides a way for dialogue between actors and performers. The sound effect creates the voice effects and results, is a picture of time and place that is related to both and is an essential element of drama. It also has a piece of effective music, which plays an important role in comedy and tragedy types of dramas, which increases the flavor and color many times. It is the role of the actors and actresses that the story moves forward with their help and finally has a message that brings a positive change in people's behavior and evokes high emotions.
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Murphy, David G. "The Entrepreneurial Role of Organized Labour in the British Columbia Motion Picture Industry." Articles 52, no. 3 (April 12, 2005): 531–52. http://dx.doi.org/10.7202/051185ar.

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Research into an industrial sector reflecting principles of the emergent "network" model of production indicates that organized labour can play a positive role in post-Fordist Systems of industrial governance. Within the dynamic motion picture industry of British Columbia (B. C), organized labour was the key organizational factor in the birth and rapid expansion of the agglomeration ofsmall, specialized film production firms which has become a competitor for the coveted title of second largest film centre, after Los Angeles, in North America. In this process, B.C. film unions have become the dominant "actors " in forging collaborative relations between local production companies, between the sector and the state, and between the district and other film centers, so critical to the success of the network model.
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Smith, Jeffery A. "Hollywood Theology: The Commodification of Religion in Twentieth-Century Films." Religion and American Culture: A Journal of Interpretation 11, no. 2 (2001): 191–231. http://dx.doi.org/10.1525/rac.2001.11.2.191.

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A motion picture is a product formed by the intricate inter-play of film industry forces and cultural expectations. Hollywood must attract audiences and audiences crave gratification or, perhaps, edification. Movies with religious themes can deal with momentous issues, but take the risk of affronting deeply held beliefs. Problems naturally arise when matters as sensitive and speculative as the activity of the Creator and the role of the created become entertainment marketed to mass audiences. Technicolor scenery, special effects, celebrity actors, spiced-up scripts, and other big-screen production values may seem disrespectful or may divert attention away from serious reflection. Critics of consumer society have pointed to the manipulation, superficiality, and commercialization found in mass media environments and film scholars have evaluated movies with religious topics, but questions remain about cinematic treatments of ultimate meaning. The motion picture industry's customers have a multitude of spiritual perspectives.
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Wirtz, Bernd W., Marina Mermann, and Peter Daiser. "Competencies and success of motion picture actors: a resource-based and competence-based empirical analysis." Journal of Media Practice 17, no. 1 (January 2, 2016): 98–116. http://dx.doi.org/10.1080/14682753.2016.1159452.

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Price, Hollie. "A ‘Somewhat Homely’ Stardom: Michael Denison, Dulcie Gray and Refurnishing Domestic Modernity in the Postwar Years." Journal of British Cinema and Television 12, no. 1 (January 2015): 25–44. http://dx.doi.org/10.3366/jbctv.2015.0241.

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The husband and wife acting duo, Michael Denison and Dulcie Gray, achieved popular acclaim in British cinema during the 1940s, Gray in They Were Sisters (1945) and Denison in My Brother Jonathan (1948). Following the success of My Brother Jonathan (in which Gray also appeared), the couple's star status was soon cemented by roles together on screen, including notably The Glass Mountain (1949), The Franchise Affair (1951), Angels One Five (1952) and There Was a Young Lady (1953). As a result of these roles in popular films and images of the couple in extra-cinematic culture, a picture of cosy, domestic consensus became irrevocably associated with Denison and Gray's status as British film stars, much to Denison's later chagrin.Rachael Low's History of the British Film suggests that British actors and actresses have not been deemed worthy of the glamorous connotations of star status because they are ‘somewhat homely in comparison with legendary international figures’ (1971: 263). In this period, the Denisons’ star image was characterised by the ‘homely’: by a vision of their domestic life together as at once aspirational, ordinary and English. However, this article argues that their stardom can be resituated as a postwar reformulation of modes linking British stars with ideas surrounding domestic modernity in the middlebrow culture of the interwar years. Therefore, Low's label of homeliness can be redefined as a key characteristic of the distinction, promotion and reception of popular British stardom in the immediate postwar period.
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Dissertations / Theses on the topic "Motion picture actors and actresses"

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Choi, Wing-yee Kimburley. "Reading audiences : spectatorship and stars in Hong Kong cinema : the case of Chow Yun-fat /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19853397.

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Drake, Philip Justin. "Stardom after the star system economies of performance in contemporary Hollywood cinema /." Connect to e-thesis, 2002. http://theses.gla.ac.uk/942/.

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Thesis (Ph.D.) -- University of Glasgow, 2002.
Ph.D. thesis submitted to the Department of Theatre, Film and Television Studies, University of Glasgow, 2002. Includes bibliographical references. Print version also available.
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Aich, Priyanka. "The construction and (re)presentation of Indian women in recent mainstream western cinema." Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Fall2009/p_aich_112309.pdf.

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Thesis (M.A. in communication)--Washington State University, December 2009.
Title from PDF title page (viewed on Feb. 12, 2010). "Edward R. Murrow College of Communication." Includes bibliographical references (p. 107-115).
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Shing, On-ki Angel. "The star as cultural icon : the case of Josephine Siao Fong Fong /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22199792.

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Dodd, Alan. "From stars to celebrities : Hollywood stardom in the age of celebrity culture." Thesis, University of Aberdeen, 2010. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=167617.

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This thesis examines the changing nature of Hollywood stardom and how this is informed by an emergent celebrity culture. Through several case studies this study augments older forms of analysis with Bourdieu’s concept of capital to create a new model of stardom that can accommodate recent cultural developments. In chapter one four key forms of capital are identified. After contextualising this new model within the history of classic Hollywood and older academic approaches to stardom in chapter two, the analysis of Nicole Kidman’s star text in chapter three shows how her image has evolved to combine all forms of cultural capital and as such exemplifies an entirely new formulation of the Hollywood film star. Chapter four applies this analysis to the small screen, with the case studies of Michael J. Fox and Sarah Jessica Parker showing how some performers are able to accrue cultural capital by simultaneously working in film and television, establishing television as a legitimate site for Hollywood stardom and its associated capital. In chapter five a case study of Brand Beckham shows how the capital of contemporary celebrity can be effectively deployed in order to generate a similar allure to that of the classic Hollywood star and with it a similar level of Hollywood power. The final chapter examines the simultaneous unravelling of one brand and the creation of another in light of the increasing power of the fan within celebrity culture. A detailed study of Britney Spears’s presence on perezhilton.com highlights the involvement of the audience as producers of her image and demonstrates how new technologies can be used to create an entirely new form of fame for the gossip columnist, which in turn has been appropriated by the Hollywood system as the next site for legitimate fame.
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Wong, Suet-lan, and 黃雪蘭. "Hong Kong cinema made international: the action cinema of Bruce Lee and Jackie Chan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951764.

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Choi, Wing-yee Kimburley, and 蔡穎儀. "Reading audiences: spectatorship and stars inHong Kong cinema : the case of Chow Yun-fat." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B29913469.

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Lau, Wai-sim, and 劉慧嬋. "Chinese martial arts stardom in participatory cyberculture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50533824.

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The participatory cyberspace, epitomized by the concept of Web 2.0, has become a key venue of Chinese stardom in the post-cinema era.Web 2.0 invites its users to contribute to the content through an architecture of participation. Fans can search, poach, edit, and post filmic and publicity materials about stars, formulating seamless, collaborative reworkings of the star image and generating a new star-fan dynamic. At the crossroads of participatory cyberspace and cinema, transnational Chinese movie stars call our attention to the critical concern of Chineseness. In recent years, a number of Chinese movie stars have attained prominent presence in the global cinematic arena. These acting talents, who are either identified as martial arts performers or known for their performances in martial arts films, won global acclaim as a result of the worldwide reception and esteem for Hong Kong action films and Fifth Generation directors’ films from mainland China. As these stars begin to engineer personae stretching beyond their ethnic identities for the global setting, their stardom engenders discourses of ethnicity and cosmopolitanism.What does it mean to call these stars “Chinese” in the global cyber setting? How do their fans interact to reshape their star personae on the Web? How can one approach and understand “Chineseness” within cyber fan discourse? All these questions point to a central problem of how to conceptualize Chineseness in participatory cyberspace. My agenda in this study is to investigate Chinese movie stardom as a web-based phenomenon by establishing a new theoretical framework for considering Chineseness in participatory cyberspace. I have created a set of four analytical matrixes, each examining a particular Chinese star through a specific fan-based practice on a specific participatory site: vidding Donnie Yen and critiquing Zhang Ziyi on YouTube; photo-sharing about Jackie Chan on Flickr; “friending” Jet Li on Facebook; and discussing Takeshi Kaneshiro on fan forums. Through close investigation of these five Chinese stars, I demonstrate that the cyber setting enables collaborative fan reworkings of star texts and multiple directionality of approaching Chineseness. Cyber fans produce intertextual, multi-faceted star personae, different from traditional film personae whose meanings are anchored in a rigid established representational framework. Through the relentless scrutiny, quotation, manipulation self-affiliation by fans enabled by cyber technology, Chineseness becomes an utterly illusive and indefinable entity, a new form of signification whose meaning is always changing. This unstable, hybrid Chineseness challenges the notion of a star’s given ethnicity, redefining the archetypal martial arts body in unpredictable, manifold and provocative terms for the cyber era. With the aim of advancing the critical theorization of Chineseness, this study unfolds and analyzes the dynamics of the vital relationship between Chinese stardom, web technologies, and fan discourse. It also serves as a timely response to the challenges posed by cyber culture for the disciplines of cinema and cultural studies, in light of the proliferating yet inadequate current efforts in this field.
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Yuen, Nancy Wang. "Performing authenticity how Hollywood working actors negotiate identity /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1692357331&sid=13&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Mosher, Jerry Dean. "Weighty ambitions fat actors and figurations in American cinema, 1910-1960 /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495959291&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Books on the topic "Motion picture actors and actresses"

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Suganuma, Masako. Sutā 55: Actressess actors directors. Tōkyō: Tsukuba Shobō, 1996.

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Strick, Philip. Greatmovie actresses. New York: Beech Tree Books, 1985.

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S, Quigley Eileen, ed. International motion picture almanac. 7th ed. Groton, MA: Quigley, 2004.

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Mould, Paul. Mould's movie careers: Actresses. Studio City, Calif: Players, 2002.

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A, LuKanic Steven, ed. Film actors guide. Los Angeles, Calif: Lone Eagle, 1991.

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Parry, Lloyd Albert. Star shine: Candid photos of actors, actresses, and musicians. Oakland, Or: Elderberry Press, 2004.

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Darroussin, Jean-Pierre, Karin Viard, Bérénice Bejo, Swann Arlaud, Corinne Masiero, and Damien Bonnard. Actrices et acteurs au travail. Bruxelles: Les impressions nouvelles, 2021.

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García, Rosa María Ballesteros. Con nombre extranjero: Actrices en el cine español, 1916-1950. Cdad Aut de Bs As [i. e. Ciudad Autónoma de Buenos Aires]: Acercándonos Ediciones, 2011.

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Stephen, Randall, and Playboy (Chicago), eds. The Playboy interviews: The actors. Milwaukie, OR: M Press, 2007.

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Lazzaro, Dalila Di. L' angelo della mia vita: Piccoli miracoli intorno a me. Casale Monferrato (Alessandria): Piemme, 2008.

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Book chapters on the topic "Motion picture actors and actresses"

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Wilson, Sondra Kathryn. "The Film Industry and the Negro." In In Search of Democracy, 375–78. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195116335.003.0079.

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Abstract Since the early 1940s, the NAACP has taken issue over the fact that blacks were not being portrayed in motion pictures in the manner in which they occupy positions in life. In the following address under the auspices of the Association of Motion Picture Producers Roy Wilkins outlines the NAACP’s policy on black actors in film roles. This speech was given on October 25, 1957. I am grateful for the opportunity to discuss with you face to face, at long last, a matter about which there has been a great deal of misunderstanding. After much telephoning and writing back and forth, beginning, I believe, last March or April, you have been gracious enough to arrange this luncheon meeting. While there has been much talk of an N.A.A.C.P. policy on employment of Negro actors in film roles, and on the type of material involving Negroes and the so-called race question which has found its way into motion pictures, the truth of the matter is that there has never been a clear policy issued by the N.A.A.C.P.
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O’brien, Charles. "Dubbing in the early 1930s: An improbable policy." In The Translation of Films, 1900-1950, 177–90. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266434.003.0010.

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This chapter uses the case of dubbing practices in the early 1930s to consider the possibility that the impact of screen translation techniques on film aesthetics is more significant than has been recognised. The focus is on Hollywood’s unexpected adoption in 1931 of voice dubbing as its principal means of preparing films for the main foreign markets. Hollywood’s reliance on dubbing is contrasted with practices in the German film industry, its main rival for the world film market, where films for export were prepared in foreign-language versions rather than dubbed. Dubbing involved more than voice replacement to affect motion picture style in various ways. Trade press documentation is used to suggest that the dubbed American films of 1931 typically featured less speech; fewer close-ups of speaking actors; more reaction shots in dialogue scenes; more cuts overall; framings and props that concealed rather than displayed the actors’ moving lips; and other stylistic quirks.
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Erish, Andrew A. "1909–1913." In Vitagraph, 58–110. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181196.003.0004.

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Chapter Three charts Vitagraph's ascendency in becoming the world's leader in motion picture production, during which time the company earned one million dollars in annual net profit. This was derived exclusively from foreign earnings due to the mismanagement of the Patents Company's domestic distribution arm. Part of Vitagraph's popularity is attributed to the crediting and promotion of its actors via the creation of the first trade and fan magazines devoted exclusively to the movies. There are in-depth profiles of such leading players "Vitagraph Girl" Florence Turner, matinee idol Maurice Costello, and comedian John Bunny, who was widely regarded as the most recognizable man in the world. The significance of Vitagraph's Los Angeles studio in the production of popular Westerns is considered. The chapter also includes an analysis of the company's development of a sophisticated cinematography aesthetic to complement particular narratives, an approach that later came to be labeled "film noir".
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Powaski, Ronald E. "The Reagan Nuclear Buildup." In Return to Armageddon, 14–38. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195103823.003.0002.

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Abstract In January 1981 Ronald Reagan, like the overwhelming majority of his Cold War predecessors, entered the White House with almost no background in national security affairs. Before entering the political arena in the early 1960s and then serving as governor of California from 1966 to 1974, he had been in movies and television. His only military experience consisted of making training and documentary films during World War II. Reagan’s knowledge of communism and the Soviet Union was also limited. It was based almost entirely on personal experience rather than study. In the late1940s, as president of the Screen Actors Guild, he fought what he believed was a communist effort to take over the motion picture industry. The experience made him deeply suspicious of communism and the Soviet Union, in particular. In 1983 he called the Soviet Union “the focus of evil in the modern world.”1
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5

Diffrient, David Scott. "Dead, But Still Breathing." In Body Genre, 137–68. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496847966.003.0006.

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Breathing is an implicit, rarely remarked-upon bodily phenomenon in cinema. Indeed, one of the most undertheorized yet taken-for-granted aspects of the motion picture medium, which makes an ontological break from still photography by presenting viewers with the illusion of movement, is its capacity to forge an intersubjective bond between the living, breathing bodies of characters (as well as the actors who play them) and the embodied spectator whose own respiratory activity is as key to phenomenological engagement or sensual perception as seeing and hearing are. Building upon the work of Davina Quinlivan, this chapter explores some of the ways that breath can paradoxically sever a viewer’s link to that apparatus and draw her or his attention to the fictionality of a narrative. This is particularly true in horror films, where actors are frequently asked to perform “fake deaths” and the themes of mortality, physical trauma, and supernatural survival figure prominently. Those themes are lent visual texture not only through graphic representations of the body’s destruction and the taking of one’s “last breath,” but also in the sexually suggestive way that women’s breasts (or heaving chests) are lingered on by filmmakers whose predilection for “base” material is echoed in their narratives’ gravitation toward basements and other underground settings.
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Regev, Ronny. "Bargaining." In Working in Hollywood, 165–94. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469636504.003.0007.

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The sixth chapter recounts the history of Hollywood collective bargaining. On a day-to-day basis, the American motion picture industry relied on its ability to balance a modern, rationalized production operation with a more unstructured creative process. However, in times of crisis, when the harmony was interrupted, the creative element was often surrendered. During the 1930s, the presidency of FDR, his New Deal policies, and the empowerment of organized labor throughout the U.S. had a significant influence on Hollywood. The chapter focuses on the rise of the Screen Writers Guild, the Screen Actors Guild, and the Screen Directors Guild, their struggles, the way they chose to pursue them, and the attitude embraced towards them by studio management. However, as is shown, while they borrowed tactics from industrial unions and appealed to the National Labor Relations Board, Hollywood creative employees aligned with traditional industrial labor causes only as long as it served their immediate goals.
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McDonough, Christopher M. "Quod Scripsi Scripsi." In Pontius Pilate on Screen, 13–26. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474446884.003.0002.

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This is not a book about Pontius Pilate. Not really. It is a book, instead, about what Pilate means, and has meant, on film and television. While this means looking to the religious and historical significance of the Roman prefect, there are a host of other issues I hope to unpack in this volume. Among these matters is the political context in which any given film was produced, as well as the “office politics” which often require archival exploration to uncover. In the yellowing memoranda and hand-written notes as well as the email records of newer films, one sees just how much behind-the-scenes collaboration goes into the making of any motion picture production. Casting is considered, but also the “star theory” that media theorist Richard Dyer discusses at length. In addition, I have looked for insight from the directors, writers, and producers of the films here under study, but above all, have tried to find out what the actors themselves had to convey about the subject. The Christian apologist Tertullian once famously asked, “What has Athens to do with Jerusalem?” This book explores and amplifies that question. “And what has Washington, London, or Hollywood to do with all of them?”
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