Bibliografias temáticas / Hepburn, Audrey

Literatura científica selecionada sobre o tema "Hepburn, Audrey"

Autor: Grafiati
Publicado: 26 de julho de 2024

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Artigos de revistas sobre o assunto "Hepburn, Audrey"

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Moseley, Rachel. "Trousers and Tiaras: Audrey Hepburn, A Woman's Star". Feminist Review 71, n.º 1 (julho de 2002): 37–51. http://dx.doi.org/10.1057/palgrave.fr.9400025.

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Audrey Hepburn is one of cinema's most stylish and enduring icons, and has embodied an ideal of femininity for generations of women. Using textual analysis, archival research and audience accounts of ‘Doing the Hepburn Look’, I argue that Audrey Hepburn, as a star clearly addressing a female audience, offered a flexible image which was enabling to young women through dress in relation to exigencies of gender, class and national identity. The paper draws on research conducted as part of a larger project investigating Hepburn's ongoing appeal for young British women from the 1950s to the 1990s.
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Buckley, Réka. "Elsa martinelli: Italy's audrey hepburn". Historical Journal of Film, Radio and Television 26, n.º 3 (agosto de 2006): 327–40. http://dx.doi.org/10.1080/01439680600799298.

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Wormser, Baron. "Questions That Do Not Go Away: Audrey Hepburn". Hopkins Review 6, n.º 4 (2013): 545–54. http://dx.doi.org/10.1353/thr.2013.0082.

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Sanjuán Astigarraga, José Ignacio. "¿Más allá de la postmodernidad?: ‘Countdown’, Beyoncé y Keersmaeker". Bajo Palabra, n.º 14 (1 de março de 2017): 143–53. http://dx.doi.org/10.15366/bp2017.14.009.

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La cantante americana Beyoncé utiliza en el videoclip de la canción Countdown elementos de dos coreografías de Anna Teresa De Keersmaeker. El presente texto intenta establecer qué elementos toma Beyoncé de las obras de Keersmaeker y cómo se relaciona esta apropiación con otras imágenes (Audrey Hepburn, Diana Ross) que también aparecen en el vídeo.
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Carretta, Silvia A. "Italian court confirms high standard of protection of image rights in Audrey Hepburn case". Journal of Intellectual Property Law & Practice 15, n.º 1 (6 de novembro de 2019): 9–11. http://dx.doi.org/10.1093/jiplp/jpz146.

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Abstract Court of First Instance of Turin, Judgment No 940/2019, 27 February 2019, General Docket No 12322/2017 The Court of First Instance of Turin held that Audrey Hepburn’s image rights had been violated due to the unauthorized use and exploitation of her likeness for commercial purposes.
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Davey Smith, George. "Epigenetics for the masses: more than Audrey Hepburn and yellow mice?" International Journal of Epidemiology 41, n.º 1 (fevereiro de 2012): 303–8. http://dx.doi.org/10.1093/ije/dys030.

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Kim, Yaeri. "Like Audrey: Adoring, Imitating, and Localizing Hepburn in Miss Granny (2014)". Journal of Popular Culture 53, n.º 3 (junho de 2020): 626–47. http://dx.doi.org/10.1111/jpcu.12927.

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Bhattacharya, Satarupa. "1960s Bombay stars and fashion cultures: The queens in our hearts". Film, Fashion & Consumption 12, n.º 1 (1 de abril de 2023): 33–50. http://dx.doi.org/10.1386/ffc_00051_1.

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This article looks at the influence of Hollywood stardom on Bombay films in the 1960s that gave birth to Indian female star figures: the influence of Audrey Hepburn and the political events in India had major roles to play. Stars, such as Sadhana Shivdasani, Sharmila Tagore and Mumtaz, occupy an important role in the advent of economic and sexual liberalization that became central to feminist (re)presentations. They also played a key role in creating the image of the ‘ideal’ Indian woman. Despite its many patriarchal-centred narrations, Bombay cinema occupied a prominent place in feminist engagement as it created more opportunities for dialogues and awareness for women than were generally available at the time in Indian culture.
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Steensma, David P., e Robert A. Kyle. "Baron Aarnoud van Heemstra, Humanitarian Governor of Suriname and Grandfather of Audrey Hepburn". Mayo Clinic Proceedings 94, n.º 9 (setembro de 2019): e111-e112. http://dx.doi.org/10.1016/j.mayocp.2019.07.015.

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Zappone, Mirian Hisae Yaegashi, e Wagner Vonder Belinato. "A Infâmia d’Aqueles dois: mímese cinematográfica na narrativa de Caio Fernando Abreu". Revista Educação e Linguagens 4, n.º 7 (14 de outubro de 2020): 115–26. http://dx.doi.org/10.33871/22386084.2015.4.7.115-126.

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Infâmia é uma obra inspirada na peça escrita por Lillian Hellman em 1934 que William Wyler filmou duas vezes: em 1936, ainda como um diretor estreante, com o título de These Three (Três corações iguais) e em 1961, já experiente, com o título de The children’s hour (Infâmia), com Audrey Hepburn e Shirley MacLaine nos papéis principais. Discutindo o boato sobre a relação „pecaminosa‟ de duas professoras primárias, apresentamos a tese de que o filme inspirou Caio Fernando Abreu a escrever um de seus contos mais conhecidos, Aqueles dois, inserido em Morangos Mofados (1982). É o próprio autor quem o cita textualmente. Intentando ressaltar as características miméticas e de subversão mimética do conto, serão utilizadas, sobretudo, as teorias desenvolvidas por Mieke Bal sobre narratologia.
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Teses / dissertações sobre o assunto "Hepburn, Audrey"

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Moseley, Rachel. "Trousers and tiaras : growing up with Audrey Hepburn". Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/4337/.

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This thesis considers the construction and circulation of the image-text 'Audrey Hepburn', and its reception by young British women across two moments: the 1950s and 1960s, and the 1990s. The project uses a tripartite methodology: close analysis of film texts, press and publicity relating to Hepburn; archival research using sources including women's and film fan magazines, and interviews with women who admire and have admired Audrey Hepburn. The thesis argues that Hepburn can be understood as a star who offers an address to a feminine audience, and goes on to explore the taking up of that address through analysis of the data gathered in the interviews, paying particular attention to questions of class, generation and socio-historical moment. The research presents a number of different kinds of material: it considers Hepburn as a star and the reasons for her enduring popularity; it suggests the flexibility of her image as key in understanding this longevity and in enabling her to appeal to women across lines of class and generation. The thesis argues that it is this flexibility, and the ways in which Hepburn's image manages social contradictions, which have been key to the way consent has been secured from women around her as a star. It investigates the nature of the relationship between Hepburn and the women who admire her, and also, through their detailed talk, offers insight into the social history of femininity. In attending to both text and audience, the thesis attempts to think the relationship between them outside psychoanalytically informed theories of identification which have been hegemonic in film theory, offering instead the terms resonance and recognition as ways of understanding that relationship. An interdisciplinary project, the thesis represents a 'cultural studies of film' which extends existing work on stars such as Dyer (1979,1982,1986, 1991) and Stacey (1994).
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Yipu, Zen. "Selling props, playing stars virtualising the self in the Japanese mediascape /". View Thesis, 2005. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20060210.104650/index.html.

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Yipu, Zen. "Selling props, playing stars:virtualising the self in the Japanese mediascape". Thesis, View Thesis, 2005. http://handle.uws.edu.au:8081/1959.7/589.

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In the so-called postmodern era, when networked media are increasingly ubiquitous in everyday life, where the ‘real’ and the ‘simulation’ become ever more indistinguishable; the physical and virtual intertwine; machines and man merge, and audience and stars transpose. To understand consumption in a time when realness and authenticity are no longer relevant, this thesis draws attention to the consumption and production of media content through case studies of consumer participation and social trends in Japan. The work begins in a themed shopping mall, Venus Fort in Tokyo Bay; continues with the reproduction of Audrey Hepburn‘s image; expands to the dramatised ‘realness’ of television; and finally moves to the omnipresent mobile phone and the impact of networked personal media on our idea of the ‘real’. First, through an analysis of a themed consumption environment, it is suggested that a transition is taking place in consumption from objects to experiences, services and spectacle. Secondly, by showing Audrey Hepburn‘s transition from a Hollywood star to a virtualised idol, technologically-aided illusions are shown to make hierarchical realness irrelevant. Thirdly, via Reality TV dating programs, the focus shifts to the role of audience participation in the consumption of media content. These themes are demonstrated individually, then merged into the last example – the social and cultural evolution induced by the mass consumption of networked media, that promise to revolutionise the way we consume, communicate and connect between people, machines and consumer goods.The thesis grounds its analysis of contemporary trends in the culture of consumption in Japan in theories of commodity and culture, the real and the simulation, speed and reality, the spectacle and the self in mediated spaces, and probes further into the collapse of demarcations between the virtual and the real, the event and the everyday and media and the self in the network society
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Livros sobre o assunto "Hepburn, Audrey"

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Vegara, Ma Isabel Sanchez. Audrey Hepburn. New York, NY: Frances Lincoln Books, 2017.

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Walker, Alexander. Audrey Hepburn. Warszawa: Prószyński Media, 2014.

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Rice, Chris. Audrey Hepburn. Harlow: Pearson Education, 2000.

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Paris, Barry. Audrey Hepburn. London: Orion, 1998.

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Spoto, Donald. Audrey Hepburn. Barcelona: Debolsillo, 2008.

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Kidney, Christine. Audrey Hepburn. Bath: Pulteney, 2010.

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Yapp, Nicholas. Audrey Hepburn. London: Endeavour, 2009.

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Paris, Barry. Audrey Hepburn. New York: Penguin USA, Inc., 2009.

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9

Woodward, Ian. Audrey Hepburn. Thorndike, Me: Thorndike Press, 1985.

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Paris, Barry. Audrey Hepburn. New York: Putnam, 1996.

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Capítulos de livros sobre o assunto "Hepburn, Audrey"

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Higashi, Sumiko. "Audrey Hepburn". In Stars, Fans, and Consumption in the 1950s, 75–81. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137431899_7.

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Cooper, Andrew F. "Star Power and the United Nations: From Audrey Hepburn to Angelina Jolie". In Celebrity Diplomacy, 15–35. New York: Routledge, 2015. http://dx.doi.org/10.4324/9781315635668-2.

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"Audrey Hepburn". In Best Actress, 151–56. Rutgers University Press, 2022. http://dx.doi.org/10.36019/9781978809598-024.

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Cohan, Steven. "The Audrey Films". In On Audrey Hepburn, 58–89. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197668283.003.0004.

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Abstract This chapter examines “the Audrey film,” which follows a Cinderella template for the plot and for which Audrey Hepburn is best known. Using Sabrina, Funny Face, and My Fair Lady to exemplify the Audrey film, the chapter then considers variations of the template in Roman Holiday, Love in the Afternoon, Breakfast at Tiffany’s, and Paris When It Sizzles. While pointing to the many contradictions inhering in her star image, the chapter emphasizes the liminality that Hepburn represented in these, her most memorable, films of the 1950s and early 1960s. It demonstrates how her characters’ mischief, intelligence, unconventionality, and desiring supply the primary motor for the fairy-tale plots. These qualities also resist the films’ patriarchal template and closures and complicate her asymmetrical casting opposite older male stars.
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Cohan, Steven. "The Career". In On Audrey Hepburn, 28–57. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197668283.003.0003.

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Abstract This chapter recounts in more depth than chapter 1 Audrey Hepburn’s career as an actress on stage in London, in British films, on stage in New York City, and most of all in each of her Hollywood films. Her true love was dancing; she studied ballet and danced in chorus lines. The chapter recounts her discovery by Collette, her breakout film and stage roles in 1953 and 1954, her numerous awards and accolades, anecdotal backstories of each of her films, her first retirement from acting, and her humanitarian work for UNICEF toward the end of her life. The narrative of her career includes her two marriages and various love affairs as they related to her working life. It also includes in most cases summary of the films’ critical and box-office receptions and production backstories.
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Cohan, Steven. "The Actress". In On Audrey Hepburn, 150–89. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197668283.003.0007.

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Abstract This chapter examines Hepburn’s skill as actress. It looks at examples of her expert timing, her use of props, her expressive face, her interaction with other actors in an ensemble, and the overall nuance with which she developed complex characterizations. It reviews for background the requirements of movie-star acting during the studio era. The chapter then looks at scenes from (in order of discussion) Roman Holiday, How to Steal a Million, The Nun’s Story, Robin and Marian, and The Children’s Hour. It closes with an examination of a section of Two for the Road, the film in which Hepburn gives her most accomplished, nuanced, and complex performance.
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Cohan, Steven. "Fashion". In On Audrey Hepburn, 90–118. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197668283.003.0005.

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Abstract This chapter discusses Audrey Hepburn’s close relation with designer Hubert de Givenchy, which established her identification with haute couture. His clothes enhance her characters’ movement on-screen, offering a spectacle for viewer identification with her difference from other female stars to emerge at the same time, a difference reflected by her unorthodox body. It looks at the films that associated her with the designer and the particular designs that were influential. Givenchy designed clothes for Hepburn that facilitated her movement on-screen and did not conceal her skinniness, in contrast with the costumes Beaton did for My Fair Lady, which restricted her movement and tried to hide her body. In her films, notably Sabrina, Funny Face, and Breakfast at Tiffany’s, as well as making fashion a transformative event for her characters, Hepburn popularized “the little black dress”; additionally, her identification with black clothing, pants outfits especially, connoted her independence and intelligence.
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Cohan, Steven. "Thrillers". In On Audrey Hepburn, 119–49. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197668283.003.0006.

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Abstract This chapter looks at Charade and Wait Until Dark to analyze how, in playing a woman threatened with deception and murder in thrillers, Hepburn adjusted her screen persona to reflect her real age, reversed the conventional role of women in this genre through her strong female characters who confront danger on their own terms, and demonstrated her skill as an actress. The chapter looks at Charade to show how, through her performance, she controls the numerous tonal shifts as the film seesaws from romance to suspense to comedy. The chapter looks at Wait Until Dark to feature Hepburn’s strong character, who single-handedly deals with a psychopathic killer, as well as the acting challenge the film posed. Finally, the chapter looks at two lackluster thrillers Hepburn made following her sporadic return to acting toward the latter part of her life: the awful Bloodline and the generic TV movie Love Among Thieves.
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Cohan, Steven. "The Life". In On Audrey Hepburn, 20–27. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197668283.003.0002.

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Abstract This chapter provides a year-by-year chronological account of Audrey Hepburn’s personal and professional life from her parents’ marriage and her birth to her death. It covers her adolescence during World War II, when famine gripped the Netherlands, and her training in dance. It lists each stage appearance in London and New York, and each of her films, as well as her own marriages and births of her sons. It mentions her various awards and nominations, her work for UNICEF, and her attaining EGOT status posthumously.
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Cohan, Steven. "Conclusion". In On Audrey Hepburn, 190–200. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197668283.003.0008.

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Abstract The brief conclusion reminds readers why Audrey Hepburn was so immediately popular after her breakout roles in Roman Holiday and Sabrina. It discusses why she had such a crucial influence on women’s fashions, why she received so much acclaim and award recognition as an actress in the US and abroad, and why she represented difference and a type of otherness that disrupted postwar gender orthodoxies. These effects no doubt appealed to spectators, accounting for her immense fan base. The conclusion goes on to speculate about the significance of her films and persona today, and it ends with thoughts about a queer reception of Breakfast at Tiffany’s and The Nun’s Story.
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