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Relevant bibliographies by topics / Actresses, fiction

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Academic literature on the topic 'Actresses, fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Actresses, fiction"

1

Barba, Eugenio. "The Actor's Energy: Male/Female versus Animus/Anima." New Theatre Quarterly 3, no. 11 (August 1987): 237–40. http://dx.doi.org/10.1017/s0266464x00015220.

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INTEREST IN ACTORS who play female roles and actresses who play male roles is periodically rekindled. At such times, one might almost suspect that behind these disguises, these contrasts between reality and fiction, lie hidden one of the theatre's secret potentialities. One also often speaks of the actor's female side and the actress's male side, and attempts to develop these forthwith by means of apposite exercises.

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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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Kerlan-Stephens, Anne. "The Making of Modern Icons: Three Actresses of the Lianhua Film Company." European Journal of East Asian Studies 6, no. 1 (2007): 43–73. http://dx.doi.org/10.1163/157006107x197664.

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AbstractBetween 1930 and 1937, the Lianhua Film Company was one of the major studios in China, and in many ways was a symbol of modernity. The policy of the Company towards its actors was quite new and contributed to the creation of a new social status for this group, especially for the women. This paper focuses on three female stars (Wang Renmei, Chen Yanyan and Li Lili,) who worked for the Lianhua Film Company. Through a detailed analysis of the photos published in its magazine, Lianhua Huabao, as well as feature films produced by the Company, we will study Lianhua's strategies to transform these women into professional actresses. Their image was created by the entanglement of three spheres: their private lives, their public lives and their fiction lives played on screen. We will consider the sometimes conflicting relationships between these spheres by looking at the visual sources (photos and feature films) in conjunction with the actresses' biographies and movie roles. This will underline the complexity and ambiguity of a process understood by the Lianhua Film Company not only as the making of professional actresses but also as the creation of a new, modern Chinese woman.

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Khabutdinova, Mileusha M. "The role and place of women in the creative work of Naki Isanbet." Historical Ethnology 9, no. 1 (February 26, 2024): 38–48. http://dx.doi.org/10.22378/he.2024-9-1.38-48.

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The article presents an attempt to conduct a systematical study of the typology of female images in the works of Naki Isanbet, the Tatar scholar-encyclopedist, folklorist, critic, and classic of Tatar literature (1899–1992). Published and unpublished sources were used as the research material. Fiction, journalistic, and scientific texts of N. Isanbet have been analysed using the method of semantic analysis, historical and cultural, comparative methods. The author proves that the ideal of a woman of the Enlightenment epoch, i.e. the “mother of the nation”, dominates in the legacy of the scholar who was the classic of the Tatar literature as well. The images of a devoted spouse, a wise mother, a “mother of the nation” can be encountered in his works. The writer defends the ideas of equality of women and men, women’s active participation in public life, etc. in his works of fiction written in various genres throughout the twentieth century. The poetics of female images depends on the requirements of the genre. When developing the images, the writer relies on the traditions of the Tatar folklore and oriental poetry. In his creative legacy, the encyclopedic scholar immortalised dozens of names of the female contemporaries who made a significant contribution to the history of the Tatar people – teachers, actresses, writers, translators, public figures, etc.

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McMahon, Keith. "SUBLIME LOVE AND THE ETHICS OF EQUALITY IN A HOMOEROTIC NOVEL OF THE NINETEENTH CENTURY: PRECIOUS MIRROR OF BOY ACTRESSES." NAN NÜ 4, no. 1 (2002): 70–109. http://dx.doi.org/10.1163/156852602100402332.

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AbstractPrecious Mirror of Boy Actresses is the most serious piece of fiction about male love since the late Ming and the lengthiest of all in Chinese literary history. It is remarkable in its extension of the egalitarian implications of the qing aesthetic that it inherits from the late Ming and from earlier Qing literature such as Dream of the Red Chamber. In the homoerotic relationship it idealizes, lovers who are rigidly separated in terms of status nevertheless experience a sublime love which necessarily results in the liberation of the man of lower status. The novel makes unique use of the qing aesthetic's idealization of the feminine to arrive at this ethically pragmatic conclusion whereby liberation is achieved. The foregrounding of this sublime love and the qing-perfected characters who embody it, moreover, link the novel with other works of the period which portray a China that is ultimately a stable and invulnerable entity. Thus Precious Mirror's interpretation of qing carries a historical significance in spite of the novel's obliviousness of the social and political turmoil of China in the mid-nineteenth century.

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6

Estoque, Eileen Itabag. "The Filipino Millennial and the Korean Drama Fad." Journal of Humanities and Social Sciences Studies 4, no. 2 (May 19, 2022): 110–26. http://dx.doi.org/10.32996/jhsss.2022.4.2.15.

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This quantitative-qualitative study ascertained the extent of influence of the Korean Drama Fad on the Filipino Millennials’cultural practices and beliefs. A researcher-madeSelf-Assessment Checklist was used to gather the quantitative data among 356 randomly selected respondents, while the qualitative data were drawn from an Interview among 8 participants. Results revealed that overall, the Korean drama fad was moderately influential. However, this was very influential, moderately influential, and slightly influential when respondents were categorized according to sex, college, campus, and degree of exposure, respectively. Significant differences existed in the extent of influence of the Korean drama fad when respondents were categorized according to sex, campus, and degree of exposure, but no significant differences were noted when classified according to college. Reasons for watching K-dramas include relaxation and entertainment, stress reliever, a form of escape from their problems, exciting stories, and unpredictable plot, characters are easy to relate and identify with, and the presence of fascinating actors and actresses. Further, the K-dramas was appealing because the stories are true-to-life with the varying genre--love story, modern romance, comedy, historical fiction, and action-drama. Insights and lessons cited were being prepared to face the future; being strong and more positive in facing life's challenges; loving unconditionally; learning to be more careful before totally trusting others; having knowledge and awareness of what is trending when it comes to fashion styles, beauty standards, verbal and non-verbal expressions, behavior, and lifestyle of Koreans in general.

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Sheppard, Samantha N. "Changing the Subject." Feminist Media Histories 8, no. 2 (2022): 14–42. http://dx.doi.org/10.1525/fmh.2022.8.2.14.

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This article examines Lynn Nottage's 2011 satirical play By the Way, Meet Vera Stark, which stages the life and legacy of the fictional Vera Stark, a Black maid and struggling actress during Hollywood's golden age. Nottage's play is inspired, in part, by the career of African American actress, singer, and dancer Theresa Harris. A tale of Black women's cinematic representation and social erasure, Nottage's fabrication of film history extends beyond the staged plot to also include a digital archive documenting Vera's celebrity and career. This article explores how Nottage's play and paratexts fabulate a speculative fiction and archive about Black women's media histories, staging what I call a phantom cinema, an amalgam of real and imagined film histories that haunt, trouble, and work with and against cinema histories to creatively illuminate archival gaps in visual culture and the public imagination.

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Risum, Janne. "The Voice of Ophelia." New Theatre Quarterly 10, no. 38 (May 1994): 174–82. http://dx.doi.org/10.1017/s0266464x00000336.

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In earlier issues, New Theatre Quarterly has followed through several lines of enquiry into the processes of acting and the construction of critical methods appropriate to the analysis of contemporary performance. Articles on the work of Tilda Swinton (NTQ23) and Harriet Walters (NTQ34) for example, focused on the consciousness and techniques of those actresses. But the work of Odin Teatret, complemented (as in this issue) by the theoretical writings of its director, Eugenio Barba, has been a recurrent concern – most recently in the exploration in NTQ26 by Roberta Carreri of the technical means through which her role in Judith was articulated. Here, Janne Risum pulls together several related lines of enquiry by considering the performance of Julia Varley in the Castle of Holstebro, her vocal demonstration workshop The Echo of Silence, and her written piece, A Candle Lit amongst the Pages of Books, as related aspects of perception through which the female spectator engages with the actress and her fictive personae. Janne Risum teaches in the Institut for Dramaturgi at Aarhus University, Denmark, and is also active in the International School for Theatre Anthropology. She has published books and essays on acting, theatre history, and women in the theatre. A version of the present paper has also appeared, in Danish, in Nordic Theatre Studies, VI, No. 3 (1993).

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Eriks Cline, Lauren. "Epistolary Liveness: Narrative Presence and the Victorian Actress in Letters." Theatre Survey 60, no. 2 (April 10, 2019): 237–60. http://dx.doi.org/10.1017/s0040557419000061.

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In an influential essay on the place of autobiography in theatre history, Thomas Postlewait puts Fanny Kemble's memoirs at the crux of a historiographical problem. The literary sensibility of Kemble's work appears to Postlewait an instance of both the theatrical memoir's cultural richness and its limitations as biographical evidence: although Kemble's “epistolary mode of self-representation” gives her autobiography Records of a Girlhood “a documentary quality,” for example, even her “earliest letters reveal a calculated literary style” that signals her awareness of the “traits and conventions” of eighteenth- and nineteenth-century novels. In her consciousness of narrative trends, Kemble stands out as a particularly clear example of a general tendency in theatrical autobiographies of the period. As the nineteenth century's booming print market expanded the audience for stories about theatregoing, it also drew readers who were increasingly familiar with novelistic experiments in plotting, characterization, and point of view. This shared audience encouraged an exchange of discursive conventions across fictional and historical narratives, which makes memoirs a compelling but complicated source of historical data about nineteenth-century theatre. Indeed, the two-way influence between genres is so strong that Postlewait argues scholars “need to ask to what extent these autobiographies exist not only as historical records but as epistolary fictions.”

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10

Brillon, Cherish Aileen. "Performing Darna: The Role of Entertainment Press in Spectacularizing Darna Actresses." Plaridel 18, no. 1 (September 2, 2021): 31–54. http://dx.doi.org/10.52518/2020-09brllon.

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This paper looks at the actresses who portrayed Darna and how they are presented as spectacles in the entertainment articles that promote the film and television adaptations. This frame of inquiry comes from the notion that the visual aesthetics of Darna in komiks is largely informed by the superhero genre’s dependence on spectacle as shown in the superhero’s feats of greatness and in her actions and movements which are all larger than life and extraordinary. If this is the case for Darna in print, then how about the actresses tasked with performing her in the movies and television series? How are their bodies being turned into a spectacle in promotional materials in order to conform to the needs of the capital (entertainment industry)? In using the spectacle of the body as framework, the paper also draws on the star system and the role of producers of text in the creation of Darna as we know her today. The aim is to reveal how female bodies were made part of the construction of Darna’s image outside of its fictional universe which results in a discourse that highlights the body of the celebrities rather than Darna’s continuing relevance as a Filipino icon. This sets aside her representational power to embody the struggle and demand of Filipinos for justice and a better life as audience’s attention is diverted towards how these actresses prepared their bodies to perform Darna.

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Books on the topic "Actresses, fiction"

1

Ewing, Barbara. The actresses. London: Little, Brown, 1997.

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2

Ewing, Barbara. The actresses. London: Warner, 1998.

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3

Thompson, Kate. More mischief. Dublin: New Island Books, 1999.

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4

Nunn, Judy. Pacific. London: Piatkus, 2011.

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5

Quigley, Sarah. Fifty days. London: Virago Press, 2004.

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6

Rinna, Lisa. Starlit: A novel. New York: Gallery Books, 2010.

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7

Thompson, Kate. More mischief. London: Bantam, 2000.

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8

Eagan, Denise. The wild one. New York: Zebra Books/Kensington Pub., 2009.

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9

Finch, Carol. Sladkoe predatel £stvo: Roman. Moskva: Izd-vo AST, 1999.

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10

Ilʹina, R. D. T︠S︡ena polëta. Moskva: Izd-vo "VK", 2007.

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Book chapters on the topic "Actresses, fiction"

1

Babbage, Frances. "“A Real Actress”." In The Routledge Companion to Theatre-Fiction, 214–29. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003204886-21.

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2

Ledger, Sally. "Ibsen, the New Woman and the Actress." In The New Woman in Fiction and in Fact, 79–93. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1007/978-1-349-65603-5_5.

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3

Steere, Elizabeth. "‘She had her rôle to play’: East Lynne and the Servant Actress." In The Female Servant and Sensation Fiction, 115–40. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137365262_6.

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4

Androne, Helane. "“An Actress in a Play”: Service as Sacred Performance in Denise Chávez’s Face of an Angel." In Ritual Structures in Chicana Fiction, 79–102. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58854-8_4.

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Corso, Gail Shanley. "Magic Friend, Beggar Maid and The Fair Princess, Method Actress and Loving Mother: Fantasies of Love, Loss, and Desire in Joyce Carole Oates’ Fictional Account of Norma Jeane’s Reality." In Suicide in Modern Literature, 73–94. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69392-3_5.

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Martins, Ana Cabral. "Seduction and Mutually Assured Destruction." In Seduction in Popular Culture, Psychology, and Philosophy, 90–111. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0525-9.ch005.

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In cinema, the most prevalent representation of the figure of the seductress has been the femme fatale or the “vamp”. This chapter will explore the femme fatale in various incarnations in American cinema throughout its history. This chapter will also overview several definitions of femme fatale, and its connection with sex, seduction and destruction, in cinema's history, principally the American silent film's “vamp”, personified by the actress Theda Bara; and the 1940s filmnoir's femme fatale, personified by actresses such as Rita Hayworth and Barbara Stanwyck. In an attempt to trace a connection between different embodiments of the femme fatale in American cinema, this chapter will focus, in particular, on David Fincher's cinematic adaptation of the pulp fiction novel Gone Girl (2012), by Gillian Flynn. Not only does Gone Girl (David Fincher, 2014) offer one of the most recent interpretations of the traditional film noir trope, it also provides a modern update of the femme fatale.

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7

Eller, Jonathan R. "Remembrance." In Bradbury Beyond Apollo, 299–305. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043413.003.0045.

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Bradbury felt great responsibility for the gift of life, and chapter 44 opens with a survey of his allusions to remembrance in his fiction and unpublished notes. Preserved memories from the distant past ranged from old phonograph records his mother would play for him in the 1920s to remembered color photographs of King Tutankhamen’s golden death mask. The chapter also chronicles his friendship with Carla Laemmle, one of the last silent film actresses; the 2009 radio production of Leviathan 99, Bradbury’s last collaboration with radio legend Norman Corwin; and Bradbury’s gentle decline and death on June 5, 2012. Bradbury’s passing was noticed around the world, prompting reflections on the transmission of his best early work through generations of readers.

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Gautreau, Justin. "Introduction." In The Last Word, 1–8. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190944551.003.0001.

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The book’s introduction traces the emergence of so-called motion picture fiction in the pages of industry fan magazines. Such novels as Robert Carlton Brown’s My Experience as a Film Favorite (published in Photoplay in 1913 and 1914) and, later, Edward J. Clode’s My Strange Life: The Intimate Life Story of a Moving Picture Actress (published in 1915 as a standalone book) positioned readers to imagine themselves as stars at a time when the film industry was promoting itself as a place of romance and opportunity. The function of motion picture fiction, however, took a swift turn following a string of celebrity scandals in the 1920s. After laying out the structure for the rest of the book and touching on other studies on the Hollywood novel, the introduction highlights the Hollywood novel’s relevance to and resonance with film theory and more contemporary scandal in the entertainment industry.

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Pionke, Albert D. "The Orphan Narratives of a Class Lacking Antecedents." In Victorian Fictions of Middle-Class Status, 26–60. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781399507707.003.0002.

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Chapter one addresses the fundamental difficulty facing middle-class citizens, including writers, in a society structured by primogeniture: their absence of antecedents. After reconstructing the period’s ample novelistic discourse surrounding orphanhood and bastardy, the chapter deploys Charles Dickens’s Oliver Twist (1838), Charlotte Brontë’s Jane Eyre (1847), Anthony Trollope’s Doctor Thorne (1858), and Wilkie Collins’s The Woman in White (1860) and No Name (1862) as the primary texts through which to track middle-class Victorian efforts to claim legitimacy by denying the over-determining force of ancestry. In its lengthy concluding reading of No Name, the chapter highlights how Collins stages, quite literally, the problem of popularity in low-status genres through its protagonist, Magdalen Vanstone, a talented actress who attempts, futilely, to use her facility for disguise to swindle her way back to membership in the middle class.

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Dutt, Sandeep, Faisal Hayat, and Ritika. "Strong as Steel." In The Speaking Window, 188–98. Oxford University PressDelhi, 2023. http://dx.doi.org/10.1093/oso/9789391050733.003.0037.

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Abstract The chapter belongs to Ishwar Das from Lyallpur, who was 23 at the time of partition, he remembers a beautiful episode from his childhood about a glass of water that turned out to be a great event in her mother's life. From burning Union Jack to establishing a library of 9,000 books in his village, the man has lived quite a life! Later, his partition journey was assisted by Mridula Sarabhai and post partition, a dress worn by an actress Suraiya took him to new heights. This story ‘Strong as Steel’ is all about friendships, forged in love and trust that may sound a fiction in the contemporary world we live in today.

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Conference papers on the topic "Actresses, fiction"

1

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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