Relevant bibliographies by topics / Hollywood Actress

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Hollywood Actress'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Hollywood Actress"

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Nipe, Christine. "Mrs. Siddons' Currency." Theatre Survey 40, no. 2 (1999): 71–77. http://dx.doi.org/10.1017/s0040557400003562.

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“At last, Hollywood publicists and their high-profile clients have a chance to pay homage to their patron saint, Sarah Siddons,” claimed the August 17–23 issue of The Hollywood Reporter in its story on the concurrent exhibits of portraits of Sarah Siddons this summer at the J. Paul Getty Museum and he Huntington Art Collection (27 July-19 September). Also characterizing Siddons as calculating media mogul, the Los Angeles Times of July 25 compared the fame of the historical tragic actress (1755–1831) to that of current stars like Madonna, O.J., Diana, and even Monica. England's highly respectable muse of tragedy would likely reject these dubious associations, but the first actress of preeminent stature on the English stage was a symbol of female success, the subject of public scrutiny, and an emblem of ideal femininity. Siddons, who achieved celebrity status during an extraordinarily successful, forty-year career in England, Scotland, and Ireland, recently inspired a constellation of events which included not only these two art exhibitions, but a new play produced by Mark Taper Forum and an academic conference at the Huntington as well. In addition to detailing her sublime acting and renowned position in the Georgian theatre, these happenings emphasized Siddons' use of portraiture to cultivate and maintain her celebrity status.
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Naik, Dr Manjushree Ganapathi. "Mainstream Media’s FRAMING of #METOO CAMPAIGN IN INDIA." Multidisciplinary Journal of Gender Studies 9, no. 1 (2020): 79. http://dx.doi.org/10.17583/generos.2020.4902.

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The #metoo campaign became a worldwide phenomenon, through the tweet was made against the Hollywood producer Harvey Weinstein by the actress Alyssa Milano on October 15, 2017. In India the campaign took off on October 7, 2018, when the actress Tanushree Dutta made serious allegations against the actor Nana Patekar, narrating her experiences while she was working with him in a film in 2008. The impact of the awareness created by #metoo campaign was such that well known personalities including the Union minister M J Akbar had to step down when the sexual harassment charges were leveled against them.In the backdrop of all these incidents, the study analyses the role of India media in framing of #metoo movements in India. The research paper analyses Indian news media’s coverage of this social media movement. The study focuses on the analyses of 40 news articles in two major national dailies in India.
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DONOVAN, MARY KATE. "Race, Celebrity and Fashion: Anna May Wong in Spanish Magazines of the 1930s." Bulletin of Hispanic Studies 97, no. 9 (2020): 931–53. http://dx.doi.org/10.3828/bhs.2020.53.

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Anna May Wong was the most widely known Asian American film actress of her generation, achieving unprecedented success in the Hollywood and European industry. When she traveled to Spain in 1935 to perform at the Teatro Casablanca in Madrid, she was already an international star and her visit garnered extensive coverage from the Spanish press, particularly film magazines of the period. These magazines provided their largely female readership with access to Hollywood stars such as Wong, whose celebrity was the site of complex negotiations of race, ethnicity and citizenship in the United States and Europe during the 1930s. Publications such as Cinegramas and Popular Film represented Wong for Spanish readers who, although removed from the particularities of race politics in the United States, were nevertheless intrigued by her ‘exotic allure’, positioned as she was at the intersection of racial otherness and Hollywood glamour. By reading Wong in Spanish magazines from the 1930s, this article considers how Spanish readers might have used these representations as a tool for negotiating their own identities as cosmopolitan at a moment when Spain was often perceived as existing on the cultural margins of Western Europe.
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Zimmermann, Bettina Maria, Steffen Kolb, Fabian Zimmermann, Bernice Simone Elger, and David Shaw. "Influence of content, events and culture on the public discourse about medical genetics in Switzerland – A quantitative media content analysis." Communication and Medicine 16, no. 1 (2020): 92–106. http://dx.doi.org/10.1558/cam.34832.

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Medical genetics is a broad and expanding field with many important implications for society, but knowledge about media coverage of this topic from recent years is lacking. This study aims to identify topics in medical genetics emerging in print media coverage in Switzerland by quantitatively analysing their occurrence in the public media discourse and assessing culturally conditioned differences between two Swiss language regions. We conducted a quantitative media content screening of print media and news agencies in the German- and French-speaking regions of Switzerland, and eight topics were identified. They demonstrate the large variety of topics in medical genetics present in public discourse. Coverage was dominated by legislative voting on genetics issues and by the preventive surgeries of the Hollywood actress Angelina Jolie. We found only small differences between the language regions, and coverage was strikingly similar for most variables.
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Quan-Haase, Anabel, Kaitlynn Mendes, Dennis Ho, Olivia Lake, Charlotte Nau, and Darryl Pieber. "Mapping #MeToo: A synthesis review of digital feminist research across social media platforms." New Media & Society 23, no. 6 (2021): 1700–1720. http://dx.doi.org/10.1177/1461444820984457.

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A tweet by Hollywood actress Alyssa Milano using Tarana Burke’s phrase “me too” sparked a global movement. Despite the media attention #MeToo has garnered, little is known about how scholars have studied the movement. Through a synthesis review covering sources from 2006 to 2019, we learned that in this time period only 22 studies examined participation on social media such as Twitter and Facebook. We conclude that more research needs to be conducted, particularly to fill a gap in qualitative studies that directly engage individuals, to learn about their experiences with the movement. While #MeToo is a global movement, the omission of any reference to geography or a lack of geographic diversity suggests a narrow focus on scholarship based in the Global North. There is a need for more cross-cultural analysis to gain a better understanding of the movement as it evolves over time and moves into different spaces.
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Turner, Rosalind. "Bondi Cinderellas: Storytelling and Gatekeeping in the Press." Media International Australia 97, no. 1 (2000): 105–21. http://dx.doi.org/10.1177/1329878x0009700113.

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The engagement of Kate Fischer, actress, and Jamie Packer, media executive and son of Australia's richest man, ended in October 1998. In the week following the split, Packer signed over in entirety the Bondi apartment he had shared with Fischer. He was also sighted dining with another model, Jodie Meares (whom he later married). Also that week, Fischer left Australia for Hollywood. Sydney press coverage of these events continued for over a month. This paper is a case study of news stories about the break-up. Storytelling in the news is the initial focus, including consideration of ways in which Cinderella themes were embedded in several accounts. Conventional distinctions between soft news and hard news are also considered, because many accounts were located in sections of newspapers conventionally devoted to hard news. Placement and timing of the stories are also considered in terms of the gatekeeper metaphor. The concept of scandal is also briefly investigated.
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Murphy, Bren Ortega. "The Ear of the Heart: An Actress’ Journey from Hollywood to Holy Vows by Mother Dolores Hart and Richard DeNeut." American Catholic Studies 125, no. 2 (2014): 85–87. http://dx.doi.org/10.1353/acs.2014.0058.

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LACALLE, Charo. "AVA GARDNER EN LA ESPAÑA DEL DESARROLLISMO: LA RECONSTRUCCIÓN CINÉFILA DE LA MEMORIA SOCIAL EN LA FICCIÓN TELEVISIVA ESPAÑOLA." Signa: Revista de la Asociación Española de Semiótica 30 (January 6, 2021): 555. http://dx.doi.org/10.5944/signa.vol30.2021.26763.

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Resumen: Este artículo examina la reconstrucción de la memoria histórica que lleva a cabo Arde Madrid, una comedia ambientada en el Madrid de comienzos de los sesenta donde vivía Ava Gardner. Las referencias al cine español de los años cincuenta y a las runaway productions hollywoodenses se entremezclan con la biografía de Ava Gardner, al objeto de homenajear a una actriz cuyas películas ambientadas en España fueron determinantes en la construcción del mito. La revisión de los símbolos de la españolidad asociados a la Dictadura y el retrato social convierten la serie en un lugar simbólico de la memoria colectiva.Abstract: This article explores the reconstruction of the historical memory of Arde Madrid, a comedy set in Madrid in the early sixties where Ava Gardner lived. References to the Spanish cinema of the fifties and the Hollywood runaway productions intermix with Ava Gardner’s biography, in order to celebrate an actress whose films set in Spain played a key role in the shaping of the myth. The revision of the Spanishness symbology associated with Franco dictatorship and the social portrait of that period make the series into a symbolic place of collective memory.
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Kooijman, Jaap. "What’s Whitney Got to Do with It: Black Female Triumph and Tragedy in the 2015 Lifetime Biopic Whitney." European Journal of Life Writing 10 (September 8, 2021): WLS190—WLS209. http://dx.doi.org/10.21827/ejlw.10.37919.

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In 2015, the cable television network Lifetime broadcast the biopic Whitney, depicting the troubled life of the late superstar singer Whitney Houston. Whitney is the first film by director Angela Bassett, who, as actress, famously portraited Tina Turner in the biopic What’s Love Got to Do with It (Brian Gibson, 1993). In this article, I will first position Whitney within a larger tradition of the Hollywood biopic by making a comparison to earlier important biopics about black female entertainers, namely Lady Sings the Blues (Sidney J. Furie, 1972), starring Diana Ross as Billie Holiday, and What’s Love Got to Do with It. Second, I will discuss how the narratives of these three biopics tend to reduce their female subjects to victims, emphasizing the tragedy in their personal lives, while assigning much more agency to the male partners of these black female entertainers. Third and finally, I will analyze the final scenes of these three biopics in detail, as each presents a grand finale musical performance that seems to resolve the contradictions of the triumph and tragedy in their subject’s lives, yet in significantly different ways.
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Grout, Kenneth, and Owen Eagan. "Oscar Is a Man: Sexism and the Academy Awards." Tripodos, no. 48 (December 2, 2020): 85–102. http://dx.doi.org/10.51698/tripodos.2020.48p85-102.

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This study analyzes the implicit bias of the Academy Awards and Oscar’s historic lack of gender equity. While there are awards for Best Actor and Actress, a comparative analysis of these awards and the Best Picture prize reveals that a man is more than twice as likely as a woman to receive an Oscar for leading work in a Best Picture. A man is also nearly twice as likely to be nominated as a leading performer in a Best Picture winner. Supporting women in Best Pictures fare a bit better with actual trophies, but, when considering nominations, a man is still more than oneand-a-half times as likely as a woman to be nominated for a supporting performance in a Best Picture winner. This research considers these factors, identifies potential reasons for them, and draws conclusions regarding the decades of gender bias in the Academy Awards. Further, this study investigates the dissolution of the Hollywood studio system and how, though brought on in part by two of the film industry’s leading ladies, the crumbling of that system ultimately hurt the industry’s women more than its men. Keywords: Oscars, Academy Awards, sexism, gender inequity, Best Picture.
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Dissertations / Theses on the topic "Hollywood Actress"

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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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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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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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Carman, Emily Susan. "Independent stardom female stars and freelance labor in 1930s Hollywood /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1666151841&sid=33&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Becker, Christine A. "An industrial history of established Hollywood film actors on fifties prime time television /." 2001. http://www.library.wisc.edu/databases/connect/dissertations.html.

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Beltrán, Mary Caudle. "Bronze seduction the shaping of Latina stardom in Hollywood film and star publicity /." 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3108457.

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Beltrán, Mary Caudle. "Bronze seduction: the shaping of Latina stardom in Hollywood film and star publicity." Thesis, 2002. http://hdl.handle.net/2152/456.

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Caron-Ottavi, Apolline. "Enjeux de la couleur dans le cinéma hollywoodien d'après-guerre." Thèse, 2012. http://hdl.handle.net/1866/8673.

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Après la Seconde Guerre Mondiale, on peut observer une inflexion de l’usage de la couleur dans le cinéma hollywoodien. Trop artificielle, la couleur a été reléguée à ses débuts à des genres « irréalistes » (comédie musicale, western). Mais après la guerre, la couleur est utilisée dans des films montrant le quotidien de l’Amérique, et devient une nouvelle façon d’appréhender certaines questions contemporaines. La couleur n’est plus un ornement ou un perfectionnement superflu, elle est porteuse de sens, au même titre que les autres éléments de la mise en scène. Les couleurs vives et l’exacerbation de l’artifice sont désormais utilisées par certains cinéastes dans un autre but que le seul plaisir de l’image colorée : parfois avec ironie, voire un pessimisme sous-jacent. L’enjeu esthétique de la couleur au cinéma doit en effet être situé dans le contexte historique de l’après guerre. La dévalorisation de la couleur dans l’histoire de l’art est ancienne, celle-ci ayant souvent été associée depuis l’Antiquité au maquillage féminin et à l’illusion. Le cinéma hollywoodien des années cinquante modifie justement l’image de la femme : on passe de la femme mythifiée à des femmes de chair et de sang, plus sexualisées, et aussi à l’évocation des rapports sociaux du quotidien. À travers l’actrice, et la façon dont celle-ci manipule la couleur ou bien existe à travers elle, la couleur se libère des préjugés, et trouve son indépendance, à travers une libération de l’expressivité, et un refus du seul mimétisme.
After WWII, the treatment of color in Hollywood cinema takes a new turn. Because it was too artificial, color was at first relegated to "unrealistic" films (musicals, westerns, etc). But in the post-war period, a change took place, and color was used in films that showed the common life of America, and became a new way of understanding contemporary issues. Color is not anymore a superfluous ornament, nor a mere device to increase realism: it is meaningful, as meaningful as any other element of the « mise en scène ». The bright colors and the exacerbation of the artifice are used from that time by some of the film-makers in a different purpose from that of pure entertainment : sometimes with irony, and even an underlying pessimism. What is aesthetically at stake in color films must be considered in the post-war context. The depreciation of color in the history of arts is an ancient trend, and since Antiquity, color in art has often been associated to feminine makeup and illusion. Hollywood films of the fifties changed the archetypical image of women: there was a shift from the mythical woman to women of flesh and blood, overtly sexualized, which allowed a more thorough evocation of the everyday life social relations. Through the actress and her acting - the way she manipulates color, or find a way to exist through it –, color releases itself from prejudices, participate to a release of expressiveness, and serve a rejection of basic mimesis.
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Books on the topic "Hollywood Actress"

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The actress. St. Martin's Minotaur, 2008.

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The actress: Hollywood acting and the female star. Routledge, 2006.

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Segrave, Kerry. The post-feminist Hollywood actress: Biographies and filmographies of stars born after 1939. McFarland & Co., 1990.

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Hart, Dolores. The ear of the heart: An actress' journey from Hollywood to holy vows. Ignatius Press, 2013.

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The extra. Minotaur Books, 2009.

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Hollywood myths: The shocking truths behind Hollywood's secrets and scandals. MBI Pub. Co. and Voyageur Press, 2012.

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Hollywood lesbians. Barricade Books, 1994.

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Unforgettable Hollywood. Bonanza Books, 1986.

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Sansevere, John R. Hollywood fighters. Western Pub., 1993.

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Brooks, Louise. Lulu in Hollywood. Limelight Editions, 1989.

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Book chapters on the topic "Hollywood Actress"

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Fairclough-Isaacs, Kirsty. "Mature Meryl and Hot Helen: Hollywood, Gossip and the ‘Appropriately’ Ageing Actress." In Ageing, Popular Culture and Contemporary Feminism. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137376534_10.

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Lewis, Jon. "Introduction." In Hard-Boiled Hollywood. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520284319.003.0001.

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On February 8, 1962, the movie actress Lana Turner fainted at a Hollywood party. It was her birthday—her forty-second.1 She was rushed to the emergency room at Hollywood Presbyterian Hospital, where she made the most of her entrance, dramatically clinging to the arms of two of her party guests, the actor Eddie Albert (Turner’s current co-star in Daniel’s Mann’s ...
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Shuback, Alan. "Hollywood Horsemen and Horsewomen." In Hollywood at the Races. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178295.003.0009.

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Among the Hollywood luminaries who found success as Thoroughbred owners were Fred Astaire, Betty Grable, and Bing Crosby. Astaire was more than smitten with the sport, having discovered the pleasures of betting on the ponies when performing in London’s West End. He quickly gravitated to ownership and achieved his greatest success in California with Triplicate, winner of the Hollywood Derby at Hollywood Park and the San Juan Capistrano Handicap at Santa Anita. The highest-paid actress in Hollywood in the mid-1940s, Betty Grable, in partnership with her trumpet-playing husband Harry James, owned major stakes winners Big Noise and James Session, who ran for them in the Kentucky Derby. After selling his interest in Del Mar, Crosby concentrated on racing in Europe, where he was co-owner of Meadow Court, who would win the Irish Derby and the King George VI and Queen Elizabeth Diamond Stakes.
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Rode, Alan K. "Only in Hollywood." In Michael Curtiz. University Press of Kentucky, 2017. http://dx.doi.org/10.5810/kentucky/9780813173917.003.0031.

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Curtiz signed a term deal with Paramount and helmedWhite Christmas (1954), the initial picture with the wide-screen format of VistaVision. Boosted by the star power of Bing Crosby, it was his most financially successful picture and became a Yuletide staple despite a clichéd script. He began a relationship with a twenty-year-old model, Jill Gerrard, while continuing hislong-term affair with the actress Anitra Stevens (Ann Stuart).Darryl Zanuck hired Curtiz to direct his uber-epic The Egyptian. Marlon Brando dropped out in favor of Edmond Purdom, and Zanuck cast his foreign-born mistress, Bella Darvi, as one of the leads.Curtiz addedAnitra Stevens to the cast as Nefertiti. The Egyptian was a critical and financial flop. He directedWe’re No Angels(1955), with Humphrey Bogart, which was a qualified success, followed by The Vagabond King, a Rudolf Friml musical that was an unmitigated disaster.He attempted to recover withThe Scarlet Hour, a crime drama starring a pair of new actors that wasanother disappointment. Soon after finishing up on that film, Curtiz was arrested for “disorderly conduct” (hiring a couple to have sex while he watched) and was written up in Confidential magazine.Although he partially rebounded with the Fox musical The Best Things in Life Are Free(1956), his professional future at age seventy appeared problematical.
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Ellenberger, Allan R. "West Hollywood to Burbank." In Miriam Hopkins. University Press of Kentucky, 2018. http://dx.doi.org/10.5810/kentucky/9780813174310.003.0012.

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Samuel Goldwyn loans Hopkins to Warner Bros. for a four-picture deal. Hopkins is slipping at the box office, so Anatole Litvak suggests that they cast her in their new property Dark Victory. But Bette Davis is assigned to the role and Hopkins hires a new agent, Charles Feldman, and battles with Warner Bros. over her parts, even offering to reduce her salary to be given better roles. Hopkins newfound liberal beliefs, a result of her marriage to Litvak, attract the FBI’s attentions. Litvak has a weekend affair with Bette Davis, Hopkins finds out, and threatens to divorce him and name Davis as correspondent. Jack Warner talks her out of it and searches for the right role for her, going back and forth on several projects, until finally they agree on The Old Maid, costarring . . . Bette Davis. Tests on the film continue until Academy Awards night, when Bette Davis receives the Best Actress Oscar for Jezebel; Hopkins reacts by trashing her own home.
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Shuback, Alan. "La Princesse Aly Khan." In Hollywood at the Races. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178295.003.0011.

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Discovered while performing red-hot Spanish dance numbers with her father at Agua Caliente, Rita Hayworth would become one of Hollywood’s most prominent movie stars and sex symbols. Her roles in Gilda and TheLadyfromShanghai and her dance partnership with Fred Astaire in YouWereNeverLovelier and You’llNeverGetRich showcased her dual talents as actress and dancer. But when Rita met Prince Aly Khan on the Riviera in 1948, she was swept off her feet by his charm and good looks. The son of the Aga Khan, Aly was one of the world’s leading Thoroughbred owner-breeders. When they married, Aly gave Rita several horses, including Double Rose, who finished second in the 1949 Prix de l’Arc de Triomphe. The marriage quickly unraveled, and Rita returned to Hollywood and her adoring fans.
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Öhrström, Lars. "The Actress and the Spin Doctor." In The Last Alchemist in Paris. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199661091.003.0023.

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This story could begin with a fictional horse named Velvet, or perhaps behind the keyboards in a smoky bar in Halmstad, and it might have had a very different ending were it not for the unlikely excursion of a few medicinal chemists to the exotic southern part of the periodic table into the realm of the Lanthanoids. One or two generations of movie aficionados and the celebrity-hungry populace were upset, intrigued, or just plain nosey when another chapter in what seemed to be the never-ending story of Elizabeth Taylor, last of the great Hollywood divas, was revealed in February 1997. Dame Elizabeth had been diagnosed with a brain tumour just before her 65th birthday and was due for an operation in a few weeks. As it turned out, this non-malignant tumour, which was easily removed by surgery, was probably the least of her medical problems, but when singer Marie Fredriksson fainted in her home in 2002 and the causes were revealed to be a potentially deadly cancer tumour, the situation was radically different. The fate of the 44-year-old, half of the immensely successful pop duo Roxette, affected a different generation to those who had been following the career of Elizabeth Taylor since the 1940s, and was also deeply unsettling since the victim was a woman in the prime of her life with young children. Brain tumours are difficult to deal with—you cannot just break open the skull and poke around until you find them, there far too many sensitive connections and devices that may be broken. Their precise location is a key issue, and for that you need to look inside the head without opening it. The most powerful method is what scientists call Nuclear Magnetic Resonance Imaging, known to the public simply as MRI as the little word ‘nuclear’ may have associations that would be unhelpful in situations in which calm and composure may be necessary, both for the patient and relatives. Looking inside human bodies has been of tremendous importance for medicine, but has also meant business opportunities, both for the unscrupulous and the upstanding.
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Shulman, Terry Chester. "Xanadu and Vicinity." In Film's First Family. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178097.003.0013.

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Jack builds a citadel atop Beverly Crest. He divorces his second wife so he can marry Dolores before the Hollywood press finds out they’ve been seeing each other for years. Dolores’s film career reaches its zenith with Noah’s Ark, the Michael Curtiz film that mangles a host of extras and blasts her with thousands of gallons of water during the flood scenes. For once, Helene outshines her sister as the first actress to star in an all-talking picture, The Lights of New York, which, despite its novelty, fails to revive her fading career.
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Glancy, Mark. "Chapter 8." In Cary Grant, the Making of a Hollywood Legend. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190053130.003.0009.

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This chapter considers the burgeoning relationship between Cary Grant and the actress Virginia Cherrill, who would become his first wife. It explains Cherrill’s background, her prominent role in Charlie Chaplin’s City Lights (1931), and his intense and at times impulsive attraction to her. The chapter offers an account of the making of She Done Him Wrong (1932) and considers why Cary Grant disliked the film’s star, Mae West, so much. In later years, West often said that she “discovered” Cary Grant, a claim he vehemently denied, but there is no doubt that She Done Him Wrong, together with the next film that he made with West, I’m No Angel (1933), were the only box-office hits from this period of his career. The chapter reviews the other films from this period—The Woman Accused (1933), The Eagle and the Hawk (1933), and Gambling Ship (1933)—and considers why they failed to win favour with critics and audiences.
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MacKenzie, Scott. "The Diasporic Cinemas of Ingrid Bergman." In Nordic Film Cultures and Cinemas of Elsewhere. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474438056.003.0010.

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This chapter examines the notion of Nordic otherness in the film work of Ingrid Bergman. Otherness here refers to the construction of Bergman as an outsider in films in Hollywood, Italy and, at the end of her career, back in Swedish cinema again. This difference can be understood as one that seemed both strange yet compelling, and is part of a long history of Hollywood casting Europeans as compelling others. From her works in Hollywood (1939–49) to her Italian period with Roberto Rossellini (1950–6), to her last film and her return to Swedish film in Ingmar Bergman’s Autumn Sonata (Höstsonaten, Sweden/West Germany, 1978), the present study characterizes Bergman’s body of work through interlinked themes: the role as a Swedish/European other; the working woman (i.e. a woman in the workforce), both in terms of the promotion of her career and many of the roles themselves that are subject to forms of constraint (from marriage to martyrdom). The chapter traces her transnational career and reclaims Bergman as an actress with a great deal of agency over her career.
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