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Journal articles on the topic 'Television actors and actresses'
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1
Stieger, Stefan, and Christoph Burger. "Body Height and Occupational Success for Actors and Actresses." Psychological Reports 107, no. 1 (August 2010): 25–38. http://dx.doi.org/10.2466/01.07.pr0.107.4.25-38.
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The association of body height with occupational success has been frequently studied, with previous research mainly finding a positive effect among men and positive or null effects among women. Occupational success has almost exclusively been measured so far by short-term success variables (e.g., annual income). In the present study, the relationship of success and height was examined in a group of actors and actresses using a large online database about movies (Internet Movie Database) where heights of actors and actresses are stated. The number of roles played in movies and television series during each actor's lifetime was used as a measure of long-term occupational success. No height effect was found for male actors but a significant negative effect was found for actresses, even after controlling for possible confounding influences (age and birth year). Compared to the general population, actors and actresses were significantly taller; however, actresses who were shorter than average were more likely to achieve greater occupational success, in terms of being featured in more movies.
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Duha, Ekrisyen, Umar Mono, and Alemina Perangin Angin. "Communication Style in Indonesia’s Television Series: My Nerd Girl." Austronesian: Journal of Language Science & Literature 1, no. 1 (April 1, 2022): 1–8. http://dx.doi.org/10.59011/austronesian.1.1.2022.1-8.
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This research is about communication styles in Indonesia’s television series. The research was conducted because it had an interesting and unique phenomenon in it where the characters or actors and actresses had a certain communication style, which makes it interesting to be conducted. The communication style and the way of actors in Indonesia’s Television series ‘My nerd girl’ communicate are the aims of this research. This research was descriptive qualitative research because it aimed to describe and explain in depth a case that would be researched. The data was documentation which consists of the video and transcript of Indonesia’s television series called My Nerd Girl. The data was analyzed by using theory of Miles, Huberman and Saldana, which consists of three steps: data reduction, data display, and conclusion drawing/verification. The research results showed that the communication style found in Indonesia’s Television series ‘My nerd girl’ are into slang, bad words, positive, and negative words. Another research result revealed that the way of communication in that series is just a style of speaking or the style of communication, which means certain characters speak English naturally in some scenes.
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Ugurlu, Elif Gizem. "Mediatized Child Characters." European Journal of Social Sciences 1, no. 3 (November 29, 2018): 98. http://dx.doi.org/10.26417/ejss.v1i3.p98-102.
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Child actors and actresses perform in television programs, such as contests, shows and series, and in movies broadcasted in Turkey. After the program is broadcasted, social media accounts such as Facebook and instagram are opened by their parents for these children and it is attempted to increase their popularity. Children with increased popularity begin to act in new series and advertisements, and they are drawn into a consumption cycle. While these children, who are used for humour, promotional or dramatic factors, are disturbed, on the other hand, they cause that children's real and big problems (poverty, child labor, abuse, abduction, refugee, etc.) are ignored. This study provides a perspective on child characters in competition programs, TV shows, television series, television programs and movies broadcasted on televisions in 2018 in Turkey. The program in which children aged between 5 and 12 years appear, and their Instagram accounts were tracked and examined. The culture of benefiting from the child in the media multiplies itself as the use of children as mediatic characters in the media in Turkey continues, and the fact that children can be used as a source of income without considering that they can be overwhelmed by the burden of fame becomes widespread. This indicates the perception of childhood in society, the visibility of child individuals' problems, and a frightening future for children.
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Barnes, Sue, Karen Dee Michalowicz, and Melanie A. Womack. "Now & Then: From Manager to Meteorologist From Heavenly Bodies to Barometers." Mathematics Teaching in the Middle School 1, no. 2 (September 1994): 123–29. http://dx.doi.org/10.5951/mtms.1.2.0123.
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Now… Shreveport is a large town in Northwest Louisiana. A state that is classified as a severe-weather area. Northern Louisiana is often hit by thunderstorms and tornadoes. Southern Louisiana, on the Gulf of Mexico, is susceptible to hurricanes during late summer. When the manager of television station KSLA in Shreveport began looking for a person to fill the weather-news slot a few years ago, he did not want someone who could just point to a weather map. He wanted a good meteorologist. In regions that have invariant weather, those people who give the weather are usually actors or actresses who read the predictions prepared by someone else. The study of weather, however, is called meteorology, and a professional meteorologist is someone who has a degree in weather study. Even in area with severeweather conditions, some television stations do not hire a professional meteorologist but hire a broadcast meteorologist instead. A broadcast meteorologist is a journalist who has taken general courses in meteorology while studying for a communications or journalism degree.
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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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Park, Kyung Sin. "Reasonable Compensation for Creative Labor: International Practices and Precedents of Audiovisual Author’s Unwaivable Right to Remuneration." Korea Copyright Commission 143 (September 30, 2023): 141–77. http://dx.doi.org/10.30582/kdps.2023.36.3.141.
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For copyright to achieve its original purpose, creators should be entitled to fruits of successful exploitation of their work after they license or transfer their rights. Due to imbalance of bargaining power, creators often sign away their rights to compensation. To respond that, we need to think about legislating an unwaivable right. Its operation resembles the fee collecting systems already set up for television writers and actors in Korea and for music writers and performers around the world, which originate from historical reasons, collective power, or the statutory compensation for performing music recordings. The last example is enshrined by Rome Convention and WPPT, and its modus operandi can be easily applied to audiovisual recordings. When the 2016 Beijing treaty does exactly that for audiovisual performers (i.e., actors and actresses) and where digital technology makes collection of fees for various ways of communicating the audiovisual works to the public, the time is ripe to seriously consider the audiovisual authors’ unwaivable right to remuneration extending beyond performers and inclusive of directors and script writers. In doing so, it will be desirable to take the form of compulsory licensing for copyright limitation so that the right to remuneration exists even when the creators have not made licensing or transfer. Collective management societies’ collecting activities may be more efficient than filing lawsuits for copyright infringement.
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Mwanthi, Shadrach Moki. "Motivating factors that lead to consumption of Nigerian movies." Editon Consortium Journal of Literature and Linguistic Studies 5, no. 1 (May 17, 2023): 249–56. http://dx.doi.org/10.51317/ecjlls.v5i1.397.
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This study sought to explore the motivating factors that lead to the consumption of Nigerian Movies, Nollywood. The researcher collected data by interviewing residents of the Shauri Moyo estate using a self-administered questionnaire and a focused group discussion using the FGD interview schedule. Key informants' interviews were also conducted with program production managers from Citizen TV. The Kenyan audience used uses and gratifications theory to analyse different motivations for watching Nigerian movies. The study revealed that Nigerian movies have audiences of all people of all ages, gender, levels of education and living standards of people. It was established that 40 per cent of the respondents were motivated by the entertainment aspect of Nigerian movies, 25 per cent watch them because they are educative, 20 per cent watch because they project African culture such as attire and the foods, 10 per cent confessed that they watched Nigerian movies because they idolise the Nigerian movie actors and actresses. Lastly, 5 per cent watched Nigerian movies for reasons like the accent. In conclusion, this study indicated that Television channels in Kenya air Nigerian movies to entertain their audiences educate them and, at the same time, transmit African culture. This study recommends that, by all means, the Nigerian industry is not perfect. However, it is part of development, so in future, the audience themselves should have some kind of consumer association to be in a position to demand better quality and standard movies.
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Mwanthi, Shadrach Moki. "Motivating factors that lead to consumption of Nigerian movies." Editon Consortium Journal of Media and Communication Studies 5, no. 1 (May 18, 2023): 249–56. http://dx.doi.org/10.51317/ecjmcs.v5i1.398.
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This study sought to explore the motivating factors that lead to the consumption of Nigerian Movies, Nollywood. The researcher collected data by interviewing residents of the Shauri Moyo estate using a self-administered questionnaire and a focused group discussion using the FGD interview schedule. Key informants' interviews were also conducted with program production managers from Citizen TV. The Kenyan audience used uses and gratifications theory to analyse different motivations for watching Nigerian movies. The study revealed that Nigerian movies have audiences of all people of all ages, gender, levels of education and living standards of people. It was established that 40 per cent of the respondents were motivated by the entertainment aspect of Nigerian movies, 25 per cent watch them because they are educative, 20 per cent watch because they project African culture such as attire and the foods, 10 per cent confessed that they watched Nigerian movies because they idolise the Nigerian movie actors and actresses. Lastly, 5 per cent watched Nigerian movies for reasons like the accent. In conclusion, this study indicated that Television channels in Kenya air Nigerian movies to entertain their audiences educate them and, at the same time, transmit African culture. This study recommends that, by all means, the Nigerian industry is not perfect. However, it is part of development, so in future, the audience themselves should have some kind of consumer association to be in a position to demand better quality and standard movies.
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Mardina, Titin, and Varinia Pura Damaiyanti. "Suka Korea: Peniruan Perilaku Ala Korea di Kalangan Mahasiswa FISIP ULM." Huma: Jurnal Sosiologi 2, no. 2 (August 17, 2023): 193–201. http://dx.doi.org/10.20527/h-js.v2i2.75.
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Korean popular culture or hallyu whose spread can influence students in accepting culture from outside. This study aims to find out the Korean cultural trends that students have followed and how the process of imitating the behavior of students who follow these trends. This study uses a qualitative research method with a phenomenological approach. Data collection techniques used are observation, interviews and documentation. The results of this study indicate that FISIP ULM students have known Korean popular culture trends since they were in elementary school until now through watching Korean dramas on television and getting to know Korean music/K-pop through YouTube. From Korean dramas and K-pop, students learn about other trends, such as Korean fashion, Korean specialties and the Korean language. Trends in Korean popular culture that have been followed by FISIP ULM students are Korean drama shows, Korean music/K-pop, Korean-style fashion, Korean specialties and Korean language. Then, from getting to know the trend of Korean popular culture, students are interested in imitating the behavior of actors and actresses in Korean dramas and also their K-pop idols. Trends that are imitated such as clothing styles that give a casual but relaxed look, more colorful and simple, minimalist make-up displays, and hairstyles that they like as well as trends in Korean food and Korean language that make them curious and interested in trying and learning it.
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Marques, J. Frederico. "The Semantic Representation of Actresses and Actors." Empirical Studies of the Arts 24, no. 1 (January 2006): 81–93. http://dx.doi.org/10.2190/721b-7fak-paxy-cbuw.
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Muhammad Irkham Firdaus. "Tinjauan Hukum Islam Terhadap Jasa Endorser di Media Sosial." At-Tasyri': Jurnal Hukum dan Ekonomi Syariah 3, no. 2 (February 23, 2023): 35–46. http://dx.doi.org/10.55380/tasyri.v3i2.403.
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In the marketing strategy, Endorsement is one of the strategies of business actors to introduce goods or service products to consumers through the intermediary of actresses, youtubers, or selebrgram, especially on Instagram or youtube social media. And celebrities have accounts on social media, especially Instagram and their youtobe accounts have many followers, and make an impact on many parties seeing the uploads of these actresses, youtobers and selebgrams. In this transaction using a service rental system that is paid and has a grace period. The freedom of business actors in using endorsement services has many impacts, both positive and negative impacts. This shows that the endorsement strategy is an ijarah contract that uses a written contract in terms of freedom, the endorsement strategy has several negatve impacts. And this endorsement strategy includes 3 parties, namely business actors who use endorsement services, actresses, youtubers and celebrities who receive endorsement services, and finally consumers who buy the products after seeing products that have been introduced through endorsement services. But there are also many endorsements of goods or services that are not in accordance with the shari’a which can damage the ijarah contract, and cause the contract to be invalid or defective because it does not meet the requirements and pillars of ijarah conract. Then, discrepancies were found regarding buying and selling between business actors and consumers, resulting in fraud gue to online transaction that cannot meet face to face and it is difficult to know whether these business actors are truly trustworthy or can harm consumers. Then regarding Islamic business ethics between actresses, youtobers, and celebrities against brand account followers who become consumers for business actors on social media, several discrepancies were also found regarding the concept of Islamic business ethics and the principles of Islamic business ethics
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Endong, Floribert P. C. "Cast Me not as a Succubus or a Jezebel: Nollywood Actresses and the Struggle against Women Stereotyping." Inkanyiso 13, no. 2 (December 1, 2021): 13. http://dx.doi.org/10.4102/ink.v13i2.4.
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The stereotyping and sexual objectification of womanhood in Nollywood films have partly been attributed to Nigerian actresses. According to a number of critics and scholars, female actors’ passivity and complicity are to blame for the continuous negative portrayals of women in films. This popular belief follows from the arguable myth that female actors most often accept demeaning roles in films; meanwhile, it is axiomatic that if they reject such roles, androcentric/sexist screen writers will be compelled to develop better female characters for their films. If the above logic seems pertinent, it tends to hastily generalise on Nollywood actresses’ attitude towards the objectification of womanhood. The logic also fails to recognise the grossly understudied efforts made by many Nigerian actresses against women stereotyping in the Nigerian film industry.This paper focuses on these understudied efforts with a view of filling a knowledge gap. Specifically, the paper hinges on secondary sources and critical observations to explore some of the ways in which Nollywood actresses have struggled – and continue to struggle – against women’s stereotyping in Nollywood films. In the first place, the paper examines women stereotyping and objectification in Nollywood films; and in the second it explores three ways in which Nigerian actresses resist their stereotyping in the Nigerian film industry. These include the rejection of demeaning roles, feminine feminist cinema and the tendency to request the same demeaning roles for men.
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Amberg, Anthony. "The Gamester: A Century of Performances." Theatre Research International 15, no. 2 (1990): 105–25. http://dx.doi.org/10.1017/s0307883300009214.
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Between its first revival in 1771 and its last in 1871, The Gamester was performed more frequently on the London stage than any other Restoration or eighteenth-century tragedy. Most of these many performances, moreover, were given by Britain's finest actors and actresses. It should not be surprising, then, that the eighteenth- and nineteenth-century critics who witnessed these many fine performances thought, on the whole, highly of the acted play. Nor should it be surprising that the eighteenth- and nineteenth-century audiences – who also witnessed the performances of these many excellent actors and actresses – received The Gamester ‘with such genuine applause’.
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Loska, Elżbieta. "SYTUACJA AKTORÓW I AKTOREK W RZYMSKIM PRAWIE MAŁŻEŃSKIM." Zeszyty Prawnicze 12, no. 4 (December 15, 2016): 81. http://dx.doi.org/10.21697/zp.2012.12.4.04.
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THE SITUATION OF ACTORS AND ACTRESSES IN ROMAN MARRIAGE LAW Summary The people of the stage held a very peculiar position in Rome. This was true especially for the women of the theatre. For a long time in ancien Rome actresses fell in the category of feminae probrosae and were treated like other women subject to it. This did not change until the postclassical law when the emperors made it possible for actresses who abandoned their dishonourable profession to clear their name. This option was unavailable to other feminae probrosae. In the late 19th and 20th century the theory of the marital ineligibility of actresses and other feminae probrosae, based on the work of Savigny, was widespread in Romanistic doctrine. Some scholars even spoke of an enforced celibacy. However, it seems that this hypothesis is untenable. The status of actors and actresses in marriage law undoubtedly changed in the course of time. The regulations of the lex Iulia et Papia prohibited actresses from marrying men from the senatorial order, and perhaps all freeborn men. Under the lex Iulia et Papia this kind of union was not regarded as marriage and the couple were treated as unmarried (coelibes); consequently, they did not enjoy the privileges of the married and were subject to penalties. It seems, however, that notwithstanding such prohibitions, once concluded a marriage was treated as legal and valid iure civili. Subsequent emperors made significant changes in this regulation. From the sources preserved it is very hard to conclude how actors were treated by the law. We may safely assume that at least from the time of Augustus’ legislation onwards they could not marry women from the senatorial order. Whether this ban was abolished and if so when, remains a mystery. The Emperor Justinian is known to have permitted ex-actresses and their daughters to marry legally without the need to obtain permission from the emperor. Their position was exceptional – unlike other feminae probrosae they could have their reputation restored and marry persons of the senatorial order, first after gaining the consent of the emperor, later without it. It was a significant difference in relation to the classical law and might have resulted from the personal situation of the Emperor Justinian.
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Brown, Richard, and Gretchen Davis. "Ages of Oscar-winning Best Actors and Actresses." Mathematics Teacher 83, no. 2 (February 1990): 96–102. http://dx.doi.org/10.5951/mt.83.2.0096.
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The Curriculum and Evaluation Standards for School Mathematics (National Council of Teachers of Mathematics, Commission on Standards for School Mathematics 1989) has urged a greater emphasis on statistics in the curriculum. It recommends that students generate information related to their interests and then use the information to formulate and support conjectures. This article illustrates an example of implementing these recommendations by considering the work of one student who wondered if a gender difference exists in the ages at which actors and actresses win Oscars.
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Redelmeier, Donald A., and Sheldon M. Singh. "Survival in Academy Award–Winning Actors and Actresses." Annals of Internal Medicine 134, no. 10 (May 15, 2001): 955. http://dx.doi.org/10.7326/0003-4819-134-10-200105150-00009.
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Staud, Roland. "Survival in Academy Award–Winning Actors and Actresses." Annals of Internal Medicine 138, no. 1 (January 7, 2003): 77. http://dx.doi.org/10.7326/0003-4819-138-1-200301070-00023.
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Miskie, Brooke. "Survival in Academy Award–Winning Actors and Actresses." Annals of Internal Medicine 138, no. 1 (January 7, 2003): 77. http://dx.doi.org/10.7326/0003-4819-138-1-200301070-00024.
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Redelmeier, Donald A. "Survival in Academy Award–Winning Actors and Actresses." Annals of Internal Medicine 138, no. 1 (January 7, 2003): 78. http://dx.doi.org/10.7326/0003-4819-138-1-200301070-00025.
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Ferrario, Virgilio F., Chiarella Sforza, Carlo E. Poggio, and Gianluca Tartaglia. "Facial morphometry of television actresses compared with normal women." Journal of Oral and Maxillofacial Surgery 53, no. 9 (September 1995): 1008–14. http://dx.doi.org/10.1016/0278-2391(95)90115-9.
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Watermeier, Daniel J., and Donald Mullin. "Victorian Actors and Actresses in Review: A Dictionary of Contemporary Views of Representative British and American Actors and Actresses, 1837-1901." Theatre Journal 37, no. 1 (March 1985): 118. http://dx.doi.org/10.2307/3207196.
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Peters, Helen, Sky Gilbert, Tommy Sexton, and Helen Peters. "Three We’ll Miss: The Heart of CODCO." Canadian Theatre Review 79-80 (June 1994): 150–51. http://dx.doi.org/10.3138/ctr.79-80.018.
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Tommy Sexton was a performer from the age of 10 playing Alice in St Bon’s school production of Alice in Wonderland until his death at 36 playing himself in a proposed television movie, Adult Children of Alcoholics. He began acting professionally with the Newfoundland Travelling Theatre Company in 1970 and his professional writing and acting career included CODCO stage plays (1973-88), White Niggers of Bond Street (1979), the Wonderful Grand Band (1980-83), Two Foolish to Talk About (1983-84), S&M Comic Book (1985-86) and the CODCO television series (1987-93). But Tommy Sexton was more than the sum of these productions; he was more even than the cast of characters he created, who range from Nanny Hynes to Duncan (“Queen’s Councillor and closet hairdresser”) to take-offs of Barbara Walters and Crystal Carrington. He was an intelligent, committed and consummate professional writer and actor. In a preliminary audience testing for CODCO’s television series, a test audience in Peterborough, Ontario voted Tommy best actor and best actress. Newfoundland loved him and during the past five years readers of the Newfoundland Herald almost consistently voted him best actor.
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Moffitt, Sally. "Sources: Encyclopedia of African American Actresses in Film and Television." Reference & User Services Quarterly 50, no. 1 (September 1, 2010): 75–76. http://dx.doi.org/10.5860/rusq.50n1.75.2.
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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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Kelly, Katherine E. "The Actresses' Franchise League Prepares For War: Feminist Theatre in Camouflage." Theatre Survey 35, no. 1 (May 1994): 121–37. http://dx.doi.org/10.1017/s004055740000260x.
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In the third week of December 1908, a group of 300–400 prominent actors, actresses, and dramatists gathered at the Criterion Theatre in London to celebrate the formation of the Actresses' Franchise League. The inaugurating resolution, passed with one dissent, read: “That this meeting of actresses calls upon the Government immediately to extend the franchise to women, that women claim the franchise as a necessary protection for the workers under modern industrial conditions, and maintain that by their labour they have earned the right to this defence” (Votes for Women 24 Dec. 1908, p. 211). The resolution's emphasis upon labour as the enabling criterion qualifying women for the franchise reflects the roots of the British suffrage movement in the working class industrial north, where, as David Rosen notes, the Independent Labour Party had supported early suffragists (57).
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Šein, Hagi. "Filmipildi märksõnastamisest Eesti filmi andmebaasis. Rahvusfilmograafias / Meta-Description of Films in Estonian Film Database. National Filmography." Baltic Screen Media Review 1, no. 1 (October 1, 2013): 102–25. http://dx.doi.org/10.1515/bsmr-2015-0007.
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Summary 2012 was the year of film in Estonia, when the 100th anniversary of Estonian film was celebrated. One of the most significant undertakings planned for this occasion was the creation of the Estonian film database (electronic national filmography). Performing this large-scale task was undertaken by the NPO Estonian Film Database, launched in 2007. The main objective of the undertaking was to form a complete Estonian national filmography within ten years (2007-2018) and make it available in a web environment to everyone interested, both in Estonia and abroad. The access to the database was opened in late fall, 2012 (www.efis.ee). Together with newsreels, the number of produced items reaches over 12 000. Feature films, documentaries and popular films, anima, television, educational programmes, advertising films and newsreels form a rich collection of the life, history, culture and people of Estonia. Nearly 3 000 filmmakers and most Estonian actors and actresses have participated in creating the Estonian film heritage. Several thousand people, events, places, buildings, offices and institutions in Estonia participate in or are mentioned in the films. In addition, the films are adressing several thousand people shown or talking in films. The electronic database opens the film treasury in a summarised way, employing a variety of possibilities offered by modern electronic databases. A metadata system and coding instructions were prepared for each film, person and institution in the extensive space of attributes with search options, which combines the interactive features of a film directory and bibliographical, biographical databases. Each film is described as thoroughly as possible. The attributes of films contain data about the subject, genre, authors, cast, production team, locations, producers, copyrights and distributors of films and about the technical parameters of films, as well as the bibliography of films, references to the reviews, articles, books published about films and the makers of films, digitised frames and pictures from films, trailers and promotional clips, scripts, memories of the makers and other interesting details. The subject content of films is indexed in 12 categories and related sub-groups and enables the search of films by plot/subject content, physical items, themes of newsreels and feature films, people, time, events, locations, building sites and institutions. In addition, films are indexed by a film-adapted UDC. As a result, more than 50 000 keywords enable thorough multi-layered content and subject search. All filmmakers are given their personal websites, which provides an overview of their creative careers and filmographies. The electronic film database is interfaced with other similar databases at the Estonian Public Broadcasting, film archive of the National Archives, National Library and the Baltic Film and Media School of the Tallinn University. The web interface offers the possibility to enter with an ID-card and allows advance into several digital storages, where it is possible to view the films produced and purchase them for streaming. The filmography is interfaced with social networks (Facebook, Twitter) and is aiming the possibility to interlink it with the European Film Gateway in the future, thus offering access to a digitised film treasury through Europeana. The database is aimed at film professionals, teachers, students, researchers and the general public as the target audience. Among others, the key issues of cultural databases draw on the approaches and solutions for information retrieval and are relying in particular on the principles of conceptual (intellectual) subject indexing of audiovisual artefacts. Inspired by classical works of Panofsky, Shatford, Turner and others regarding image description, analysis and interpretation the article covers some main issues regarding options for a multifunctional film indexing metadata. The text tackles different aspects of the description of moving images for public needs in general and also describes the specific details of the system, developed for deep keywording of Estonian films. The rationale, limits and disputable issues as well as our experience and basic suggestions for professional indexers who are undertaking these kind of tasks are also revealed.
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Bai, Kaining. "The Impact of Sexual Minorities' Coming Out Actions on Their Careers in the United States: Take the Film Industry as an Example." Communications in Humanities Research 4, no. 1 (May 17, 2023): 329–35. http://dx.doi.org/10.54254/2753-7064/4/20220538.
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Although much has been done to protect LGBT people, coming out still seems to be a red line that cannot be crossed in the US film industry. Actors or Actresses who come out of the closet will still always lose job opportunities, just because of their sexual orientations. Or they will only act on some LGBT characters. Therefore, this article uses the case analysis method, to find out the impact coming out actions have on people's careers in the film industry in the United States, to explore why so many actors or actresses still choose to stay in the closet, and to give some suggestions. Finally, this article finds out that it is losing quality acting resources, disruption to private lives, conflict in works, and excessive public opinion pressure which stop them from coming out. Based on the findings, this paper also provides some suggestions which can be used to eliminate occupational discrimination against sexual orientations in the American film industry at family, school, and society levels.
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Redelmeier, Donald A., and Sheldon M. Singh. "Long-term mortality of academy award winning actors and actresses." PLOS ONE 17, no. 4 (April 13, 2022): e0266563. http://dx.doi.org/10.1371/journal.pone.0266563.
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Background Social status gradients are powerful health determinants for individuals living in poverty. We tested whether winning an Academy award (Oscar) for acting was associated with long-term survival. Methods We conducted a longitudinal cohort analysis of all actors and actresses nominated for an Academy award in a leading or a supporting role. For each, a control was identified based on age, sex, and co-staring in the same film. Results Overall, 2,111 individuals were analyzed with 1,122 total deaths occurring during a median follow-up of 68.8 years. Comparisons of winners to controls yielded a 4.8% relative difference average life-span (95% confidence interval: 1.6 to 7.9, p = 0.004), a 5.1 year absolute increase in life expectancy (95% confidence interval: 3.0 to 7.2, p < 0.001), and a 41% improvement in mortality hazard (95% confidence interval: 19 to 68, p < 0.001). The increased survival tended to be greater in recent years, for individuals winning at a younger age, and among those with multiple wins. The increased survival replicated in secondary analyses comparing winners to nominees and was not observed in analyses comparing nominees to controls. Conclusions Academy award winning actors and actresses show a positive association between success and survival, suggesting the importance of behavioral, psychological, or other modifiable health factors unrelated to poverty.
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Halder, Debarati, and Karuppannan Jaishankar. "Celebrities and cyber crimes: An analysis of the victimization of female film stars on the internet." Temida 19, no. 3-4 (2016): 355–72. http://dx.doi.org/10.2298/tem1604355h.
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With the advent of internet and digital communication technology, online crimes targeting celebrities have gained a momentum. This article argues that, among the celebrities, actresses of Hollywood and Bollywood are particularly targeted online mainly because of their sex appeal and easy availability of contents including their images, video clippings, their private geo-location information, etc. The perpetrators are mostly fans who may wish to view the actresses as sex symbols. This article suggests that production houses should take primary responsibilities to prevent such victimisation and the actors themselves may avail legal policies such as right to be forgotten to approach the internet companies including search engines like Google to prevent victimisation and remove the offensive contents.
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Davis, Tracy C. "Actresses and Prostitutes in Victorian London." Theatre Research International 13, no. 3 (1988): 221–34. http://dx.doi.org/10.1017/s0307883300005794.
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Despite the tendency for Victorian performers to be credited with increasing respectability and middle-class status and for actors to receive the highest official commendations, the popular association between actresses and prostitutes and belief in actresses' inappropriate sexual conduct endured throughout the nineteenth century. In the United States, religious fundamentalism accounts for much of the prejudice, but in Great Britain, where puritanical influences were not as influential on the theatre, other factors helped to preserve the derogatory view of actresses. In certain times and places actresses did have real links with the oldest of all ‘women's professions’, but the notion that the dual identity of Roman dancers or the exploits of some Restoration performers justify the popular association between actresses and prostitutes in the Victorian era is patently insufficient. The notion persisted throughout the nineteenth century because Victorians recognized that acting and whoring were the occupations of self-sufficient women who plied their trades in public places, and because Victorians believed that actresses' male colleagues and patrons inevitably complicated transient lifestyles, economic insecurity, and night hours with sexual activity. In the spirit of Gilbert and Gubar's axiom that experience generates metaphor and metaphor creates experience, the actress and the prostitute were both objects of desire whose company was purchased through commercial exchange. While patrons bought the right to see them, to project their fantasies on them, and to denigrate and misrepresent their sexuality, both groups of women found it necessary constantly to sue for men's attention and tolerate the false imagery. Their similarities were reinforced by coexistence in neighbourhoods and work places where they excited and placated the playgoer's lust in an eternal loop, twisted like a Mobius strip into the appearance of a single surface.
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Lee, Youngeun, and Mantae Kim. "Characteristics of Theater Artists’ Saju from the Perspective of Myeongli Science: Focusing on Theater Actors and Actresses." Korean Society of Culture and Convergence 44, no. 6 (June 30, 2022): 481–506. http://dx.doi.org/10.33645/cnc.2022.6.44.6.481.
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In the modern times when people have stronger intention of expressing themselves, more people are trying to enter the cultural and artistic fields because the cultural and artistic field get more spotlight. Accordingly, in compliance with the mood of modern times and social demands, it is necessary to conduct the research on Myeongli Science and help people to get the guidance in their future life. In this research on theater artists’ Saju from the perspective of Myeongli Science, the analysis was conducted to ten theater actors and actresses in their 30s and 40s who have get involved in the field. All of them majored in the theater acting in universities and graduate schools and have been working till now in the related theater fields. In addition, though they sometimes appeared in the movies or TV dramas, the subject theater artists for this research were restricted to the actors and actresses who mainly work on actual stages and whose main income source is the theater activities. As the research method, the main elements of Myeongli Science such as Five-Elements( ), Sipseong ( ), Sipiunseong( ), Shinsal( ) and Daeun( ) were used to find out the characteristics expressed in their Saju in many ways. In addition, the acting style, related degree and field experiences of each of them were also analyzed. The research showed that the predominant Ilgan( ) for theater actors and actresses were Geum( ) and Su( ). On top of that, the research showed the strong Pyeonseong( ) in Ilji( ) and showed the development in Geopjae( ) and Sanggwan( ) in the Sipseong( ). In addition, it showed that at the time when they decided on their future career and started the activities, they got more affected by Siksangun, Gwanseongun and Jaeseongun. It is expected that there would be more active researches on the characteristics of artists in many artistic fields from the perspective of Myeongli Science.
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Sogon, Shunya, and Makoto Masutani. "Identification of Emotion from Body Movements: A Cross-Cultural Study of Americans and Japanese." Psychological Reports 65, no. 1 (August 1989): 35–46. http://dx.doi.org/10.2466/pr0.1989.65.1.35.
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In the present study American and Japanese subjects' judgments of emotional cues in body movements were compared, when facial information was excluded. Seven fundamental emotions of joy, surprise, fear, sadness, disgust, anger, contempt and three affective-cognitive structures for the emotions of affection, anticipation, and acceptance were displayed by four Japanese actors/actresses with their backs turned toward the viewer. The emotions of sadness, fear, and anger as expressed in kinetic movement showed high agreement between the two cultural groups. Joy and surprise, even though they are classified as fundamental emotions, contained some cultural components that affected the judgments. Furthermore, USA subjects successfully identified disgust as portrayed by Japanese actors/actresses, but Japanese subjects did not identify the expressions of disgust or contempt. Affection, anticipation, and acceptance have some cultural components that are interpreted differently by Japanese and Americans, and this accounted for some of the misunderstandings. Nevertheless, most of the scenes depicting emotions and affective-cognitive structures emotions were correctly identified by the subjects of each culture.
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Rosyidah, Elok Nuriyatur, and Akhmad Rifai. "Semiotic Analysis of Feminism in Joko Anwar’s Movie “Perempuan Tanah Jahanam”." KOMUNIKA: Jurnal Dakwah dan Komunikasi 16, no. 1 (April 30, 2022): 51–64. http://dx.doi.org/10.24090/komunika.v16i1.6001.
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Movies be a part of entertainment media that represent the state of the community and record the dynamism of nowadays's social society, ranging from inequality of poverty to gender injustice. The Perempuan Tanah Jahanam movie is a gore horror genre featuring female actors. Its story focuses on four women as a lead female actresses. Joko Anwar as director, presents and describes female actors not solely as supernumerary and accessories in movies. The purpose of this study is to explore the value of feminism in the Perempuan Tanah Jahanam movie through signs and markers using Roland Barthes' semiotic analysis method, which also employs the radical and postmodern feminism concept inspired by Rosemarie Putman tong. Based on this study's analysis, it is concluded that women are capable and control themselves over their bodies. Women refuse to follow the public perspective that women are powerless and must always propose to male protectors. Women are independent and dare to refuse sexual abuse. The film reflects feminism in how female actresses play roles in Perempuan Tanah Jahanam's movie.
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Castro, Joeven Rosario. "Political Economic Analysis of the Visual Prostitution of Women in Television Situational Comedies of GMA 7." Copenhagen Journal of Asian Studies 27, no. 2 (September 17, 2009): 40–60. http://dx.doi.org/10.22439/cjas.v27i2.2525.
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Sexualized portrayals of women are staples of two television situational comedies because these reflect the patriarchal society’s gender hierarchy and dichotomy as experienced by the target audience in real life. The researcher found out the audiences’ contrasting perceptions on the vulgarity of jokes. Sexualized portrayals are unwelcome in reality but are considered pleasurable within what the researcher calls as the audiences’ ‘virtual structure’. GMA 7, one of the largest television networks in the Philippines, peddles this vulgarity as a common phenomenon in sitcoms: It commodifies actresses as sex objects, which limits their character roles and creates a consciousness that using women as bait of the target audience is okay as long as it is for entertainment purposes only.
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Włodek, Roman. "Filmowa Łódź Jadwigi Andrzejewskiej." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, no. 29 (March 15, 2017): 179–202. http://dx.doi.org/10.14746/i.2017.29.11.
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Before WWII, Jadwiga Andrzejewska 1915–1977) was among the most popular actresses in Polish cinema. During WWII she acted in the Dramatic Theatre of the Polish Second Corps. Returning to her hometown Łódź in 1947 Andrzejewska was initially perceived by the Polish authorities as politically uncertain. Her notable theatrical roles included the heroine in A Woman of Wonder and the heroine in Mother Courage and Her Children. Although she lived in Łódź – a capital of Polish cinema – her film career languished after the war. She had bit parts in about thirty feature films (among them television films). Her biggest and most notable post-war role was in a political propaganda film produced for television, And if Will be Autumn…
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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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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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Ziegler, Georgianna. "The Actress as Shakespearian Critic: Three Nineteenth-Century Portias." Theatre Survey 30, no. 1-2 (May 1989): 93–109. http://dx.doi.org/10.1017/s0040557400000806.
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The nineteenth-century theatre saw the rise of the outspoken, intelligent leading lady. In a period in which actors were just shedding their status as second-class citizens, and women still were second-class citizens in society as a whole, three actresses established themselves as major interpreters of Shakespeare. Fanny Kemble, Helena Faucit Martin, and Ellen Terry had the double advantage of rising to the top of their profession and of being highly articulate writers as well, leaving records of their thoughts about acting and about the playwright who inspired them. This reading of their letters, memoirs, and criticism suggests answers to several questions: What do the actresses notice about Shakespeare's plays? How do their views relate to those of the literary critics of the time? And finally, do they ever consult formal scholarship when preparing for a role?
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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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Magnenat Thalmann, N., and D. Thalmann. "Digital actors for interactive television." Proceedings of the IEEE 83, no. 7 (July 1995): 1022–31. http://dx.doi.org/10.1109/5.390120.
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Granzer, Susanne Valerie. "'The Shadow of One’s Own Head' or The Spectacle of Creativity." Performance Philosophy 3, no. 3 (December 21, 2017): 685. http://dx.doi.org/10.21476/pp.2017.33151.
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When acting, the actor/actress experiences a complex regime of signs in his/her body, mind, mood and gender. These signs are both disturbing and promising. On the one hand, the act of creativity makes a wound obvious which has been incarnated within man. It tells him/her that he/she is not the sole actor of his/her actions. On the other hand, precisely this way acting on stage becomes an event. The act of this event reveals a way of be-coming in which one acts while at the same time being passive, in which the actor/actress is both agent and patient of his/her own performance. This complex artistic experience catapults actors/actresses into an open passage, into an in-between where they are liberated from the illusion of being the sole actors of their performances. One might even say that by this turn an actor/actress experiences a change, an “anthropological mutation” (Agamben). Or, to have it differently: the artist suffers a kind of “death of the subject”.It is remarkable that this loss of the predominance of subjectivity is a crucial aspect of acting which may affect the audience in a particularly intensive way. Why? Perhaps because it updates an extremely intimate connection between audience and actors/actresses which vicariously reflects the in-between of life and death. A passage by which life presents itself as itself? Life – by its plane of immanence?
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Pearl, Sharrona. "Deglamming as Estrangement: Ugly in Monster, The Hours, and Cake." CINEJ Cinema Journal 8, no. 1 (March 11, 2020): 218–48. http://dx.doi.org/10.5195/cinej.2020.268.
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In this paper, I explore female actresses undergoing radical or seemingly radical physical transformation in service of a broader kind of career transformation. I problematize the simple calculation of deglamming, thinking more closely about the ways that celebrity structure raises challenges to actors and especially actresses attempting to engage with against-type characters. I turn specifically to three well-known examples of this trend: Charlize Theron in Monster (2003), Nicole Kidman in The Hours (2002), and Jennifer Aniston in Cake (2014). I argue that the process we see is not about deglamming (or getting ugly) for its own sake. Deglamming in these cases is a process of estrangement: from beauty, from the celebrity machine, from audience expectations. I draw on screen shots, film reviews and interviews to explore the relationship between deglamming and estrangement as a kind of acting and character technique, paying particular attention to the stakes for presenting historical characters in biopics. And while the three films I examine here – Monster, The Hours, and Cake – are often thought together as examples of actress Oscar uglification, they are actually quite different, both in terms of the physical transformations the actresses underwent in service of their characters, and the ways in which these transformations were understood and received.
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Mask, Mia. "Monster's Ball." Film Quarterly 58, no. 1 (2004): 44–55. http://dx.doi.org/10.1525/fq.2004.58.1.44.
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Abstract More African Americans appear on network and cable television than ever before. Yet there are few quality dramatic roles for black actresses. The critical attention and public controversy surrounding Marc Forster's Monster's Ball (2001) demonstrated the existence of an audience for independent, art-house cinema featuring serious African-American characters. It's unfortunate that when read against the identity categories of race, gender, class, and region, Halle Berry's Leticia Musgrove seems to be a conflation of stereotypes: the sexual siren and the welfare queen.
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Barta, Jim, and Linda L'Ai. "Galleons, Magic Potions, and Quidditch: The Mathematics of Harry Potter." Teaching Children Mathematics 11, no. 4 (November 2004): 210–16. http://dx.doi.org/10.5951/tcm.11.4.0210.
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“All aboard the Hogwarts Express!” shout the students busily immersed in their studies. No, this is not a casting call for young actors and actresses living out their fantasies of starring in a new Harry Potter movie. Rather, the children are studying mathematics at the Edith Bowen Laboratory School in Logan, Utah. These fourth-grade students are developing mathematical activities around the topic of the child magician Harry Potter.
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Korbel, Susanne. "Jews, Mobility, and Sex: Popular Entertainment between Budapest, Vienna, and New York around 1900." Austrian History Yearbook 51 (April 6, 2020): 220–42. http://dx.doi.org/10.1017/s0067237820000168.
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AbstractThis article investigates the coinciding of the mass migration from Europe to the Americas and the emergence of mass culture, two developments that shaped everyday life, popular entertainment, and Jewish and non-Jewish relations at the turn of the twentieth century. Jewish actors and actresses were among the most prominent performers who staged in Orpheums, Varietés, and vaudevilles on both sides of the Atlantic. In their performances they drew on the notion of a new quality of mobility that society was experiencing, utilizing it to negotiate issues such as of the cultural construction of identities and Jewishness, or to critically reexamine antisemitic and nationalistic attitudes. On the one hand, mobility enabled negotiations of controversial issues. On the other hand, mobility led to accusations against popular entertainment, both legitimate and erroneous—for example, that vaudevilles functioned as covers for clandestine prostitution. Therefore, the article examines the question of how mobility influenced popular culture. What were the controversial issues that mobility raised, and what accusations did these evoke? In what ways did actors and actresses in popular culture address gender and Jewishness? To answer these questions, the article analyzes the spaces of popular entertainment in Budapest, Vienna, and New York through close examinations of newspapers, manuscripts, playbills, and records of censorship.
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Fejes, Katalin. "Film, Fashion, and the Modern Woman: Western Cultural Influences in Hungary in the 1930s." Stan Rzeczy, no. 2(21) (November 1, 2021): 273–96. http://dx.doi.org/10.51196/srz.21.10.
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This paper takes a novel approach to exploring the relationship between fashion salons and sound films in making the image of the modern woman in the 1930s. In this period, liberal cultural tendencies contradicted the increasingly authoritarian political trends in Central Europe. In Hungary, sound films transformed the fashion industry, and fashion salons were quick to respond by creating new clothing for the modern women. This paper investigates the figure of the modern woman as it appeared in newspapers, fashion magazines, and sound films. The type of independent, purposeful woman shown in the films, with her confidence, fashionable costumes, and romance, became an ideal for young women. As dressmakers for film actresses, fashion salons played a significant role in conveying the Western style of dress. They influenced the collective representation of a generation through the representation of film actresses. However, the popularity of the “modern woman” turned out to be temporary in society, which was increasingly subjected to authoritarian policies in the shadow of European fascism. After 1938, the film industry was transformed; film directors and actors or actresses of Jewish origin were forbidden to continue their profession. Curiously, the discriminatory legislation did not touch the fashion salons, which continued to exist and started to produce traditional clothes. This paper puts these contradicting processes in context.
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Gossip, Christopher. "Performance and Literature in the Commedia dell'Arte. By Robert Henke. Cambridge: Cambridge University Press, 2003; pp. xiv + 263. $70 cloth." Theatre Survey 45, no. 2 (November 2004): 317–19. http://dx.doi.org/10.1017/s004055740440026x.
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The title of Robert Henke's latest book accurately reflects its innovative contents. The close study of manuscript and printed texts of various kinds—contracts, letters, poems, memorializations, scenarios, treatises, and diaries—sits alongside examination of actors, actresses, the character system, and individual roles to provide the first study devoted to the interaction, indeed cross-fertilization, between the oral and the literary aspects of commedia dell'arte, contrasting yet complementing each other as did binary pairs of arte figures.
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Granda Viñuelas, Édel. "Transitar las fronteras del sistema sexo-género. Una aproximación socioantropológica a las trayectorias trans." Clepsydra. Revista de Estudios de Género y Teoría Feminista, no. 26 (2024): 117–32. http://dx.doi.org/10.25145/j.clepsydra.2024.26.07.
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This essay proposes a socio-anthropological approach to the trajectories of individuals who question their assigned sex at birth or undergo some form of gender transition. By restoring the voices of trans actors and actresses in specific contexts, it analyzes how gender transitions are not carried out individually but are intertwined with particular social relationships and worlds. The pursuit of identity reconstruction is a part of trans trajectories that interact with a broader system: the sex-gender system.
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Bloch, René. "Part of the Scene." Journal of Ancient Judaism 8, no. 2 (May 19, 2017): 150–69. http://dx.doi.org/10.30965/21967954-00802003.
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This article points to the complexities of Jewish engagement with theater; thus, despite frequent condemnation of the theater by rabbis we find also more nuanced voices. The article reviews the evidence for Jewish theater attendance in ancient Palestine and the Diaspora, outlines the views on theater in the works of Philo of Alexandria and Flavius Josephus, discusses evidence for Jewish actors and actresses, and takes a look at Ezekiel’s Exagoge, the clearest case of a Jewish drama handed down from antiquity.
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Nguyen, Bernard. "Theatre in Québec: A Test Of Perseverance." Canadian Theatre Review 110 (March 2002): 23–25. http://dx.doi.org/10.3138/ctr.110.006.
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For the first time in Quebec, a Chinese-born actress is making her way to the major leagues. Aimee Lee played Ling, the Asian maid, in the TV series Cauchemar d’amour, which screened on TVA last fall. Appearing on the TV screen is the ultimate goal for most French Canadian actors and actresses. Lee was so impressive in her debut that a local TV critic compared her to a feminine version of Kato, the famous servant in the Pink Panther films.