Relevant bibliographies by topics / Vivien Leigh

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Academic literature on the topic 'Vivien Leigh'

Author: Grafiati
Published: 24 April 2022
Last updated: 30 July 2025

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Journal articles on the topic "Vivien Leigh"

1

Kelly, Gillian. "Vivien Leigh: Actress and Icon." Historical Journal of Film, Radio and Television 39, no. 2 (2018): 414–16. http://dx.doi.org/10.1080/01439685.2018.1524554.

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2

Bolton, Lucy. "Ageing, Vulnerable and Unstable: My Week with Marilyn and Popular Perceptions of Vivien Leigh." Journal of British Cinema and Television 14, no. 2 (2017): 143–61. http://dx.doi.org/10.3366/jbctv.2017.0360.

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This article will argue that My Week with Marilyn (2011), despite its central focus on Marilyn Monroe, offers important peripheral insights into the way in which Vivien Leigh is popularly perceived as neurotic and unstable, particularly in relation to her ageing, and that it depicts a moment in her life and career that calls for deeper analysis than this film affords. Leigh, played by Julia Ormond, appears in six scenes in the film, which depict her as threatened by Marilyn Monroe on personal and professional fronts. Drawing on material from the Vivien Leigh Archive held by the V&A to assi
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Palka, Marek. "Vivien Leigh. Życie w zwierciadle sztuki." Kwartalnik Filmowy, no. 37-38 (June 30, 2002): 54–68. https://doi.org/10.36744/kf.4026.

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Palka przekonuje, że życie Vivien Leigh było ściśle splecione ze sztuką, a jej problemy psychiczne, depresja maniakalna, na którą cierpiała, oraz skomplikowane życie uczuciowe wpłynęły na jej kreacje teatralne i filmowe. Role, które grała, miały również wpływ na jej życie pozaartystyczne. Jej role w filmowych i teatralnych wersjach Tramwaju zwanego pożądaniem i Rzymskiej wiośnie pani Stone Tennessee’ego Williamsa czy w sztuce La Contessie, opartej na powieści Druona, są analizowane przez Palkę, który maluje kliniczny obraz jej choroby i łączy go z metodami aktorskimi Lee Strasberga czy Stanisł
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4

Stead, Lisa. "Archiving star labour: (re)framing Vivien Leigh." Women's History Review 29, no. 5 (2019): 860–74. http://dx.doi.org/10.1080/09612025.2019.1703540.

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5

Kelly, Gillian. "Dark Star: A Biography of Vivien Leigh." Historical Journal of Film, Radio and Television 40, no. 2 (2019): 455–57. http://dx.doi.org/10.1080/01439685.2019.1686214.

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Stead, Lisa. "Digital opportunities for feminist film historiography." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 191–204. http://dx.doi.org/10.33178/alpha.20.14.

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This paper discusses some of the key methodological challenges emerging from the AHRC project Reframing Vivien Leigh: Stardom, Archives and Access, led by PI Dr. Lisa Stead at the University of Exeter. This twenty-month project examined how the legacies of screen star Vivien Leigh are archived and curated by a range of public institutions in the South West of England, taking audiences behind the scenes of local archives and museums. The paper reflects on how researching within rural heritage centres and volunteer run archives encourages the introduction of new voices and new case studies withi
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Williams, Melanie. "Alan Strachan, Dark Star: A Biography of Vivien Leigh." Journal of British Cinema and Television 16, no. 3 (2019): 399–402. http://dx.doi.org/10.3366/jbctv.2019.0487.

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8

Young, Gwenda. "Dark Star: A Biography of Vivien Leigh, by Alan Strachan." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 225–28. http://dx.doi.org/10.33178/alpha.17.18.

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9

Stiebel, Lindy. "‘A quintessentially English designer’ from Durban: Victor Stiebel’s South African Childhood (1968)." Fashion, Style & Popular Culture 00, no. 00 (2021): 1–17. http://dx.doi.org/10.1386/fspc_00061_1.

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Victor Stiebel (1907–76), in his obituary in The Times, was described as a well known and highly esteemed British couturier. Yet, for the first eighteen years of his life, Stiebel lived unremarkably in Durban, South Africa, with his middle-class colonial family. In an article written by a fashion historian who appraised his importance within the British fashion industry, Stiebel is described as the quintessential English designer. How did this ‘Englishness’ develop and what evidence do we see of this quality in his autobiography South African Childhood (1968) that covers his childhood years? T
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10

Engel, Laura. "Vivien Leigh: Actress and Icon ed. by Kate Dorney, Maggie B. Gale." Tulsa Studies in Women's Literature 38, no. 2 (2019): 460–62. http://dx.doi.org/10.1353/tsw.2019.0039.

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Books on the topic "Vivien Leigh"

1

Vickers, Hugo. Vivien Leigh. Hamilton, 1988.

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2

Vickers, Hugo. Vivien Leigh. Pan Books, 1990.

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3

Vickers, Hugo. Vivien Leigh. Little, Brown, 1988.

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4

Alexander, Walker. Vivien: The life of Vivien Leigh. Methuen, 1988.

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5

Alexander, Walker. Vivien: The life of Vivien Leigh. Weidenfeld and Nicolson, 1987.

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6

Capua, Michelangelo. Vivien Leigh: Ansia di vivere. Lindau, 2003.

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7

Guandalini, Gina. Vivien Leigh: Non solo "Via col vento". Ente dello spettacolo, 1990.

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8

Sandy, Rideout, ed. Introducing Vivien Leigh Reid: Daughter of the diva. St. Martin's Griffin, 2005.

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9

O'Connor, Garry. Darlings of the gods: One year in the lives of Laurence Olivier and Vivien Leigh. Chivers, 1985.

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10

Roy, Moseley, ed. Damn you, Scarlett O'Hara: The private lives of Vivien Leigh and Laurence Olivier : a hot, startling, and unauthorized probe of the two most famous and gossiped-about actors of the 20th century. Blood Moon Productions, Ltd., 2011.

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Book chapters on the topic "Vivien Leigh"

1

"Vivien Leigh." In Best Actress. Rutgers University Press, 2022. http://dx.doi.org/10.36019/9781978809598-012.

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Stead, Lisa. "“The Vivien Leigh room”." In Reframing Vivien Leigh. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190906504.003.0007.

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Chapter 6 looks beyond the international and national stories of Vivien Leigh’s archives to examine her presence within one specific region: the South West of England. The chapter explores material collections in regional museums that house a range of artifacts and ephemera related to Leigh’s life. Through Leigh’s first in-laws, the Devon-based Holman family, a material history of her presence in the region has been retained and displayed in a range of local museums, including one founded by her former sister-in-law, Dorothy Holman. By delving into these museums and their collections and worki
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Stead, Lisa. "Collaboration, adaptation, and unmade projects." In Reframing Vivien Leigh. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190906504.003.0003.

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The chapter examines two key roles from different stages of Vivien Leigh’s career that highlight her work as an active collaborator in adapting roles from stage and page to screen. It looks firstly at her work on A Streetcar Named Desire in the early 1950s, considering how she exercised authorial agency in assisting with the adaptation of the script from stage to screen. The chapter then examines how she navigated the interlocking issues of age and gender and their impact on star labor in the 1965 adaptation of Ship of Fools. I consider how materials such as script annotations, paper correspon
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4

Stead, Lisa. "The posthumous archive." In Reframing Vivien Leigh. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190906504.003.0006.

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The chapter looks at alternative kinds of material collections and the archival methods that have been applied to them. These collections originate not from Vivien Leigh’s personal papers but from acts of posthumous collection by a range of other parties. As a central case study, I foreground new research into the practices of the Vivien Leigh Circle, a fan collective established in the late 1960s. I examine the private collections of its membership past and present and how their unofficial curatorial practices have developed over time. Based on original interviews with founding and current me
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Stead, Lisa. "Afterword." In Reframing Vivien Leigh. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190906504.003.0008.

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In their edited volume Lasting Screen Stars, Lucy Bolton and Julie Lobalzo Wright interrogate one of “the most inescapable realities of the realm of stardom,” the fact that “some stars endure across the decades, enjoying lengthy and high-profile careers, while others fade away, either into obscurity or crystallized at a specific moment in time” (2016, 1). Vivien Leigh is a fitting case study for interrogating this kind of phenomenon. She is a star who has endured, in large part because her star image has remained anchored to one specific character/film. Leigh’s casting as Scarlett O’Hara in ..
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Stead, Lisa. "Documenting other roles." In Reframing Vivien Leigh. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190906504.003.0004.

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The final chapter of the section focuses on archival traces of off-screen labor, looking at Vivien Leigh’s alternative “roles” between the 1930s and 1960s. These are illuminated via letters, business records, scrapbooks, ephemera, and photographs. Case studies include an exploration of Leigh’s war work in the 1940s; her agency as a producer with V. L. Productions from the 1950s; and her role as a campaign figurehead in the fight against the closure of the St. James’s Theatre later in the same decade. The chapter interrogates how these roles are organized and represented within the archive and
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Stead, Lisa. "“A consummate actress, hampered by beauty”." In Reframing Vivien Leigh. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190906504.003.0002.

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The chapter explores the archival record of Vivien Leigh’s stage and screen craft. It considers how the archive illuminates her struggle to position her performative talent and craft in the “right” way relative to her status as glamourous star body. The chapter interrogates material in her archive at the V&A, her papers at the British Library, and connected archives of those performers and directors with whom she worked. Key case studies include her written correspondence with Laurence Olivier during the filming of Gone with the Wind, which illuminates her approach to male mentorship more
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Stead, Lisa. "“Her sort of trouble”." In Reframing Vivien Leigh. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190906504.003.0005.

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The chapter uses material from Vivien Leigh’s British Library papers to forge a new approach to histories of her struggles with mental health. The chapter examines how this particular aspect of her life is represented within the archive. As a case study, I analyze fan letters that were generated in response to press coverage of the breakdown Leigh suffered while filming Elephant Walk in 1953. The chapter shows how predominantly female fan writers corresponded with Leigh. In turn, they capitalized on the simultaneous intimacy and distance of the fan letter to create a platform for self-explorat
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Stead, Lisa. "Introduction." In Reframing Vivien Leigh. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190906504.003.0001.

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The introduction establishes the critical and cultural contexts of the study and makes the case for the value of an archival exploration of Vivien Leigh’s working life and career. It positions the book in relation to existing work on Leigh and on star archives and explains how the book as a whole seeks to reframe her legacy. More broadly, the case is made for a reframing of star studies through feminist historiography, focusing on the laboring life of female stars. The introduction outlines the major claims of the book and how it navigates the fields of feminist film historiography, archival t
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"Vivien Leigh and Laurence Olivier at the St James’s Theatre (May 1951)." In Shakespeare. Bloomsbury Academic, 1991. http://dx.doi.org/10.5040/9781350388192.0020.

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