317 products were found matching your search for Actresses in 1 shops:

In Actresses and Suffragists the author demonstrates how actresses both anticipated many of these changes and paved the way for other women to gain more control over their lives.

Ma Joad in The Grapes of Wrath, Mammy in Gone with the Wind, Auntie Em in The Wizard of Oz --all were unforgettable characters who played an integral part in some of Hollywood's most memorable productions. For over three decades, from the 1930s to the 1950s, character actresses who brought such roles to life were one of Hollywood's great but little acknowledged assets. Often lured from Broadway yet billed fifth or sixth (if at all), these talented ladies received little acclaim for their roles in film industry productions. Still, what they lacked in promotion and perhaps adulation they made up for in longevity. While a screen star's career was generally limited by age and physical appearance, character actresses often worked well into their seventies, eighties or even nineties. Signed to contracts by major studios just like the stars they supported on screen, character actresses made hundreds of films over their careers. From the early days of sound film through the end of the studio era, this volume documents in detail the lives and careers of two score of Hollywood's most talented character actresses. It presents information regarding birth, death, film credits and prizes and analyzes each player's unique talents, signature roles and overall career development. Forty individual profiles are provided from a representative range of backgrounds, character types and career experiences. These include actresses such as Marjorie Main, Agnes Moorehead, Thelma Ritter, Fay Bainter, Beulah Bondi, Lucile Watson, Sara Allgood, Lee Patrick and Jessie Ralph, among others. A fascinating tour through Hollywood's big studio era and the lives of its characters.

Ma Joad in The Grapes of Wrath, Mammy in Gone with the Wind, Auntie Em in The Wizard of Oz --all were unforgettable characters who played an integral part in some of Hollywood's most memorable productions. For over three decades, from the 1930s to the 1950s, character actresses who brought such roles to life were one of Hollywood's great but little acknowledged assets. Often lured from Broadway yet billed fifth or sixth (if at all), these talented ladies received little acclaim for their roles in film industry productions. Still, what they lacked in promotion and perhaps adulation they made up for in longevity. While a screen star's career was generally limited by age and physical appearance, character actresses often worked well into their seventies, eighties or even nineties. Signed to contracts by major studios just like the stars they supported on screen, character actresses made hundreds of films over their careers. From the early days of sound film through the end of the studio era, this volume documents in detail the lives and careers of two score of Hollywood's most talented character actresses. It presents information regarding birth, death, film credits and prizes and analyzes each player's unique talents, signature roles and overall career development. Forty individual profiles are provided from a representative range of backgrounds, character types and career experiences. These include actresses such as Marjorie Main, Agnes Moorehead, Thelma Ritter, Fay Bainter, Beulah Bondi, Lucile Watson, Sara Allgood, Lee Patrick and Jessie Ralph, among others. A fascinating tour through Hollywood's big studio era and the lives of its characters.

Eight biographies of actresses known for working in D.W. Griffith films, plus short information on lesser knowns.The first Griffith Girl was the 18-year old Lillian Gish in the Birth of a Nation. During his career he acquired a whole stable of them, some like the Gish sisters and Mary Pickford still remembered, most long forgotten.

Early 20th century non-commercial theaters emerged as hubs of social transformation on both sides of the Atlantic. The 1904-1907 seasons at London's Royal Court Theatre were a particularly galvanizing force, with 11 plays by Bernard Shaw--along with works by Granville Barker, John Galsworthy and Elizabeth Robins--that starred activist performers and challenged social conventions. Many of these plays were seen on American stages. Featuring more conversation than plot points, the new drama collectively urged audiences to recognize themselves in the characters. In 1908, four hundred actresses attended a London hotel luncheon, determined to effect change for women. The hot topics--chillingly pertinent today--mixed public and private controversies over sexuality, income distribution and full citizenship across gender and class lines. A resolution emerged to form the Actresses Franchise League, which produced original suffrage plays, participated in mass demonstrations and collaborated with ordinary women.

Early 20th century non-commercial theaters emerged as hubs of social transformation on both sides of the Atlantic. The 1904-1907 seasons at London's Royal Court Theatre were a particularly galvanizing force, with 11 plays by Bernard Shaw--along with works by Granville Barker, John Galsworthy and Elizabeth Robins--that starred activist performers and challenged social conventions. Many of these plays were seen on American stages. Featuring more conversation than plot points, the new drama collectively urged audiences to recognize themselves in the characters. In 1908, four hundred actresses attended a London hotel luncheon, determined to effect change for women. The hot topics--chillingly pertinent today--mixed public and private controversies over sexuality, income distribution and full citizenship across gender and class lines. A resolution emerged to form the Actresses Franchise League, which produced original suffrage plays, participated in mass demonstrations and collaborated with ordinary women.

In eighteenth-century England, actresses were frequently dismissed as mere prostitutes trading on their sexual power rather than their talents. Yet they were, Felicity Nussbaum argues, central to the success of a newly commercial theater. Urban, recently moneyed, and thoroughly engaged with their audiences, celebrated actresses were among the first women to achieve social mobility, cultural authority, and financial independence. In fact, Nussbaum contends, the eighteenth century might well be called the "age of the actress" in the British theater, given women's influence on the dramatic repertory and, through it, on the definition of femininity.Treating individual star actresses who helped spark a cult of celebrity€”especially Anne Oldfield, Susannah Cibber, Catherine Clive, Margaret Woffington, Frances Abington, and George Anne Bellamy€”Rival Queens reveals the way these women animated issues of national identity, property, patronage, and fashion in the c

In eighteenth-century England, actresses were frequently dismissed as mere prostitutes trading on their sexual power rather than their talents. Yet they were, Felicity Nussbaum argues, central to the success of a newly commercial theater. Urban, recently moneyed, and thoroughly engaged with their audiences, celebrated actresses were among the first women to achieve social mobility, cultural authority, and financial independence. In fact, Nussbaum contends, the eighteenth century might well be called the "age of the actress" in the British theater, given women's influence on the dramatic repertory and, through it, on the definition of femininity.Treating individual star actresses who helped spark a cult of celebrity—especially Anne Oldfield, Susannah Cibber, Catherine Clive, Margaret Woffington, Frances Abington, and George Anne Bellamy—Rival Queens reveals the way these women animated issues of national identity, property, patronage, and fashion in the context of their dramatic performances. Actresses intentionally heightened their commercial appeal by catapulting the rivalries among themselves to center stage. They also boldly challenged in importance the actor-managers who have long dominated eighteenth-century theater history and criticism. Felicity Nussbaum combines an emphasis on the actresses themselves with close analysis of their diverse roles in works by major playwrights, including George Farquhar, Nicholas Rowe, Colley Cibber, Arthur Murphy, David Garrick, Isaac Bickerstaff, and Richard Sheridan. Hers is a comprehensive and original argument about the importance of actresses as the first modern subjects, actively shaping their public identities to make themselves into celebrated properties.

Gather any group of actresses, from students to stars, and someone will inevitably ask, "Where are all the great roles for women?" The roles are right here, in this unprecedented and magnificently diverse collection of plays with all-female casts. The seven full-length and ten one-act selections range in tone from the unabashed theatricality of Edward Albee's Pulitzer Prize-winning Three Tall Women to the blistering black comedy of Laura Cunningham's Beautiful Bodies.   Their characters include uprooted Japanese war brides, outrageously liberated Shakespearean heroines, an avenging African American housewife, and nuns who double as Catholic schoolgirls. Whether you're looking for a script to produce or a scene for an acting class, this book will provide you with a wealth of juicy, challenging female roles as it introduces you to some of the finest playwrights at work today.

Gather any group of actresses, from students to stars, and someone will inevitably ask, "Where are all the great roles for women?" The roles are right here, in this magnificently diverse collection of plays–full-lenghts, one-acts, and monologues--with mainly female casts, which represent the answer to any actress's prayer.The editors of the groundbreaking anthology Plays for Actresses have once again gathered an abundance of strong female roles in a selection of works by award-winning authors and cutting-edge newer voices, from Wendy Wasserstein and Christopher Durang to Claudia Shear, Eve Ensler, and Margaret Edson. The characters who populate these seven full-length plays, four ten-minute plays, and eleven monologues include a vivid cross-section of female experience: girl gang members, Southern debutantes, pilots, teachers, traffic reporters, and rebel teenagers. From a hilarious take on Medea to a taboo-breaking excerpt from The Vagina Monologues to a moving scene from the Pulitzer Prize-winning Wit, the plays in Leading Women are complex, funny, tragic, and always original--and a boon for talented actresses everywhere.

Sexy, stylish, and powerful from Lillian Gish to Katharine Hepburn, Myrna Loy to Lauren Bacall, Jean Harlow to Grace Kelly, each of the legendary actresses featured in this book left an indelible mark in film history and define roles for women on and off the screen. Produced by Turner Classic Movies, this playful and definitive guide to fifty unforgettable actresses mirrors the focus of a month-long film festival on the channel. The life and accomplishments of each actress is celebrated in an insightful career overview, accompanied by an annotated list of essential films, filmographies, behind the scenes facts and style notes, Academy Award wins and nominations. Full of delightful trivia, film stills, posters, and glamorous photos, Leading Ladies pays tribute to the most charismatic, enduring, and elegant actresses of the silver screen.

Volume 8 dis­cusses, among others, the careers of Charles Incledon, the “English Ballad-Singer,” boxing champion of England, “Gentleman” John Jackson, and members of the famous Kemble family— Charles, Maria Theresa, Frances, Henry, John Philip, Priscilla, Elizabeth, Roger, and Stephen.

The iconic television actor shares intimate stories of his personal and professional relationships with a wide range of leading ladies in film and television, from Joan Crawford and Bette Davis to Marilyn Monroe and Raquel Welch. (biography & autobiography). Simultaneous.

“I’ve been away so long that nothing matters now. I went home to die, but I wasn’t that fortunate.” Edwina Booth “He who enters Hollywood leaves self—the real self—behind. It is the land of Let’s Pretend, and the hardest acting is done off screen.” Herbert Howe, writer “From the peak of fame to the brink of almost hopeless despair—that’s my story of Hollywood.” Alice Lake You survived Dangerous Curves ‘atop Hollywood Heels, Michael G. Ankerich’s 2010 book about ill-fated actresses of the silent screen, but are you ready for his companion book, Hairpins and Dead Ends: The Perilous Journeys of 25 Actresses Through Early Hollywood? Hairpins and Dead Ends takes you on a hair-raising rollercoaster ride through a time when Hollywood was surrounded by orange groves, not concrete jungles, and into the intimate lives of 25 beauties, ambitious nobodies who wanted to be somebodies. Several became twinkling stars, while others settled as serial queens, slapstick vamps, bathing beauties, western heroines, and everything in between. While many young hopefuls abandoned their quest for fame and returned home disappointed, here are the stories of women who stayed, often to a bitter and tragic end brought on by drugs, booze, and suicide. Through his meticulous research, that included interviews with relatives of the actresses, Ankerich takes you into the dark side of Tinseltown, a world of dope rings, whorehouses, gin joints, and other gritty hellholes some called home. Lavishly illustrated with over 160 photographs, many from family scrapbooks, Hairpins and Dead Ends uncovers a world that offered passion and imagination, but functioned on illicit love, domineering mothers, desperation, greed, abuse, and discrimination. The screen images of these 25 dazzling beauties were fleeting shadows. Their personal passions and struggles in real life held more drama than any role they clamored to play. These ladies make up the ghosts of Hollywood’s past.

“I’ve been away so long that nothing matters now. I went home to die, but I wasn’t that fortunate.” Edwina Booth “He who enters Hollywood leaves self—the real self—behind. It is the land of Let’s Pretend, and the hardest acting is done off screen.” Herbert Howe, writer “From the peak of fame to the brink of almost hopeless despair—that’s my story of Hollywood.” Alice Lake You survived Dangerous Curves ‘atop Hollywood Heels, Michael G. Ankerich’s 2010 book about ill-fated actresses of the silent screen, but are you ready for his companion book, Hairpins and Dead Ends: The Perilous Journeys of 25 Actresses Through Early Hollywood? Hairpins and Dead Ends takes you on a hair-raising rollercoaster ride through a time when Hollywood was surrounded by orange groves, not concrete jungles, and into the intimate lives of 25 beauties, ambitious nobodies who wanted to be somebodies. Several became twinkling stars, while others settled as serial queens, slapstick vamps, bathing beauties, western heroines, and everything in between. While many young hopefuls abandoned their quest for fame and returned home disappointed, here are the stories of women who stayed, often to a bitter and tragic end brought on by drugs, booze, and suicide. Through his meticulous research, that included interviews with relatives of the actresses, Ankerich takes you into the dark side of Tinseltown, a world of dope rings, whorehouses, gin joints, and other gritty hellholes some called home. Lavishly illustrated with over 160 photographs, many from family scrapbooks, Hairpins and Dead Ends uncovers a world that offered passion and imagination, but functioned on illicit love, domineering mothers, desperation, greed, abuse, and discrimination. The screen images of these 25 dazzling beauties were fleeting shadows. Their personal passions and struggles in real life held more drama than any role they clamored to play. These ladies make up the ghosts of Hollywood’s past.

Biographies of supporting players in Hollywood in the 1930s include b&w photos and filmographies for actors and actresses such as Lionel Barrymore, Hattie McDaniel, Peter Lorre, and Basil Rathbone. Fun for film buffs and general readers. The publisher's address is 6205 Crestwood Ave., Sarasota, FL 34231. Annotation copyright Book News, Inc. Portland, Or.

Like New condition. Great condition, but not exactly fully crisp. The book may have been opened and read, but there are no defects to the book, jacket or pages. 1.34

You survived Michael G. Ankerich’s Dangerous Curves ‘atop Hollywood Heels. Now take a hair-raising roller coaster ride through the intimate lives of 25 beautiful, ambitious serial queens, slapstick vamps, bathing beauties, and Western heroines.The dark side of Tinseltown dope rings, whorehouses, gin joints, and other gritty hellholes trapped them on their road to bitter and tragic ends.Meticulous research, and interviews with relatives, reveal the ghosts of Hollywood past and a world overflowing with passion and imagination, illicit love, domineering mothers, desperation, greed, abuse, and discrimination.Lavishly illustrated with over 160 photographs, many from family scrapbooks.Actresses profiled include Belle Bennett, Edwina Booth, Lila Chester, Dorothy Clark, Virginia Lee Corbin, Marjorie Daw, Florence Deshon, Margaret Gibson, Jetta Goudal, Alice Lake, Barbara La Marr, Fontaine La Rue,Lolita Lee, Mona Lisa, Katherine MacDonald, Mary MacLaren, Marion McDonald, Evelyn Nelson, Lottie Pickford, Marjorie Ray, Alma Rubens, Jean Sothern, Valeska Suratt, Marie Walcamp, and Helen Lee Worthing.

The floozy, the gangster's moll, the nasty debutante: Most Hollywood actresses played at least one of these bad girls in the 1930s. Since censorship customarily demanded that goodness prevail, vixens were in mainly supporting roles--but the actresses who played them were often colorful scene stealers. These characters and the women who played them first began to appear in film in 1915 when Theda Bara played home-wrecker Elsie Drummond in The Vixen. Movie theaters filled and the industry focused on heaving bosoms and ceaseless lust. Bara never shed the vamp image. The type evolved into the flapper, the gangster's moll, the "dame," and the "bad girl." This work covers the lives and careers of 28 actresses, providing details about their lives and giving complete filmographies of their careers.

Don Ameche, Eve Arden, George Burns, Bette Davis, Greer Garson, Rex Harrison, Lilli Palmer, George Raft, Ginger Rogers, Barbara Stanwyck, Orson Welles, Cornel Wilde—these are among the stars who graced the silver screen in Hollywood’s Golden Age. Biographies and filmographies of these actors and actresses and 70 others who had passed from the scene by September 1996 are presented in this reference work. The biographical section focuses on how they came to be involved with whom they shared the screen. The filmography lists all the films in which they appeared, along with the studio and the year of release.