Film Stars

"'Gentlemen Prefer Red-Heads': Anita Loos, Jean Harlow and 'Red-Headed Woman'"

by Ellen Pullar

In "Creative Imitations and Appropriations: From Cinematic Adaptations to Re-makes (Select Refereed Papers)," edited by Erica Todd, Clément Da Gama, Ellen Pullar and Hilary Radner (Dunedin: Otago University Press, 2011).

"A Star who is not like the Others: Arletty’s Publicity Persona during the 1930s"

by Ellen Pullar

"Studies in French Cinema" 12, no. 1 (2012).

Annie Girardot, une enquêtrice aux prises avec le cinéma policier/criminel français des années 70-80

by Le Gras Gwénaëlle

in Policiers et criminels, un genre populaire européen sur grands et petits écrans, sous la direction de Raphaëlle Moine, Brigitte Rollet et Geneviève Sellier, L’Harmattan, avril 2009, pp. 157-166.

“Coupable altérité” : Stroheim dans les films criminels français des années 30

by Le Gras Gwénaëlle

in revue Double jeu (revue du Centre de Recherche et de Documentation des Arts du Spectacle, Université de Caen), n° 5, « Les Représentations de l’Autre au théâtre et au cinéma (XIXème, XXème siècle), sous la direction de Chantal Meyer-Plantureux et Geneviève Sellier, Presses Universitaires de Caen, mai 2009, pp. 81-96.

Martine au cirque, Martine au bûcher ou le point aveugle de l'affaire Lola Montès

by Le Gras Gwénaëlle

in Lola Montès: lectures croisées, Marguerite Chabrol et Pierre-Olivier Toulza (dir.), L'Harmattan, pp. 141-170.

Edwige Feuillère, escroc mondaine entre deux genres

by Le Gras Gwénaëlle

in Genres et acteurs du cinéma français 1930-1960, Gwénaëlle Le Gras et Delphine Chedaleux (dir.), Presses Universitaires de Rennes, 2012.

Channel hopping: Charlotte Rampling in French cinema of the early 2000s

by William Brown

Celebrity Studies, 3:1, 2012, pp. 52-63.

In this article, I shall explore Charlotte Rampling's star persona in a series of French/French-backed films made... more In this article, I shall explore Charlotte Rampling's star persona in a series of French/French-backed films made between 2000 and 2005, in particular considering her as an ageing transnational female star, in terms of both representation and performance. By representation, I mean to analyse how Rampling's nationality, gender and age function in our understanding of her and her films, not least because she often plays sexually active and/or aggressive women. In the films discussed here, which include Sous le sable/Under the Sand (François Ozon, France, 2000), Embrassez qui vous voudrez/Summer Things (Michel Blanc, France/UK/Italy, 2002), Swimming Pool (François Ozon, France/UK, 2003), Vers le sud/Heading South (Laurent Cantet, France/Canada, 2005) and Lemming (Dominik Moll, France, 2005), Rampling in particular plays sexually active and/or aggressive older women. However, I shall also consider Rampling through the framework of performance. Following Elena del Río (2008), I shall argue that Rampling repeatedly produces affective performances that not only play upon but also elude the representational aspects of her work – and that this notion of what del Río terms ‘affection’ might be a useful framework through which to reconsider the concept of charisma, a quality that Richard Dyer, drawing upon Max Weber, identifies in Stars (1998 [1979], p. 34–37).

‘A Kind of Bacall Quality’: Jamie Lee Curtis, Stardom, and Gentrifying Non-Hollywood Horror

by Richard Nowell

Forthcoming

This article offers a radically revised vision of the nascent star personae of quintessential American scream queen... more This article offers a radically revised vision of the nascent star personae of quintessential American scream queen Jamie Lee Curtis (refocusing attention towards her widely circulated credentials as young career woman, Hollywood insider, and self-confident humanist), in order to reveal key ways in which the star personae of on-screen talent are utilized industrially to expand the potential audience of low-cost horror films through the premption of deeply entrenched discourses which historically have framed non-Hollywood horror as sexist, amateurish, male-geared product.

Gods and monsters : grandeur et décadence de Hollywood dans les années 1950 et 1960

by Marguerite Chabrol

in Le Classicisme hollywoodien, dir. Jean-Loup Bourget et Jacqueline Nacache, Presses Universitaires de Rennes, 2009, pp. 265-281.

The Road to Rāmarājya: Analysing Shah Rukh Khan's Parallel Text in Commercial Hindi Cinema

by Sunny Singh

From Kuruksetra to Ramrajya: a comparative analysis of the star personas of Amitabh Bachchan and Shahrukh Khan

by Sunny Singh

Three-Town Revolution: Implications of Cinema’s Politics for the Study of Urban Spaces

by Srinivas SV

Published in Economic and Political Weekly, vol. xlvi, no. 50, (December 10, 2011), pp. 80-88

The point of convergence between cinema and constituents of the urban commons is the crowd and everything that the... more The point of convergence between cinema and constituents of the urban commons is the crowd and everything that the crowd connotes at any given point of time and in any discourse. Popular Telugu cinema is replete with examples of the crowd and what cinema does with it. This phenomenon of constituting and naming social formations and the misrecognitions it gives rise to are most instructive in a discussion of the urban commons. This paper analyses "Eenadu", a 1982 Telugu film that is centrally concerned with crowds, to illustrate how cinema brings the mass gathered before the screen face-to-face with a version of itself on the screen, framing a new mode of political participation pivoted on the popular appeal of larger-than-life superstars.

Transatlantic Transformation: Gwyneth Paltrow, consistency, fragmentation and the All American Girl'.

by Sarah Gilligan

In development. Invited contribution to Stella Bruzzi and Pamela Church Gibson (eds.) Fashion Cultures - Volume Two. (Routledge, forthcoming).

FINAL CFP: EUPOP2012 - The Inaugural Conference of the European Popular Culture Association

by Sarah Gilligan

11-13 July 2012
London College of Fashion
University of the Arts
London

FINAL CALL FOR... more 11-13 July 2012
London College of Fashion
University of the Arts
London

FINAL CALL FOR PAPERS: EUPOP2012 CONFERENCE

Extended deadline for abstracts: 3rd March 2012.

For this final call for papers, the conference organisers would particularly welcome individual papers and panel contributions in the following areas:

- Music
- Sport
- The body and its representation
- Comics and graphic novels
- Heritage / curation
- Subcultures

This conference will launch the European Popular Culture Association (EPCA) and will explore European popular culture in all its different forms. This might include European Film (past and present), Television, Music, Celebrity, The Body, Fashion, New Media, Comics, Popular Literature, Sport, Heritage and Curation.

There will be opportunities for networking and for developing caucus groups within the EPCA. Presenters at EUPOP2012 will be encouraged to develop their papers for publication in a number of Intellect journals, including the new Journal of European Popular Culture, the journal of the EPCA, other film journals including Film, Fashion and Consumption, and various music journals.

JOURNAL EDITORS WILL BE WORKING CLOSELY WITH STRAND CONVENORS - a full list of Intellect journals is available at: http://www.intellectbooks.co.uk/journals/index/

Papers and Complete Panels for all strands should be submitted to the email contact below. Paper/panel submissions will be as always subject to peer review:

Submit paper or panel proposals* to: europop@arts.ac.uk

• The same address should be used for general administrative queries


For further details and updates - visit the conference website at: http://eupop2012.tumblr.com

You can follow the EUPOP2012 conference on Twitter @EUPOP2012

Please spread the word and use the hashtag #EUPOP2012 when retweeting and / or contributing to the conference back channel.


- The European Popular Culture Association –

The European Popular Culture Association (EPCA) promotes the study of popular culture from, in, and about Europe. Popular culture involves a wide range of activities, outcomes and audiences; EPCA aims to examine and discuss these different activities as they relate both to Europe, and to Europeans across the globe, whether contemporary or historical.


CLOSING DATE FOR THIS FINAL CALL FOR PAPERS: 3rd MARCH 2012.


- EPCA and 2012 EPCA Conference Directors -

EPCA President: Pamela Church Gibson p.church-gibson@fashion.arts.ac.uk (or at the generic conference address given here)

Director of Research & Exchange: Graeme Harper graeme@eupop.org

CONFERENCE ADMINISTRATOR: SARAH-JANE SIMPSON
Sarah can be reached at europop@arts.ac.uk.

We would suggest that you contact her speedily if you are coming from abroad and are wanting to discuss the availability of accommodation. Although the conference is well in advance of the Olympics, we have placed a notional hold on inexpensive hotel rooms and need confirmation ASAP.



ming from abroad and are wanting to discuss the availability of accommodation. Although the conference is well in advance of the Olympics, we have placed a notional hold on inexpensive hotel rooms and need confirmation asap.

EUPOP2012: Inaugural Conference of the European Popular Culture Association website now at:
http://eupop2012.tumblr.com/ Inc' pdf of the CFP. Follow @eupop2012 on Twitter. Use the #EUPOP2012 hashtag to follow & contribute to the Twitter back channel.

“YouTube: Transnational Fandom and Mexican Divas”

by Niamh Thornton

Transnational Cinemas Volume 1 Issue 1 (2010)

An examination of the YouTube presence of the transnational film stars Maria Félix and Dolores del Río. An examination of the YouTube presence of the transnational film stars Maria Félix and Dolores del Río.

Isänmaan moninaiset äidinkasvot: sotavuosien suomalainen naisten elokuva sukupuoliteknologiana

by Anu Koivunen

Soulfulness, Sichtbarkeit and the sexual politics of national cinema

by Anu Koivunen

Hollywood’s Turkish Films 1930-1960: A Nation Looks at Itself

by Laurence Raw

This article takes a fresh look at the subject of Turkish representations in Hollywood films, arguing that the... more This article takes a fresh look at the subject of Turkish representations in Hollywood films, arguing that the representation of the Turkish Republic in Hollywood film is much more nuanced that critics have hitherto claimed. Hollywood filmmakers were not especially interested in the Turkish Republic or its politics, but rather used the exotic locations as a site for an exploration of contemporary American politics. I suggest that Hollywood’s Turkish films are not about the Turkish Republic at all, but rather comment on American foreign policy for the benefit of domestic audiences. They do this by drawing on familiar orientalist images, and thereby prove the extent to which orientalism is intertwined with the American self-image. If orientalism was excluded, then America’s vision of itself as a world power would collapse. 

Ayhan Isik's Film Career - a Survey (2010)

by Laurence Raw

A biography of the great Turkish actor Ayhan Isik, based on viewing his hilms. This was a first draft of a chapter published in my Turkey book EXPLORING TURKISH CULTURES

A look at one of Turkey's earliest and most successful film stars. Modeled on Clark Gable, Ayhan Isik was the star of... more A look at one of Turkey's earliest and most successful film stars. Modeled on Clark Gable, Ayhan Isik was the star of action films for over twenty years until his untimely death in 1979. This paper argues that his star image not only offered ideals of masculinity to an audience, but also suggested the importance of right action - maintaining the ideals of home and family which were believed to lie at the foundation of a stable society.

Carole Landis: A Most Beautiful Girl by Eric Gans and Pictures About Extremes: The Films of John Frankenheimer by Stephen B. Armstrong

by Laurence Raw

Originally published in JOURNAL OF AMERICAN CULTURE 32, no. 3 (September 2009): 272-3

These two biographies are linked by the fact their subjects never quite made it in the Hollywood rat race. Eric Gans'... more These two biographies are linked by the fact their subjects never quite made it in the Hollywood rat race. Eric Gans' Carole Landis tells a familiar rags-toriches-to-rags tale of a young girl (born Frances Lillian Ridste) who grew into a quite stunningly beautiful young woman. Although her screen career was largely undistinguished, she shot to stardom on account of a four-month trip to entertain American troops in North Africa, accompanied by fellow-performers Kay Francis, Martha Raye, and Mitzi Mayfair. Landis chronicled her experiences in the book Four Jills in a Jeep (which was later filmed). Gans argues with some justification that this experience transformed her into an American icon, a symbol of the people's dedication to the war effort both at home and abroad. Returning to Hollywood in 1945, Landis 's career foundered, even though her well-publicized affairs- notably with Rex Harrison- provided an abundant source of gossip. By the age of twenty-nine she was a spent force, which led to her taking a fatal drug overdose. Nonetheless Gans argues that, unlike Marilyn Monroe, she was responsible for her own destiny: "she is always a subject, never an object" (203). This explains why many of her most devoted fans have been women.