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George Cukor

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Journal Article
Camera Obscura (2015) 30 (2 (89)): 55–87.
Published: 01 September 2015
...Vincent Hausmann This essay focuses on George Cukor's A Woman's Face (US, 1941), a film that complicates a dominant narrative in studies of Joan Crawford's work that locates Mildred Pierce (dir. Michael Curtiz, US, 1945) as inaugurating the star's pronounced, albeit disparaged, iterations...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 188–190.
Published: 01 December 2015
... Spectatorship and Recovery Television. No. 88: pp. 71 – 99 Vincent Hausmann “The Hard Shining Brightness of  You”: Witnessing the Assumption of a Body in George Cukor’s A Woman’s Face. No. 89: pp. 55 – 87 188 Volume Index  • 189 Usha...
Journal Article
Camera Obscura (2007) 22 (2 (65)): 11–37.
Published: 01 September 2007
... is a visual or a vocal perfor- mance shaped by George Cukor, Arthur Laurents, Billy Strayhorn, or Roger Edens — men often given the appellation “Svengali” — it is not the diva’s existence as an image that speaks to me as a gay man. It is her power and her capacity to organize, structure, and perform...
Journal Article
Camera Obscura (1990) 8 (1 (22)): 150–158.
Published: 01 January 1990
... introduced this subject to me in 1974 in a public lecture on George Cukor’s The Women (1939). The film’s Technicolor fashion show, embedded in a two-hour showcase of femininity constructed with glamorous con- sumer products, puzzled Eckert by interrupting the narrative with a series...
Journal Article
Camera Obscura (2001) 15 (3 (45)): 227–265.
Published: 01 December 2001
... the peculiar epistemology of “outing” by conno- tation that attends it. George Cukor, who directed Garbo in what many regard as her best performance in Camille (1937), captured Garbo’s articulation of the “ontological lesbian” at the very moment that the type...
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 125–143.
Published: 01 September 1991
... as “one of the girls,” doesn’t help matters in these cases-it only makes certain moments on the television shows and specials seem like remakes of The Women, with a different feminine gay man (Paul Reubens rather than George Cukor or R.W. Fassbinder) directing, as well as partici- pating...
Journal Article
Camera Obscura (2019) 34 (3): 97–125.
Published: 01 December 2019
...), His Girl Friday (dir. Howard Hawks, 1940), The Philadelphia Story (dir. George Cukor, 1940), The Lady Eve (dir. Preston Sturges, 1941), and Adam s Rib (dir. George Cukor, 1949) are alike in advancing, through plots of marital estrange- ment and reconciliation, a utopian ideal of marriage...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 33–63.
Published: 01 September 2011
... to “a breath of fresh air,” or the parodic sexuality of blowing hair, espe- cially filmed in slow motion, or more obviously in melodramatic titles like Written on the Wind (dir. Douglas Sirk, US, 1956), Wild Is the Wind (dir. George Cukor, US, 1957), and The Wind Cannot Read (dir. Ralph Thomas, UK, 1958...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 61–91.
Published: 01 September 2012
... Pleasures (London: Palgrave, – See Custen, Bio/Pics; and Smyth, Reconstructing American Historical Cinema. Back Street (dir. John M. Stahl, US, dir. Robert Stevenson, US, Camille (dir. George Cukor, US, Rebecca (dir. Alfred Hitchcock, US, All This, and Heaven Too (dir...
Journal Article
Camera Obscura (2001) 16 (2 (47)): 133–175.
Published: 01 September 2001
.... This production finally morphed into George Cukor’s 1964 Hollywood film of the same title, starring Rex Harrison and Audrey Hepburn. All ver- sions feature a clash of wills between Eliza and Higgins, and detail the indignities she suffers in the course of her transformation from working-class vulgarity...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
.... Other examples from the era can be adduced: Gaslight (dir. Female Neurosis in Two Films by Anatole Litvak  • 105 George Cukor, US, 1944), Secret beyond the Door (dir. Fritz Lang, US, 1948), Sudden Fear (dir. David Miller, US, 1952), and so on. The morbid close-­up is still...