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George Cukor

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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 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 of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 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: Feminism, Culture, and Media Studies (1 September 2007) 22 (2 (65)): 11–37.
Published: 01 September 2007
... structured as a collaboration with a gay man and with gay male taste. Whether hers 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 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 of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2001) 15 (3 (45)): 227–265.
Published: 01 December 2001
.... Let me cite two more gay male tributes to the Garbo per- sona to illustrate 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (1-2 (25-26)): 125–143.
Published: 01 September 1991
... than George Cukor or R.W. Fassbinder) directing, as well as partici- pating in, the action.19 For balance and counterpoint, however, there are many examples of Pee-wee’s comraderie with women characters, including suggestions that Mrs. Renk and Miss Yvonne on the televison series, and Simone...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2001) 16 (2 (47)): 133–175.
Published: 01 September 2001
... center of a (post)modern Pygmalion tale. Playing the role of George Bernard Shaw’s Henry Higgins are Nikita’s two “mid- wives”: spy master Bob is in charge of her physical and intellectual training, while the sophisticated Amande schools her in the femi- nine graces of deportment and beauty. In the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2012) 27 (2 (80)): 61–91.
Published: 01 September 2012
..., US, and Edna Ferber (Show Boat, dir. Harry A. Pollard, US, dir. James Whale, US, dir. George Sidney, US, and Cimarron, dir. Wesley Ruggles, US, dir. Anthony Mann, US, is particu- larly notable in this respect. Even novels as focused on masculine culture as James Jones’s From Here to...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2011) 26 (2 (77)): 33–63.
Published: 01 September 2011
... 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, starring Dirk Bogarde).4 A more concrete (or should it be less concrete?) example is found in the cinematic cliché of the postcoital cigarette...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
...  • 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 heavily used in contemporary thrillers like What Lies Beneath (dir. Robert Zemeckis, US, 2000), which is essentially an...