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Joan Crawford

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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2006) 21 (2 (62)): 1–31.
Published: 01 September 2006
... Postwar America and Homosexuality in Cold War America: Resistance and the Crisis of Masculinity . He is also the editor, with Stephen Valocchi, of Queer Studies: An Interdisciplinary Reader . He is currently writing a book about gender and sexual mobility in Cold War Hollywood cinema. Joan Crawford...
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 May 2008) 23 (1 (67)): 160–164.
Published: 01 May 2008
... describe you. There remains an implication of artifice in the term that leaves me unsettled. Gay men have historically been attracted to classical Hollywood divas like Joan Crawford because of the ways that these women chal- lenge and expose the artificiality of gender itself — a queer project if...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1988) 6 (3 (18)): 146–154.
Published: 01 September 1988
... questions that have been important to recent theory. A similar retreat from the broader claims of recent theory is evident in the chapter on social film history and, particularly, in the case study on Joan Crawford that ends the chapter. Social film history proves the most unwieldy of the four...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2007) 22 (2 (65)): 11–37.
Published: 01 September 2007
... Lans- bury seduces/hypnotizes her son “Commie Dearest.” The gravity of the film thus attracts the faint whiff of absurdity that attaches to the famously awful and wonderful biopic of Joan Crawford, Mommie Dearest — the most traumatizing mother of them all, and a diva to boot. Onstage...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2001) 16 (3 (48)): 1–7.
Published: 01 December 2001
...: Stardom and Masculinity in the Jazz Age (New York: Columbia University Press, 1996). 3. Robert C. Allen, “The Role of the Star in Film History (Joan Crawford in Film Theory and Criticism, 5th ed., ed. Leo Braudy and Marshall Cohen (New York: Oxford University Press, 1999), 560...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 1–35.
Published: 01 May 2013
.... Celebrity discourse has changed, and with it, the picture personality. Personalities no longer require pictures, so taken is the public with the intense and personal access we have to stars. It is difficult to imagine contemporary starlets making a claim like Joan Crawford’s: “I never go outside...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1993) 11 (2 (32)): 102–123.
Published: 01 September 1993
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2010) 25 (2 (74)): 119–159.
Published: 01 September 2010
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 93–127.
Published: 01 December 2015
... are widely and consistently used to suture the viewer into Louise’s ( Joan Crawford) world of morbid jealousy. Even if the film did not begin with a point-­of-­view shot taken from a moving hospital gur- ney, we would likely find ourselves cued into...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1991) 9 (3 (27)): 4–35.
Published: 01 September 1991
...~rder.~The film opens with young FBI trainee Clarice Starling (Jodie Foster) being summoned by her academic mentor, Dr. Jack Crawford (Scott Glenn), to help him in his investigation of the crimes of a serial killer (Ted Levine), whose tabloid nickname, “Buffalo Bill,” comes...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2000) 15 (1 (43)): 123–161.
Published: 01 May 2000
... production and thus as the process of rehearsing, blocking, lighting, and testing became more elaborate, stand-ins were required to duplicate the appear- ance of particular stars rather closely. In this vein, Sylvia Lamar, a stand-in for Heddy Lamar and Joan...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2005) 20 (2 (59)): 165–195.
Published: 01 September 2005
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 47–77.
Published: 01 January 1988
... magazines in the forties, Jane Gaines says Lana Turner was brought down to earth in a report which told readers that "she returned her rented sable to the furrier after every party [while] Joan Crawford was described as a homebody who preferred listening to Bing Crosby or Dinah...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 203–225.
Published: 01 January 1988
... Joan . NBC; 1952-1955. This domestic sit-com stars Joan Davis as Joan Stevens and Jim Backus as her husband, Judge Bradley Stevens. The series was owned by Davis's production company. UCLA: 98 episodes; 1952-1955. MOB: 2 episodes ; nd. I...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1990) 8 (3 (24)): 46–63.
Published: 01 September 1990
... some cases, the rocking of the fake railway carriage has kept us away after the first visit. Let’s not forget that in Letter From an Unknown Woman,Joan Fontaine makes a first-and last-visit to a version of Hale’s Tours. As expected, no one gets anywhere. Virgin, fucked...