Search Results for hair

...Deborah R. Grayson Copyright © 1995 by Indiana University Press 1995 My head. Photo by Charles Moore. Is it Fake?: Black Women’s Hair as Spectacle and Spec(tac)ular Deborah R. Grayson But if a woman have long hair, it is a glory...

... without a veil, adapting their advertising accordingly. While this may seem straightforward, the complexity lies in the extent to which women's hair is considered “unrepresentable” in practice and in the paradoxes of presenting the veil on-screen while still demonstrating the product's benefits...

... Controversies and Lesbian Locks Julie Levin Russo Hillary Rodham Clinton is well acquainted with the travails of divadom. In her 2001 commencement address at Yale University, she told the graduating seniors, “The most important thing that I have to say today is that hair matters. . . . Pay...

... is provided by her reddish-brown hair. Various other aspects of the set and the chief character’s clothing make up the second half of this muted two-color palette. The hall is papered in a blue-gray figured wallpaper. The lutchen has blue-green curtains. The walls of the bedroom are painted green...

... with fantastically long hair are put to work in inventive, surreal re-­creations of the industrial assembly line. Critics often underscore the motifs of labor and manufacture in Rottenberg’s videos, invoking Taylorism, the “sweatshop,” “a blue-­collar work ethic,” and “the sense of claustrophobia induced...

... to the importance of naming and politicizing representations of Black women in visual culture. In “Is it Fake? Black Women’s Hair as Spectacle and Spec(tac)ular,” which serves to introduce the range of issues these essays confront, Deborah Grayson describes the ways Black women’s hair is read...

... coiffed hair. The girl stands erect, posing for a snapshot that crops her at the thighs, but a defiant look flutters on her otherwise stoic face. In the background, large houses commingle with bare, spidery trees. It is autumn in Columbus, Ohio. Under the photograph, a caption reads: “Miss Mary...

..., personalities, hair, coloring, and sexualized dress. Beauty as the beast: The tragic-murderous “mulatta” Adventure or “thrill” in cinema is often linked to violence. The very existence of the “mulatta” suggests and represents sexual violence. Tapping into the multiple...

... suggests the complexities of the mother-daughter relationship. The film, Rapunzel, Let Down Your Hair, by dissecting, re-telling, and re-interpreting the Grimm Brothers’ fairy tale, attempts to bring out not only the symbolism of the story but to transform it. Each re...

.... Yet even if we compare the “objec- tive” mug shots of these two women, a number of differences strike the eye (figure 5). Tucker has long, curly hair; Buenoano has short, unevenly cropped, “slicked-back” hair, recalling the ubiq- uitous criminological stereotype of the “mannish” female inmate who...

...,” and who challenges her film and theater audiences to be as focused and subtle in their reception of her as she is in her per- formance style. But highbrow, middlebrow, or lowbrow, all divas, at one point or another, seem to be judged by their hair. Contemplat- ing the coifs of divas real...

... use to cope with side effects of treatment such as hair loss or nausea. These segments can occur in any order, so that patients can decide whether to see the “good news” or the “bad news” first, or to skip them altogether. 3) Throughout the program, especially after...

... hair cut at Sassoon’s, will you love me this relatively harmless proposition becomes perverse and untenable when the same female voice asks: “If I fuck you, will you give me a one-woman show?”The sequence ends with the woman asking: “If I fuck you, will it be worth it In a similar mode...

..., her hair slicked back, wearing a bold white-and-black striped fur collar. The café stage Greta Garbo and Silent Cinema • 85 is done in a contemporary mode, with concentric arches and a tiered stairway. After watching the performance, Leonora approaches one...

... motivations, through much of the film; she does not become unrecuperable until very near the end. Inevitably, attraction and revulsion commingle in our reception of this representation of a violent and/or lesbian woman. Of Footwear and Hair Dye The relationship between AlIi...

.... The film is a fantasy of metamorphosis: where the nasal-toned and easily cowed Kelp is colorless and bland, constantly attired in a white lab coat, hair combed forward over his face, Love is the embodiment of cool with his flashy jackets, slicked-up hair, throaty voice...

... wings and an egret-feather headdress and singing an old Ethel Waters tune while the hippie children, passing jugs of wine and joints, go wild. Cut to Sylvester, backed by a band of scruffy, white, long- haired rock and rollers, singing Neil Young and Leonard Cohen tunes; wipe to Sylvester...

... as Love, lip-synching “Softer Softest” with baby barrettes in my hair while staggering across a stage in a torn baby-doll dress: “I got a blister from / touching every thing I see / The abyss opens up / It steals everything from me.” Such sensitivity from a woman who everyone swore...

... in the mise-en-scène and goes to great lengths to provide them with their own history and emo- tional density. Take Alicia’s hair clip, for example. We never see Ali- cia wear it, but we see it at least three times in the film: first, when Benigno steals it from her room and puts it in his...