Framing Incandescence: Elizabeth Taylor in JANE EYRE (1944)

"In a world of flickering images,
Elizabeth Taylor was a constant star."

[The New York Times, March 23, 2011]

This video offers an audiovisual introduction to issues of film performance, cinematic staging, and gender in relation to Elizabeth Taylor's brief, uncredited role as doomed-child character Helen Burns in the 1944 film Jane Eyre, directed by Robert Stevenson, and adapted from Charlotte Brontë's 1847 novel of the same name.

Film Studies For Free was far from home, just over two weeks ago, when the remarkable film actor and person Elizabeth Taylor passed away. It was very sorry not to be able to respond to this event as soon as it might have liked. Taylor was FSFF's author's favourite Hollywood star by some distance.

David Hudson has worked hard to gather links to an astonishing range of online tributes to Taylor. FSFF wanted to add to these, but not simply with its own customary list of links to any related (in this case, rather scant) online scholarly resources.

It decided upon the creation of a relatively self-contained audiovisual memorial in the form of the above contemplation, Framing Incandescence - the second in FSFF's new, video primer series.

As befits a 'Primer', rather than aiming to generate completely new insights, this 'rich text object' attempts, within the time-space of the average YouTube fan clip, to assemble and combine quotations from existing film scholarship on its topic with sequences from the film in question in order to provide a meaningful, scholarly and affective, immersive experience. Making fair use of the possibilities for moving image studies offered by online accessibility, video primers might well profit from feeling a little like fan videos and introductory film studies all at once.

Framing Incandescence certainly comments on the fetishism and fetishisation of the star image of Elizabeth Taylor at the same time as it willingly deploys that fetishism in its own rhetoric and, indeed, it practices tactical forms of 'possessive spectatorship', such as those Laura Mulvey points to, in her recent work, as characteristic of film viewing in the digital age.

For the quotations in this particular study, FSFF is especially indebted to the work of film scholar Gaylyn Studlar in her brilliant essay on Taylor's performances as a child actor in her three 1944 films (Jane Eyre, The White Cliffs of Dover and National Velvet). This essay appears in Tamar Jeffers McDonald's fascinating 2010 collection Virgin Territory: Representing Sexual Inexperience in Film (Wayne State University Press). Other sources and related texts of interest are listed below.

The makers of Jane Eyre cast two further, wonderful, child stars from the 1940s in more central roles than that of Taylor: Peggy Ann Garner (featured extensively in the video primer) and Margaret O'Brien. If you are interested in the concept, practices and history of the child actor/child star, and issues of juvenile performance more generally, you may well want to know about an upcoming conference precisely on this topic. Please scroll down further in this entry to find out more. 


Further related reading and texts cited by the 'Framing Incandescence' video primer:

• David Bordwell, Figures Traced in Light: On Cinematic Staging (Berkeley: University of California Press, 2005)
• Elisabeth Bronfen, Over Her Dead Body: Death, Femininity and the Aesthetic  (Manchester: Manchester University Press,1992)
• Richard Dyer, White (London and New York: Routledge, 1997) [Dyer's reference to tuberculosis as 'White Death' is on p. 209)
• Delphine Letort,' Diverging Interpretations of Charlotte Brontë’s Jane Eyre (1847): Franco Zeffirelli’s and Robert Stevenson’s Screen Adaptations', Revue LISA/LISA e-journal online here
• Susan McLeland, ''Elizabeth Taylor: Hollywood's Last Glamour Girl', in Hilary Radner and Moya Luckett (eds), Swinging single: representing sexuality in the 1960s (Minneapolis: University of Minnesota Press, 1999)
• Jane O'Connor, Cultural Significance of the Child Star (London and New York: Routledge, 2008)
• Jane O'Connor, 'Beyond Social Constructionism: A Structural Analysis of the Cultural Significance of the Child Star', Children and Society, Vol. 23 (2009), pp. 214-225
• Momin Rahman, '[Review] Jane O'Connor, The Cultural Significance of the Child Star...', Canadian Journal of Sociology 33(3) 2008, pp. 752-754: online here
• Diana Serra Cary, Hollywood's Children (Dallas: Southern Methodist University, 1978, 1997)
• Gaylyn Studlar, 'Velvet's Cherry: Elizabeth Taylor and Virginal English Girlhood' in Tamar Jeffers McDonald (ed.), Virgin Territory: Representing Sexual Inexperience in Film (Detroit: Wayne State University Press, 2010)
• Emma Wilson, Cinema's Missing Children (London: Wallflower Press, 2003)

FINAL CALL FOR PAPERS 

Child Actors/Child Stars: Juvenile Performance on Screen

A conference co-hosted by the Centre for Research in Media and Cultural Studies, University of Sunderland, and the School of Media, Film and Music, University of Sussex. 

To be held at the David Puttnam Media Centre, University of Sunderland

8-9 September, 2011

 This conference seeks to build on recent scholarly interest in screen performance by focusing on the contribution of child actors to the history of international film and television. From the popular child stars of Hollywood to the child actors working in popular television and the non-professional children ubiquitous throughout ‘world cinema,’ the child performer is a prominent figure across a diverse range of media. However, the child actor is rarely considered in discussions of screen performance or of the representation of childhood: this conference will be the first of its kind to be focused exclusively on the work of children in and for film and television. We welcome papers that discuss particular child stars and performers and/or particular performances by children, as well as papers that consider more general historical and theoretical questions related to the child actor’s presence on the screen and their position in film and television cultures and industries. 

Confirmed Keynote Speaker: Dr. Karen Lury (University of Glasgow), author of The Child in Film: Tears, Fears and Fairytales (2010).

Confirmed Special Guest: Jon Whiteley, the former child actor, will talk about his film career and his experiences making Hunted (Charles Crichton, 1952), The Little Kidnappers (Philip Leacock, 1953), Moonfleet (Fritz Lang, 1955) and The Spanish Gardener (Philip Leacock, 1956).

(Further Speakers/Special Guests to be announced)

The conference will comprise both traditional panels (consisting of papers of 20-25 minutes) and workshops (consisting of 10 minute long position papers that outline a key idea/theme/ argument or offer close analysis of a moment of child performance in film). Please clearly mark your submission ‘panel’ or ‘workshop’. We hope the conference will both represent existing scholarship and inspire and encourage further work, and so we welcome contributions that are speculative and experimental.  We are interested in papers on the following topics but would also welcome proposals on other areas as well:

the training and schooling of child actors; the craft and labour of the child actor; notions of agency and control; different traditions of child acting and how child acting operates within different national/historical/cultural contexts and on the small (tv) as opposed to big screen (cinema); the critical reception of children’s performances/the child as actor; the relationship between child acting and child stardom (e.g. the contribution that performance makes to the formation/articulation of child star identity; the notion of the child star as performer); the child actor’s transition to child star; the transition from child to adolescent (or adult) performer; adolescent performances in film and/or television; how child performance operates within the context of genre; the child’s voice as an aspect of performance; voice/body relations in child performance; the dynamics involved when children perform with adult actors/stars; the work of the child actor in children’s vs. non-children’s cinema/television;  children performing with animals; ensemble child acting;  the performative spaces in which children find scope to act; child acting during the silent vs. sound era;  the notion of the child as performer in the animated film;  collaborations between child actors and particular directors or stars;   professional vs. non-professional child acting.

 It is hoped that selected papers from the conference will be published in the form of an edited book collection. Please send abstracts (no more than 250 words) to our conference email address by 15 April 2011. Pre-constituted panels of 3 speakers are welcome. Acceptance notices will be issued by 6 May 2011. Our conference website is available at http://childacting.wordpress.com/ and will be updated with registration and other details in the coming weeks. 

Any general enquiries should be addressed to the conference co-organisers: Susan Smith and Michael Lawrence.

Standing Out: R.I.P. Lena Horne

Groundbreaking actress and singer Lena Horne, who died yesterday in her nineties. In the sequence above, from the movie Stormy Weather (dir. Andrew Stone, US, 1943), she sings the track for which she will always be remembered.

For more on this film, do read 'All cullud musical daily double: Stormy Weather', by Odienator at Big Media Vandalism, February 21, 2008. It is also discussed at length in a great, hour-long interview on Horne's career with Gail Buckley, the star's daughter (some other great links and video at this site).

Below are extracts from and links to a few, excellent scholarly studies of Horne's work and persona. David Hudson's round up of tributes to the actress is now online at The Auteurs Notebook

While the subject of Shane Vogel’s article “Lena Horne’s Impersona” could herself be described as a spectacular mulata musical performer, Vogel makes the case that Horne’s (in)famous “aloof” performing style has been “misunderstood . . . as a reflection of the demanding and narcissistic personality of the prima donna.” Instead, Vogel finds that, far from cultivating a Garboesque diva mask, Horne’s distant and distancing style “is a withholding of any persona at all”; its “negative affect” a “strategic mode of black [female] performance” that allowed Horne — and a number of other women—“to survive the psychic damage and physical danger of segregated cabaret performance.”
Alexander Doty, 'Introduction: The Good, the Bad, and the Fabulous; or, The Diva Issue Strikes Back', Camera Obscura 67, Volume 23, Number 1, 2008

[Lena Horne's] restraint on the cabaret stage found its cinematic counterpart in [her] film career. She appeared in more than a dozen Hollywood musicals, but primarily as what was sardonically termed a “pillar singer.” In films like Panama Hattie (dir. Norman Z. McLeod, US, 1942), I Dood It (dir. Vincente Minnelli, US, 1943), Thousands Cheer (dir. George Sidney, US, 1943), and Boogie-Woogie Dream (dir. Hans Burger, US, 1944), Horne was featured, usually propped against a marble column, in a musical number that was supplemental to the narrative of the film. This isolation from the story allowed her number to be easily deleted before distribution to southern theaters. “I looked good and I stood up against a wall and sang and sang. But I had no relationship with anybody else,” Horne recalled in 1957. “Mississippi wanted its movies without me. It was an accepted fact that any scene I did was going to be cut when the movie played the South. So no one bothered to put me in a movie where I talked to anybody, where some thread of the story might be broken if I were cut. I had no communication with anybody.” This filmic isolation contributed to Horne’s reputation for affective distance. Even in the three films in which she had starring roles—The Duke Is Tops (dir. William L. Nolte, US, 1938), Stormy Weather (dir. Andrew Stone, US, 1943), and Cabin in the Sky (dir. Vincente Minnelli, US, 1943) — her reserve and her refusal to inhabit the images available to her seemed to render her detached from the narrative. As James Haskins notes about her performance as the seductive vixen Georgia Brown in Cabin in the Sky, “Undoubtedly she infused the role with as much dignity as she could muster and managed to be the most aloof ‘bad girl’ ever seen in a film to date. She was not believable as a slut, and as such she was an enigmatic character who invited puzzled contemplation as much as sexual desire in the male members of the audience.”

Shane Vogel, 'Lena Horne’s Impersona', Camera Obscura 67, Volume 23, Number 1

• TaKeshia Brooks, 'Boogie Woogie Dreams: Early African-American Representations in Musical Short Films', Paper presented at the annual meeting of the International Communication Association, Dresden International Congress Centre, Dresden, Germany, 2009-05-25
• Stacy Holman Jones, 'Conversations with Scholars of American Popular Culture', Americana, Fall 2008

Glasgow's Finest: work by Caughie, Geraghty, and great e-theses, too

Image from The Godfather (Francis Ford Coppola, 1972), a film studied in Philip Drake's PhD thesis on Hollywood performance

It's been a busy month here at Film Studies For Free, but let's end it on a high note. Today's little film and media studies links list is of salient items from Enlighten, the e-prints archive at the University of Glasgow, an institution of which FSFF's author is personally very fond, given its wonderful department of Theatre, Film & Television Studies.

This research repository houses some true Open-Access treasures by very important authorities in these disciplines, such as a recent item on film authorship by John Caughie, editor (and author of much) of Theories of Authorship, and four articles by Christine Geraghty, one of the most significant figures in British cinema and television studies. There are also some further excellent items by great, younger scholars, like Philip Drake (now a lecturer in the Film, Media, and Journalism Department at the University of Stirling).

• Stuart Duncan Brown, The subversion of sympathy in British social realism: uses of laughter in the cinematic representation of the British working-class. MPhil(R) thesis, University of Glasgow, 2008
  

• John Caughie, 'Authors and auteurs: the uses of theory', In: Donald, J. and Renov, M. (eds.) Handbook of Film Studies. Sage, 2007

• Philip J. Drake, Stardom after the star system: economics of performance in contemporary Hollywod cinema. PhD thesis, University of Glasgow, 2002

• Robert J. Edmonstone, Beyond “Brutality”: understanding the Italian Filone’s violent excesses. PhD thesis, University of Glasgow, 2008

• B. Franks, 'Constructing "The Wicker Man"', Chapter 3. In Murray, J. and Stevenson, L. and Harper, S. and Franks, B. (Eds) Constructing "The Wicker Man": Film and Cultural Studies perspectives, pp. 63-78: Glasgow: University of Glasgow, Crichton Publications, 2005
  

• Christine Geraghty, Classic television: a matter of time. In: The Making and Remaking of Classic Television, 19 Mar 2009, University of Warwick.
  

• Christine Geraghty, Paris, Hollywood and Kay Kendall. In: Moseley., R. (ed.) Fashioning Film Stars : Dress, Culture, Identity. London: BFI, 2005, pp. 121-133.
  

• Christine Geraghty, The study of the soap opera. In: Wasko, J. (ed.) Companion to Television. Blackwell companions in cultural studies . Blackwell Publishing, 2005, pp. 308-323
  

• Christine Geraghty, Continuous serial - a definition. In: Dyer, R. (ed.) Coronation Street. Television monographs (British Film Institute), 13 . London: BFI, 1981, pp. 9-26.
  

• Sarah Neely, Adapting to change in contemporary Irish and Scottish culture: fiction to film. PhD thesis, University of Glasgow, 2003
  

• L. Smith, 'Making history: post-historical commemorations of the past in British television', Groundings 1, 2007

• Lisa E. Williamson, Contentious Comedy: Negotiating Issues of Form, Content, and Representation in American Sitcoms of the Post-Network Era, PhD Thesis, The University of Glasgow Department of Theatre, Film and Television Studies 2008
  

Austrian cinema for export #1: Ulrich Seidl

Image from Import Export (Ulrich Seidl, 2007)

Unlike [Michael] Haneke or his protégée Jessica Hausner, [...] Seidl finds the disturbing not in extraordinary outbursts of violence or helplessness, but rather in the everyday strangeness all around us, a world he transmits formally in blurring and ultimately deconstructing the boundaries between fact and fiction, documentary and feature. He ranks, alongside Egon Humer, as the most important Austrian documentary filmmaker of the 1990s and has only strengthened this position in the last few years.

Ulrich Seidl has repeatedly emphasised in interviews and public appearances that he never intended to be, and indeed does not see himself solely as, a documentary filmmaker. Like others working in Austria's subsidy-dependent film landscape, Seidl stumbled upon the documentary as a means to realise his cinematic aspirations without having to resort to making movie-of-the-week fare. And even before shooting Dog Days Seidl refused to call his films documentaries, maintaining that all his films have both “documentary and fictional levels”.

Seidl's stylised, laconic regard of quotidian quirks moved his work beyond the social reportage and discourses of “authenticity” and “reality” that inform other domestic documentaries. The world he records lacks any pre-packaged shine. Seidl is uninterested in “life's few happy moments”, which he justifies by asserting the contrast between his cinematic project and a wedding photographer's job.

Mattias Frey (hyperlinks added by FSFF)

Film Studies For Free brings you the first of a number of Austrian cinema-themed links-lists: this one is to anglophone, scholarly, or otherwise very useful, and openly accessible online resources related to the film work of Ulrich Seidl. Below the links list are some excerpts from his early films (trailers for some of the later ones can be seen at the official websites in the links-list).

• Martin Brady and Helen Hughes, 'Import and Export: Ulrich Seidl’s Indiscreet Anthropology of Migration', gfl-journal, No.1/2008
• Robert von Dassanowsky, 'Austria Hungry: The Return of a Film Nation', Bright Lights Film Journal, Issue 51, February 2006
• Mattias Frey, 'Border Zones: The Films of Ulrich Seidl', Senses of Cinema, May 2004
• Gerd Gemünden, 'Review of Austrian Cinema: A History. By Robert von Dassanowsky. Jefferson, NC: McFarland & Company, 2005', Monatshefte 99.1 (2007) 131-133
• John Gorick, 'To a dog you're the world, to your girlfriend you're never sure', Vertigo Magazine, No.15, February, 2008
• Charlotte Hansen, 'The Unbearable Insistence of Authenticity', Cambridge Film Festival Daily Magazine, Issue 2008
• Aaron Hillis, 'Interview: Ulrich Seidl', GreenCine Daily, July 30, 2009
• Christoph Huber, 'Import Export (Ulrich Seidl, Austria)', Cinema Scope, Issue 31, 2007
• Import Export press folder 1
• Import Export press folder 2
• Import Export Official Website 1
• Import Export Official Website 2
• Daniel Kasman, 'Review: Import/Export', d+kaz on moving images and motion pictures, February 19, 20o8
• Glenn Kenny, 'Notes of a Seidl sceptic', Some Came Running, July 31, 2009
• Herbert Krill, 'AUSTRIA: A high between two lows? The 2002 Diagonale festival', Kinoeye, Vol. 2, Issue 10, May 2002
• Joseph Jon Lanthier, 'Import/Export', SlantMagazine, July 28, 2009
• Joanne Leal and Klaus-Dieter Rossade, 'Introduction: Cinema and Migration since Unification', gfl-journal, No. 1/2008
• Vadim Rizov, 'The Films of Ulrich Seidl', The House Next Door Online, July 24, 2009
• Ulrich Seidl in conversation with Mark Cosgrove, 'Between Heaven and Hell: the Films of Ulrich Seidl - Director Q&A', Watershed's Head of Programme, Sept 25, 2008, Watershed, Bristol - Quicktime video 55 mins

Loss Is to Be Expected (Ulrich Seidl, 1992)

Good News (Ulrich Seidl, 1990)

On Stardom/Celebrity and Film Acting/Performance

Image of Barbara Stanwyck, 1907-1990

Film Studies For Free is star-studies-struck today, but it has opted to combine those glitzy fascinations with its deep interest in film acting and performance studies. The result is a broad search-topic which has brought forth yet another rich vein of online and openly accessible film and media studies, as the multiple links below -- to wonderful new work as well as to some classic research -- should testify.

Elizabeth Abele, '"The Glory of Cary Grant and Other Girlish Delights', Images Journal, Issue 5, November 9

Richard Armstrong, 'Modernity and the Maniac: The Fall of Janet Leigh', Images Journal, 2004: Page One: Introduction | Page Two: Janet Leigh in Touch of Evil | Page Three: Janet Leigh in Psycho Page Four: The Shower Scene | Page Five: Janet Leigh as Icon

Guy Austin, '"In Fear and Pain": Stardom and the Body in Two French Ghost Films', Scope, Issue 7, February 2007

Serafina K. Bathrick, 'The new star - A beauty and a buddy [Review of Patricia Erens, The Films of Shirley MacLaine (NY: A.S. Barnes, 1978)], Jump Cut, no. 21, Nov. 1979

Sylvie Blum-Reid, 'Review of Lisa Downing & Sue Harris, eds. From Perversion to Purity: The Stardom of Catherine Deneuve. Manchester, New York: Manchester University Press, 2007', H-France Review Vol. 9 (April 2009), No. 47

Lisa Bode: ‘Grave Robbing’ or ‘Career Comeback’? On the Digital Resurrection of Dead Screen Stars in History of Stardom Reconsidered, edited by Kari Kallioniemi, Kimi Kärki, Janne Mäkelä and Hannu Salmi. Turku: International Institute for Popular Culture, 2007

Laure Bouquerel, 'Bob Dylan, the Ordinary Star [in Don't Look Back]', Oral Tradition, 22/1 (2007): 151-161

'Cinema and the Female Star - A Symposium Part 1', Senses of Cinema, 2002: Arletty by Bernard Hemingway; Stéphane Audran by Ray Young; Halle Berry by Charlie Kanganis; Louise Brooks by Tina Marie Camilleri; Geneviève Bujold by Girish Shambu; Bess Flowers by Joe McElhaney; Setsuko Hara by Dan Harper

'Cinema and the Female Star - A Symposium Part 2', Senses of Cinema, 2002: Kate Hudson by Peter Tonguette; Anna Karina by Christa Fuller; Ling, Po by Feng-ying Ming; Melina Mercouri by Charlie Kanganis; Samantha Morton by Maximilian Le Cain; Cathy O'Donnell by Brian Frye; Bulle Ogier by Jit Phokaew

'Cinema and the Female Star - A Symposium Part 3', Senses of Cinema, 2002: Elizabeth Taylor by Liz Burke; Lili Taylor by Anna Daly; Fay Tincher by Andrew Grossman; Mari Töröcsik by Dina Iordanova; Natalie Wood by Angela Costi; Xiao, Fangfang by Feng-ying Ming; Tsetsiliya Zervudaki by Jorge Didaco

Jamil Dakhlia, 'From the Olympians to the Ordinary Heroes: Stars in the French Popular Press' in History of Stardom Reconsidered, edited by Kari Kallioniemi, Kimi Kärki, Janne Mäkelä and Hannu Salmi. Turku: International Institute for Popular Culture, 2007

Robert E Davis, 'Anita Page: Stardom in Transition', in Film and Television Stardom, ed by K-P R Hart (Newcastle Upon Tyne: Cambridge Scholars Publishing, 2008) long excerpt

Jeannette Delamoir, 'Eyes Wide Shut: Tom, Nicole, Stardom and Visual Memory', Transformations, No. 3 (May 2002)

Rayna Denison, 'Disembodied Stars and the Cultural Meanings of Princess Mononoke's Soundscape', Scope, Portals Special Issue

Patricia Erens, 'Critical dialogue - In defense of stars [response to Bathrick]', Jump Cut, no. 21, Nov. 1979

Rebecca Feasey, 'Stardom and Distinction: Sharon Stone and the Problem of Legitimacy', Scope, May 2004

John Flaus, '''Thanks for your heart, Bart" [film acting theory]', Continuum: The Australian Journal of Media & Culture vol. 5 no 2 (1990)

Brian Gallagher, 'Stars: Some Historical Reflections on the Paradoxes of Stardom in the American Film Industry, 1910-1960', Images Journal, Issue 3

Christine Geraghty, 'Paris, Hollywood and Kay Kendall', in Rachel Moseley (ed), Fashioning Film Stars: Dress, Culture, Identity, (Chap 10) pp. 121-133.

Tim Groves, 'The Un/forgiven Director', Screening the Past, March 2001

Tom Gunning, 'Chaplin and the body of modernity', Paper, The bfi Charles Chaplin Conference July 2005

Outi Hakola, 'On-screen and Off-screen Monstrosity of Béla Lugosi and Boris Karloff' in History of Stardom Reconsidered, edited by Kari Kallioniemi, Kimi Kärki, Janne Mäkelä and Hannu Salmi. Turku: International Institute for Popular Culture, 2007

Michael Hammond, 'Charlie [Chaplin] as a Searchlight', Introduction, The bfi Charles Chaplin Conference July 2005

Kylo-Patrick R. Hart, 'Introduction', Film and Television Stardom, ed by K-P R Hart (Newcastle Upon Tyne: Cambridge Scholars Publishing, 2008)

Joan Hawkins, 'All the World's a Stage', Film-Philosophy, vol. 2 no. 1, January 1998

Susan Hayward, 'Stardom: Beyond Desire?' in History of Stardom Reconsidered, edited by Kari Kallioniemi, Kimi Kärki, Janne Mäkelä and Hannu Salmi. Turku: International Institute for Popular Culture, 2007

Stephen Heath, 'Film Performance', CineTracts, Vol. 1, No. 2, Summer 1977

Su Holmes, ‘Starring... Dyer?’: Re-visiting Star Studies and Contemporary Celebrity Culture', Westminster Papers in Communication and Culture © 2005 (University of Westminster, London), Vol. 2(2): 6-21

Ian Huffer, ''I wanted to be Rocky, but I also wanted to be his wife!': Heterosexuality and the (Re)construction of Gender in Female Film Audiences' Consumption of Sylvester Stallone', Particip@tions Volume 4, Issue 2 (November 2007)

Ian Huffer, "'New Man", Old Worlds: Re-articulating Masculinity in the Star Persona of Orlando Bloom', Scope, Issue 9, 2007

Ono Hiroyuki, 'From Chaplin to Kabuki', Paper, The bfi Charles Chaplin Conference July 2005

Jerry R Ivins, 'The Training of Stage Actors in Film/Video Acting Techniques: An Interdisciplinary Approach', PhD thesis, Texas Tech University, August 1993

Hanna Järvinen, 'Fans, Fawns and Fauns: Ballet Stardom, Dancing Genius and the Queer Afterlife of Vaslav Nijinsky' in History of Stardom Reconsidered, edited by Kari Kallioniemi, Kimi Kärki, Janne Mäkelä and Hannu Salmi. Turku: International Institute for Popular Culture, 2007

Tamar Jeffers, "Should I surrender?": performing and interrogating female virginity in Hollywood films 1957-64', PhD thesis, University of Warwick

Gary Johnson and Grant Tracey, 'Hollywood Stars of the '30s, featuring James Cagney, Joan Crawford, and Barbara Stanwyck', Images Journal, Issue 1

Sun Jung, 'Bae Yong-Joon, Hybrid Masculinity & the Counter-coeval Desire of Japanese Female Fans', Particip@tions Volume 3, Issue 2 Special Edition (November 2006)

Kari Kallioniemi, Kimi Kärki, Janne Mäkelä and Hannu Salmi, 'Introduction: Stars, History, and the Media' in History of Stardom Reconsidered, edited by Kari Kallioniemi, Kimi Kärki, Janne Mäkelä and Hannu Salmi. Turku: International Institute for Popular Culture, 2007

Kimi Kärki, 'Cutting the Moss with Laser Beams: The Uses of History in The Rolling Stones Bridges To Babylon Stadium Tour' in History of Stardom Reconsidered, edited by Kari Kallioniemi, Kimi Kärki, Janne Mäkelä and Hannu Salmi. Turku: International Institute for Popular Culture, 2007

Andrew Klevan, 'A Reply to Adrian Martin['s review of Film Performance: From Achievement to Appreciation (London: Wallflower Press, 2006)]', Fipresci, Issue 4, 2008

Barbara Klinger, 'Say It Again, Sam: Movie Quotation, Performance and Masculinity',Particip@tions Volume 5, Issue 2 (November 2008)

Sven-Erik Klinkmann, 'Retro Icons and Anachronistic Artists' in History of Stardom Reconsidered, edited by Kari Kallioniemi, Kimi Kärki, Janne Mäkelä and Hannu Salmi. Turku: International Institute for Popular Culture, 2007

Margia Kramer and Renee Shafrensky, 'Character assassination — Jean Seberg and information control', Jump Cut, no. 28, April 1983

Anneli Lehtisalo, '“Oh, My Sweet Hero!” The Filmstar Leif Wager as Emperor Alexander I in Tanssi yli hautojen (1950)' in History of Stardom Reconsidered, edited by Kari Kallioniemi, Kimi Kärki, Janne Mäkelä and Hannu Salmi. Turku: International Institute for Popular Culture, 2007

Wing-Fai Leung, 'Discursive Stardom in Hong Kong and the Missing Referents' in History of Stardom Reconsidered, edited by Kari Kallioniemi, Kimi Kärki, Janne Mäkelä and Hannu Salmi. Turku: International Institute for Popular Culture, 2007

Victoria Lowe, 'Performing Hitchcock': Robert Donat, Film Acting and The 39 Steps (1935)', Scope, Issue 14, June 2009

Rami Mähkä, 'Comedians as Stars: The Monty Python Troupe' in History of Stardom Reconsidered, edited by Kari Kallioniemi, Kimi Kärki, Janne Mäkelä and Hannu Salmi. Turku: International Institute for Popular Culture, 2007

Charles Maland, 'Movies, Director/Performers, and Cultural History: Conceptualizing Chaplin and American Culture', Paper, The bfi Charles Chaplin Conference July 2005

Linda Marchant, 'Concentrated Vision: Celebrity Images from the 1930s and 1940s' in History of Stardom Reconsidered, edited by Kari Kallioniemi, Kimi Kärki, Janne Mäkelä and Hannu Salmi. Turku: International Institute for Popular Culture, 2007

Adrian Martin, 'Secret Agents [ A review of Andrew Klevan, Film Performance: From Achievement to Appreciation (London: Wallflower Press, 2006)', Fipresci, Issue 4, 2007

Steve Master, 'A Review of Film Performance: From Achievement to Appreciation by Andrew Klevan [London: Wallflower, 2005]', Scope, Special Portals Issue

Anna Möttölä, 'Style Star – Admiring Audrey Hepburn in the 1950’s' in History of Stardom Reconsidered, edited by Kari Kallioniemi, Kimi Kärki, Janne Mäkelä and Hannu Salmi. Turku: International Institute for Popular Culture, 2007

Thi Thanh Nga, 'The long march from Wong to Woo: Asians in Hollywood' (Race in Contemporary American Cinema: Part 5), Cineaste v21, n4 (Fall, 1995)

JaeYoon Park, 'Asia’s beloved sassy girl: Jun Ji-Hyun’s star image and her transnational stardom', Jump Cut, No. 51, spring 2009

Anne Helen Petersen,‘"We’re Making Our Own Paparazzi": Twitter and the Construction of Star Authenticity', Flow TV, May 28, 2009

Anne Petersen, 'Celebrity juice, not from concentrate: Perez Hilton, gossip blogs, and the new star production', Jump Cut, No. 49, spring 2007

Anne Helen Petersen, weblog: Celebrity Gossip, Academic Style - proto-scholastic musings on star studies 2.0

VI Pudovkin, Film Technique And Film Acting, Grove Press Inc, 1958

Zohar Altman Ravid, 'The star as a Creation and the Star as a creator: The Case of Barbra Streisand' in History of Stardom Reconsidered, edited by Kari Kallioniemi, Kimi Kärki, Janne Mäkelä and Hannu Salmi. Turku: International Institute for Popular Culture, 2007

Martin Roth, 'Women in Hollywood musicals: Pulling the plug on Lina Lamont', Jump Cut, no. 35, April 1990

Ulrich Ruedel, 'Send in the Clones: Chaplin Imitators from Stage to Screen, from Circus to Cartoon', Paper, The bfi Charles Chaplin Conference July 2005

Daniel Sánchez Salas, 'The Two Spanish Lives Of "Charlot"’, Paper, The bfi Charles Chaplin Conference July 2005

Laura Saarenmaa, 'Female Stars and the Tricky Question of Drinking' in History of Stardom Reconsidered, edited by Kari Kallioniemi, Kimi Kärki, Janne Mäkelä and Hannu Salmi. Turku: International Institute for Popular Culture, 2007

Amy Sargeant, 'Review of Alan Lovell and Peter Krämer (eds),Screen Acting, and Pamela Robertson Wojcik (ed.), Movie Acting: The Film Reader.(pp 170-176)', Film Studies, Vol. 8, Summer 2006 (scroll down)

Jaakko Seppälä, 'Love, Hate, and Suicidal Tendencies: The Construction of Rudolph Valentino's Stardom in Finland 1923-1927' in History of Stardom Reconsidered, edited by Kari Kallioniemi, Kimi Kärki, Janne Mäkelä and Hannu Salmi. Turku: International Institute for Popular Culture, 2007

Steven Shaviro, 'A Brief History of Celebrity (with special reference to Asia Argento)', The Pinocchio Theory, May 7, 2009

Joerg Sternagel, 'From Inside Us: Experiencing the Film Actor in Michael Haneke's Caché', Film International #39, vol. 7, no. 3

Ginette Vincendeau, 'The New Wave at 50: The star reborn', Sight & Sound, May 2009

Greg Wahl, 'Go ahead, Punk; Go ahead, Clint [Eastwood]!', Images Journal, Issue 4: July 97