Esther Williams, Jane Russell, Carmen Miranda, Lena Horne Zsa Zsa Gabor are rarely hailed as naturalistic performers. Bringing a fresh perspective to film history through the lens of performance studies, Kirsten Pullen explores the ways in which these actresses, who always appeared to be "playing themselves”, responded to the naturalist notion that actors should create authentic characters by drawing from their own lives.
Esther Williams, Jane Russell, Carmen Miranda, Lena Horne Zsa Zsa Gabor are rarely hailed as naturalistic performers. Bringing a fresh perspective to film history through the lens of performance studies, Kirsten Pullen explores the ways in which these actresses, who always appeared to be "playing themselves”, responded to the naturalist notion that actors should create authentic characters by drawing from their own lives.
Preface Introduction Playing Herself: The Naturalist Paradigm and the Spectacle of Female Sexuality 1 Engineered for Stardom: Publicity, Performance, and Jane Russell 2 More than a Mermaid: Esther Williams, Performance, and the Body 3 Light Egyptian: Lena Horne and the Representation of Black Femininity 4 Carnival!: Carmen Miranda and the Spectacle of Authenticity 5 Famous for Being Famous: Persona, Performance, and the Case for Zsa Zsa Gabor Notes Index
Preface Introduction Playing Herself: The Naturalist Paradigm and the Spectacle of Female Sexuality 1 Engineered for Stardom: Publicity, Performance, and Jane Russell 2 More than a Mermaid: Esther Williams, Performance, and the Body 3 Light Egyptian: Lena Horne and the Representation of Black Femininity 4 Carnival!: Carmen Miranda and the Spectacle of Authenticity 5 Famous for Being Famous: Persona, Performance, and the Case for Zsa Zsa Gabor Notes Index
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