Download A Great Big Girl Like Me: The Films of Marie Dressler by Victoria Sturtevant PDF

By Victoria Sturtevant

In the 1st book-length research of Marie Dressler, MGM's such a lot ecocnomic celebrity within the early Thirties, Victoria Sturtevant analyzes Dressler's use of her physique to problem Hollywood's criteria for major girls. At 5 toes seven inches tall and 2 hundred kilos, Dressler frequently performed gruesome ducklings, outdated maids, doting moms, and imperious dowagers. despite the fact that, her physique, her fearless physicality, and her athletic slapstick workouts commanded the display. Sturtevant translates the meanings of Dressler's physique through her vaudeville profession, her transgressive illustration of an "unruly" but sexual physique in Emma and Christopher Bean, principles of the physique politic within the movies Politics and Prosperity, and Dressler as a mythic physique in Min and Bill and Tugboat Annie.

Show description

Read or Download A Great Big Girl Like Me: The Films of Marie Dressler PDF

Similar arts & literature books

Frank Lloyd Wright. A Visual Encyplopedia

A must have for Wright lovers and fans of structure and layout. This finished advisor to the existence and occasions of the guy generally thought of to be essentially the most leading edge and influential figures in sleek structure offers an A to Z chronicle of Wright's paintings, relatives, buddies, and the main occasions that formed his profession.

Nadia And Lili Boulanger

Pioneers of their fields and of the best-known girls in track within the 20th century, Nadia and Lili Boulanger have formerly been thought of in isolation from each other. but, as Caroline Potter's new publication demonstrates, their careers have been heavily associated in the course of Lili Boulanger's brief existence (1893-1918) and there are numerous exciting connections among their musical works.

Basic Concepts of Probability and Statistics in the Law

This booklet units out easy statistical instruments as they've been utilized in genuine criminal disputes. Examples variety over assorted fields of legislation, corresponding to identity proof, mass torts, securities legislations, environmental legislation, and capital punishment, between many others. In a few extraordinary situations, corresponding to the U.

Andrew W.K.'s I get wet

It is time to occasion, the 1st tune off of i am getting rainy, opens with a rapid-fire guitar line - not anything fancy, only a couple crunchy energy chords to acclimate the ears - repeated two times ahead of a booming bass drum joins in to supply a quarter-note countdown. A faint, swirling impact intensifies with each one bass kick and, by means of the 8th one, the ears have prepped themselves for the steel mayhem they're approximately to obtain.

Extra info for A Great Big Girl Like Me: The Films of Marie Dressler

Sample text

Halfway through the film, Mabel and Charlie go to the picture show and see a crime melodrama titled A Thief’s Fate, about a young couple robbing a poor, innocent country girl and eventually being caught and punished for this transgression. The film’s victim is a young woman who is thinner, weaker, and more terrified than Dressler’s Tillie. Mabel points out to Charlie that this is a facsimile of themselves upon the screen, and she experiences terrible guilt in being confronted with the narrative of their own transgressions.

The crooks make a hasty retreat from the theater, where the emotional energy of the audience is building into outrage at their crime. But for audiences of the comedy, the presence of the wilting ingénue in A Thief’s Fate highlights the extent to which Tillie’s powerful body and force of character inspire astonishment, rather than pathos. She freely steals her father’s money, enjoys her time on the town, gets a job when she needs to, figures out Charlie’s game as soon as she has all the information, and gamely, if unsuccessfully, attempts to shoot him.

Chapter 2, “Breaking Boundaries: The Unruly Body,” investigates how the star’s expansive use of her body upset boundaries of gender, ethnicity, and class during the transitional years of the early sound era, paving the way for her later stardom. Here Dressler’s posture and style of movement are used as a basis for discussing how melodramatic and comic narrative modes are dynamically combined in her performances. Chapter 3, “Politics and Prosperity: The Body Politic,” uses the conventions of the maternal melodrama to argue that Dressler’s ample body collapsed the public sphere/ private sphere binary in her comedies, allowing her characters to figure as the maternal/matriarchal center of imagined utopian communities.

Download PDF sample

Rated 4.14 of 5 – based on 14 votes