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Area of Study

Cultural Studies

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Assignment:

You read, in textbook chapter 5, about the concept that the star reflects the needs, fears, and hopes of American culture and provides a particular figure of identification via his or her "mask" or persona. Using the three films that you have viewed plus appropriate additional material, analyze what a particular star says about American culture. What are the ideological concerns, value, societal roles, goals, etc. of the wider culture of the time period that the star represents? How is the star's persona calculated to represent these concerns? Have ideological concerns, values, societal roles, etc. changed during the star's artistic life and, if so, has the star's persona changed to reflect these concerns? This should be a 7-10 page research paper.

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Study Tutor's Comments

"Excellent Paper"

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Paper

Lynn Collins

American Cinema

Katharine Hepburn

Hard-working, determined, talented, professional, graceful, funny, outrageous, self-confident, self-indulgent, tough, charming...this woman has been collecting adjectives for years, adding them into her image with carelessness and with calculation.

She'd spent her life making Katharine Hepburn fascinating - to bore was the inabsolvable sin - and everything about her had to be fascinating too...her interest and her enthusiasm were appealing. And, on the whole contagious. [ Knowing Hepburn 140]

In an era of changing roles for women, Katherine Hepburn stands out as an early role model of the modern women. She is beautiful more by nature than by design. She has remained close to her family while living in the glamour capitol of the world. She is comfortable in and with her own body. She does not challenge convention to be a rebel; she simply disregards those rules that don't apply to her. She is accomplished and successful in a difficult profession. She has had adversity in her life and ridden it out, worked through it, not given in. She has loved and been loved by charming and powerful men but has retained her independence. She made a conscious choice about her decision to not have children. She has aged with style and graciousness and great reluctance. She has the essence of the successful adventuress: no matter the challenge, she survives intact with her sense of humor in good working order.

The Star

Stars matter because they act out aspects of life that matter to us; and performers get to be stars when what they act out matters to enough people. [Heavenly Bodies 19]

And what the star acts out is not just the life on film but his or her life as a public figure. So the image of a star is complex, layering as it does the performer in a finished production (a film) and the public image of the star as an individual. And these are layered over the private or actual person that always exists underneath and give the persona a continuity that is believable. Adding to the complexity, is the element of time: different aspects predominate at different times in a star's career.

Aristotle believed that tragedy must be about heroic figures, people whose lives mattered, whose attitudes and decisions were of monumental importance. Perhaps the film audience have taken this a step further. Consciously or not, we are aware that it is an actor who plays the part we watch; therefore, we transfer our demands from the character to the actor. We demand that they be special, bigger than life; we want to know enough about their life so that we can recognize and relate to the situations of their lives but we want them to be different from us as well. Stars then must have a universal appeal; however, at the same time they must be distinct and recognizable as individuals. For it is as individuals responding to the situations of life that we identify with and admire the star. And the quality of individuality is different for each star.

Persona

Clinging to my roots was what saved me from Hollywood. [Knowing Hepburn 79]

In her book Me, Katharine Hepburn says that her character is the power behind the throne, the thing that gives her common sense and the strength to keep going through the rough times. And that her character is a gift from her parents. Considering her background it is easy to see why she chose and was successful in her roles involving family ties; she is only one member of an extraordinary family that she is very close to. After almost every movie role she would return either to New England and her family or to acting on the stage. Her family life was not wealthy, but as a successful surgeon, her father provided a financially secure life for his family, sending her to Bryn Mawr - good background for her many roles as a rich, young socialite with a strong family presence. "The family with us was strong and remains strong....We're sort of a group, going through the world together...I feel cared for and have always felt cared for." [Me 30]

Parents

Father - descended from old southern aristocracy, a doctor and an athlete - encouraged his children in all forms of physical strength and sport: golf, tennis, diving, swimming, wrestling, gymnastics, running, jumping, biking. He didn't believe Kathy's acting career would last, so when she sent money home from her early successes in Hollywood, he invested it well so she would always have something to fall back on. However, the best support he gave her was his advice: "Paddle your own canoe."

Mother, orphaned by her father's suicide and her mother's death at an early age, graduated with a Masters Degree from Bryn Mawr, kept an open and comforting home for her family, their friends and people in need and introduced her children to the women in her progressive circle - women of education, standing, money and strength. Her advice to Kathy: "Don't give in, fight for your future. Independence is the only solution. Women are as good as men." [Me 14]

Both were active in the fight for many social and medical reforms for women: the vote, prostitution, white slavery, teen-age pregnancy, venereal disease, domestic hygiene, birth control; topics that were not discussed in polite private conversation, much less publicly. Initially snubbed by their conservative neighbors, the Hepburns were eventually praised for their forward thinking. The lesson was clear: do what you know is right, even if you are out of step with the popular morals of the time. If you are right, the times will catch up with you. This attitude was ingrained in her from birth and is an integral part of both her person and persona: do what is right for you.

To see how important her family background was to the development of her star and actor personas, imagine this: if either of her parents were characters in a film, it is easy to imagine Katherine Hepburn playing the role. Perhaps some aspects of her upbringing came into play in her ability to deal with the Studio star system as well as she did. She was brought up by her parents to an awareness that privilege had its price. She also learned from her father, how to combine your own needs with the rules of an institution, as he managed to balance the demands of his professional life as a doctor with an active family life.

Although there was a lot of discipline in the home, there was also a lot of freedom and support. When neighbors reported her sitting in the top of a tall tree, her mother responded "Yes, I know. Don't scare her. She doesn't know that it's dangerous." [Me 32] Growing up athletic, she wanted to be a boy: Childhood pictures show an androgynous child; she called herself Jimmy (good training for her later role in Sylvia Scarlett). Her strong, thin, flexible physique has been a signature throughout her career as is her physical energy. Her sense of freedom of movement and the power of a toned body is integral to all of her performances. She is more likely to sit on the arm of a chair or on a table or desk rather than a more traditional posture. From early days to her later movies she is shown casually demonstrating balance and limberness (riding a bicycle, raising a leg to tie a shoe).

She is still shy about walking into crowds. Perhaps this is a relic of the days when the town's people snubbed her for her family's activities. Perhaps this is also one of the reasons for her to seek stardom, the bravado of a child's "I'll show them all...".

In our culture we acknowledge authenticity and we respect people who don't forget where they came from. We admire people who defy conventions, not just to be rebellious, but because the conventions don't apply to them or conflict with their own inner integrity or morals. Perhaps the key to Katharine Hepburn's longevity as a star is the alignment of her public and private life.

The Making of the Actress

She had known, those long years ago when she was a struggling actress, that no matter how odd or mannered she might seem, she must develop along her own lines. And she knew, too, the only competition that could be her competition was that of the giants. And she had learned over the many years in small studios and large, great theaters and country playhouses, that one's best work is a habit. [Knowing Hepburn 32]

During her early stage parts, Miss Hepburn had the charisma and dash to get the part, but not always the experience and skill to maintain it. Many people in the profession immediately recognized her star quality but she was fired several times for incompetence as an actress; however, at least by her own account, she left as bravely and as graciously as possible and was always practical, aware that her loss was some other actress' gain. But she didn't like it, this rejection, and began to study and seek advice from the professionals around her: she learned make-up, studied voice, watched the best actresses and studied their craft. In other words, she regarded these rejections as a challenge, analyzed what stood in her way and did her best to develop herself to meet the demanding profession she had chosen. She began to keep her parts, understudying the lead, getting better parts and then she left for Hollywood.

This was a good time for Katharine Hepburn to arrive in Hollywood; sound had become an integral element of films only a few years earlier and the studios needed actors with voices that matched their image, something the silent film stars never worried about. Because the recording equipment was still primitive, it was also essential for the actor to have a voice that recorded clearly. She fit both of these criteria: her voice was clear, distinct and unique.

In a year and a half (1932-33) she completed five pictures and won an Academy Award for Morning Glory. She returned to the New York stage to do The Lake, produced by Jed Harris, who later admitted to trying to ruin her professionally by pushing her to do things against her own instinct; the play was a failure and she was blamed. Again, she learned the responsibility of taking the blame for the failure because she did what she knew was wrong for her, let someone else make the decisions. During the run of the play she tried to pick up the pieces. "My main task now was to see whether I could learn to act under fire. And to learn how to be a star. I hadn't been either. I had lost my nerve. I had moaned. I had not passed the exam. I had not delivered the goods. And I had let everyone know I was absolutely miserable and terrified. And that I didn't know what I was doing...as one goes through life one learns that if you don't paddle your own canoe, you don't move." [ Me 163]

The Studio Star System

The Studio star system emerged because the star was a marketable commodity: marketable to the backers as proof of a guaranteed revenue for the production and marketable to the audience as a familiar and treasured commodity. And the studios wanted to control that commodity, managing both the artistic choice of the vehicle for the actors and manufacturing the public image of the star. In addition the studio controlled (or tried to) the private life of stars so there would be no conflict with their public image.

On the studio side, the problems that emerged from this system soon became serious. It became more and more expensive; not just the rapidly escalating salary of a star but the expensive investment in promoting their image. Artistically, the directors could be compromised by the power of individual stars to cooperate or not with a production. When the problems got too great, the star was declared 'box-office poison' and the studio deliberately went about trying to ruin the star's career. And sometimes no matter what the studio wanted, the audience chose their own stars.

Many stars have spoken about how the studio ruined their lives and careers; their parts were picked out for them, their advice ignored. These actors were under contract for a specified period of time and the studio was determined to get as many pictures out in that time as possible; five to fourteen films in one year was typical. Trying a new star in as many vehicles as possible, looking for the image that got a significant response from the audience; this image was repeated and modified slightly to give the audience both what was expected and a bit of variety. Typecasting was common and actors looking for artistic growth outside their marketable roles were disappointed. In addition to the demanding schedule of movie making, the stars were also expected to do Public Appearance tours to increase the number of fans working 18 hours a day.

However, some stars adjusted to it or actually flourished under this paternalistic system. There was security, there was protection; if you got into trouble, you called the Studio's Head of Publicity and it was taken care of.

Although many contract players and stars felt that the studio system was destructive and a modern form of penal servitude, Katharine Hepburn seemed fairly comfortable in the structure. "I thought Metro was a marvelous school from which you never graduated didn't feel that it was a prison at all." [Me 225]

On her first day in Hollywood, Miss Hepburn arrived with all the dream of stardom that any newcomer would but was practical enough to assess her mistakes and trusting enough of the studio specialists to let them begin modifying her style. She had gotten several bits of steel shavings in her eye during her trip and was in a fair amount of pain; it was apparent the studio people were not in the least concerned for her comfort. She accepted this as part of the deal but developed a reputation for being outspoken and demanding. Unlike many of her contemporaries, Katharine Hepburn never changed her name.

After All...

I am familiar...I'm like the Statue of Liberty to a lot or people. When you've been around so long, people identify their whole lives with you. They identify particularly their moments of hope and confidence...All this is a question of charisma, isn't it? [ Me 225]

In a career spanning over 50 years, Katharine Hepburn, actress and star, has played in comedy, drama and adventure as an ingenue, a matron, a spinster, queen, a crone. She has worked at her craft on the stage and in films. In her 70's, she was getting leading roles in great movies with classic leading men when most actresses had retired or were severely limited in their work options. What gives her the staying power in a profession made for the new, the glamorous, the obvious, the young? She has shown harmony and integrity in the style with which she blends her private, public and professional life. As she aged so did the character she played, and like those characters, she is a survivor, learning through living what is important in life.

An interesting thing to note was that in her life Katharine Hepburn survived a situation that is now critical in our culture. She had the ability to become a star under the strongly paternalistic and controlling Studio star system, she survived her fall from grace with the Studios and she remained a star after the decline of that system required her to become an independent agent. There is an obvious strong parallel with the economic situation today: a generation entered the workforce during a time of strong companies and unions, which offered security and stability only to find that the world has changed and they are free agents, needing constantly to market themselves.

The Images

Typecasting

It's bunk to say that you can play every part. Well, you can play every part, but you can't play every part brilliantly. You are better in some things than in others. [Me 225]

And so we see in Katharine Hepburn's career, the development of certain themes and characters. The period may be different, the film may be comedy or drama, the heroine young or old, we may see the positive (On Golden Pond) or the negative (The Lion in Winter) side but the development of particular strong images is consistent.

There are many images Katharine Hepburn projects in her work. I've chosen some of the obvious ones from several of the movies that I've watched. These images are popular or not depending on the culture and circumstances of the audience at the time. I've described each theme and listed the movies in chronological order to show the progression of the image through the years. Some of the images wax and wane in popularity, some progress steadily forward. Her continuing popularity today is based on her ability to identify early the emerging icon that women would identify with and men be attracted to and to develop that icon through not only the changing of the times but the changing and aging of the woman as well.

Rich Society Girl

The beautiful young woman from the privileged upper class is a familiar figure in the stories of 1930's, especially those that came from an English tradition. The Depression years in this country started with the Stock Market Crash of 1929 and lasting till the pre-war period of 1940. Initially audiences were glad to escape their impoverished lives by watching films that showed stories where the heroine lived in an elite world of big houses, servants, glamorous gowns and sophisticated conversation. But as the depression wore on the audiences became disenchanted with watching a life that was so far beyond their grasp. Especially if the story contained no reference to real problems, and the characters were played by actors that had actually had a financially secure and privileged background. Resentment toward sophisticated, successful and financially secure icons provided some of the ammunition the studios need to label stars like Katharine Hepburn box-office poison. After leaving Hollywood, she returned to New York and starred in a hit play called The Philadelphia Story. She then sold the movie to MGM and ironically, it provided the vehicle for her comeback as a star (1940) playing the same type of spoiled debutante and with the same co-star Cary Grant, as the relatively unsuccessful film Bringing up Baby (1938).

Bill of Divorcement (1932)

In her first film, Katharine Hepburn is introduced to us as the daughter in a well-to-do family, used to luxury as an every day commodity. But this good fortune is tolerated because it is balanced by the tragedy of her family situation and the implication that it may destroy her own life. Her youth and beauty, highlighted by her surrounding and beautiful gowns provided a contrast to the unhappy state of her emotions.

Stage Door (1937)

In this film she plays a role that strangely parallels many of the circumstances of her own life and public persona: a rich and robust society girl who decides to become an actress which she pursues with more confidence than talent. When she lands the starring role ( due to her family's influence), the delicate actress who should have gotten the part commits suicide, breaking down the ingenue's sophisticated exterior and forcing her to act from her emotions. Again the theme of the privileged society girl who is tempered by tragedy is used. Katharine Hepburn did initially get money from her father to pursue her acting career, and as a girl of 14 she discovered the death of her beloved older brother, who had hanged himself. The two versions of the scene with the Calla lilies convey the drastic change in a girl who was once protected and spoiled being touched and purified by the tragic realities of life.

Bringing Up Baby (1938)

She is a rich, madcap society girl determined to get what she wants; and what she wants is conservative scientist, Cary Grant. Against the opulent gowns and wealthy background, she looks totally natural and unaware of the dangers of life; even when confronted with a wild animal, treats it in an off-hand manner. Her athletic background was obvious in this film, from scenes on the golf course, to working with the leopard. This movie is very light and funny but the heroine is not confronted with any large emotional problems, getting her way with man and beast alike. Although it did not do well in its first release, due to the Katharine Hepburn's box-office poison label, it is now considered a classic in the genre of screwball comedy.

The Philadelphia Story (1940)

Labeled as box-office poison by her original Hollywood studio RKO, Katharine Hepburn returned to the New York stage and in 1938 starred in a hit play called tThe Philadelphia Story. In 1939 she sold the story to MGM and starred in it with Cary Grant and Jimmy Stewart. In this comedy, she is again a sophisticated and egotistical socialite, determined to get her own way. There are several new elements added to this story. The tragedy that she must face and overcome is the tragedy of her own selfish nature, pointed out to her by both her father and her ex-husband. Also added is the element of her strong attraction to a 'common man', the writer played by Jimmy Stewart.

Female Adventuress Gains Strong Relationship with a Good Man

Women's roles during this century were changing. Women who had traditionally stayed at home and not worked (certainly not after they were married!) were entering the workforce in ever increasing numbers. This started with the necessity of earnings a living in the 1930's during the Depression. During the 1940's, with 10 million men in the Service, and the high production industries needing workers of all types to support the war effort, many women succeeded at types of work that were previously unavailable to them. Those women who were in the service were heroines in the war effort, traveling to foreign countries and facing all the dangers that men did. The image of a talented, hard-working woman in an up-hill battle against the elements, society and people was appealing. During this time in our history the image of talented, independent women became very popular. This particular type of heroine emerges from trouble not only unscathed but when challenged by nature and by man, morphs into a stronger, braver and ultimately more feminine character.

This is the attractive image of the Tomboy girl; like Amelia Earhart, she represented the adventurer, pure of heart, energetic of spirit. She is innocent, direct and honest. Katharine Hepburn modeled much of her style on an actress she met early in her stage career: "Hope (Williams) is a real product of New York's Four Hundred. The easy distinction, the independence, the integrity. A lovely New York accent. A forthright manner. Great good looks. A slim figure, a boy's haircut. And a walk..an arms-swinging stride. It was stylish and original..." [Me 122]

This new woman also has a new relationship with men; men are seen as wonderful partners, not masters to be dependent on. The theme of balancing a working life with a relationship with a strong and independent man is a recurring theme in many of her movies. The solution is the interdependence between the partners.

The problem with these broadened horizons is that it can get a little overwhelming. Women were taking on new responsibilities without giving up any of the old. They were expected to keep up with their traditional duties in the home while making significant achievements in the outside world as well. One of the victims of this struggle had to be the many conventions in dress and behavior that were no longer a luxury but a burden.

Little Women (1933)

In this story she plays Jo the tom-boy, imaginative sister who orchestrates original plays and involves her sisters in adventures. She is presented as a girl practical (and daring) enough to defy convention and cut her hair off to get money for the family, rather than ask a wealthy but stingy aunt. Her dresses are patched over the burn holes she gets from standing too near the fire (nice symbolism). She turns down her dear friend, who is a rich and suitable prospect for marriage, because she is not in love with him. She leaves her New England home and moves to New York where, in addition to her traditional job as a governess, she also sells horror stories, fulfilling her true passion. There she also meets her true love, who both supports her growth and confronts her about her ambitions.

Woman of the Year (1942)

A famous columnist, she travels the world meeting the people who are making current history. On a whim, she marries a down to earth sports writer who leaves her because her priorities are public issues, not her private life. She realizes her loss but when she tries to become a 'regular' housewife, she fails miserably. The film starts with her image as a smart, attractive, knowledgeable working woman; this changes to the image of a woman so wrapped up in her work that she adopts a child because it looks good, having no idea what it entails, and soon neglects both the child and her husband. There is a scene in which she talks with the boy after he has returned to the orphanage. Even though they are speaking in Greek, it is obvious what he's saying to her. The last image we see of her is in an inappropriately sophisticated outfit, making a disaster instead of breakfast in the kitchen. The movie ends with Tracy comforting her and asking her to stop playing roles and be herself. This image is as strong today as it was then, with most women trying to balance career and family, often feeling guilty because no matter which they are working at, they are ignoring the other.

The African Queen (1951)

As Charlie (Humphrey Bogart) says to Rosie (Katharine Hepburn) in The African Queen: "I'll never forget the way you looked going over the falls: head up, chin out, hair blowin' in the wind. The livin' picture of a heroine." After the death of her missionary brother leaves her stranded in Africa during a war, Rosie quickly transforms from a stuffy English maiden to an adventuress who plunges into a love affair with a rough man (men saved by the love of a good woman is a common film theme during the 1950's), battles her way through unexplored Africa and destroys the enemy of the British Navy (this last after properly marrying her lover). There is a lovely scene after their first experience with the river rapids when instead of responding with fear and dread, she is flushed and exhilarated; this is the response to danger and adventure that we'd all like to believe we'd have. Again she sheds convention in dress and attitude quickly in the face of the practicalities of her situation.

Rooster Cogburn and the Lady (1975)

With a story line that is a strong parallel to The African Queen the heroine is now the late middle-aged daughter of a missionary in an untamed land (the American West). When her father is killed by outlaws she is determined to see that they are brought to justice and teams up with a gruff and cantankerous old marshal (John Wayne). Throughout their search she continues to demonstrate surprising skills (shooting and equitation) and is finally accepted as an equal partner by the marshal. Each is honest about their own strengths and shortcomings. Both are verbal about the others faults as well. But this spirit of criticism is tempered by humor and sudden sweet compliments such as Rooster's simple statement. 'You please me.' Even as she nears 70, Katharine Hepburn portrays a woman who is still vital and strong and appealing. One of the new components to her image, is that the heroine no longer needs to end up staying with the man for their love to be acknowledged and complete. The modern woman has learned that not all relationships with a man, even a good one, should end in marriage.

Woman Deals with Family Problem

There is as strong a line of family life in many of her movies as there is in her private life. And every family has problems; one member's problems affect the whole family. Katharine Hepburn portrays characters that have a background, unlike the femme fatales of film noir who seem to have no family ties. Even if the family is unconventional, it is a strong presence in many of her movies whether they are dramas, adventures or comedies.

Bill of Divorcement (1932)

Despite all her worldly privilege, the heroine is torn apart by the tragedy within her own family. She is empathetic to her disturbed father, feeling his pain and disassociation. She cares about her mother's possible loss of happiness and chance of love in her life. She also grieves over the family that she hopes to have, fearing that her father's disease is a family curse in the form of hereditary insanity. She shows us the devoted daughter, unselfish and caring toward both of her estranged parents. She is also the responsible mother of future generations, trying to avoid the suffering of family members not yet born.

Little Women (1932)

Most of the scenes in this movie take place in the family setting. The unique character of Jo appears even stronger when seen in contrast with the actions and activities of her more traditional sisters. However, no matter how Jo seems like an ugly duckling, she is an integral part of a caring family unit. She nurses her sick sister; deprives herself of her beautiful hair to give money so that her mother can visit their father who has fallen sick; she gives the money from the sale of her stories to help support her family; she hates not getting to travel to Europe, but she does not hate the sister who does get to go. In turn her parents and sisters encourage and support her unique attitudes and talents. Much like her real life, it is the background of a strong family that enables her character to go forth in the world to achieve great things.

On Golden Pond (1980)

Returning to her family's summer home, she portrays a strong and sassy matron in her late 60's with a grouchy husband who is weakening in body and mind (Henry Fonda). Her enjoyment of life, her delight in the beauties of nature and her interest in the people around her make it very believable when we see that she is still in love with her husband and that her love has a strong component of sex in it, as well as the expected aspects of familiarity and companionship. Katharine Hepburn is still able to soften her face when she looks at the man, leaving no doubt as to her sweetness and depth of her feelings. She takes positive steps to heal the long term feud between her demanding husband and rebellious daughter (Jane Fonda). She is willing to accept her daughter's boyfriend and his teenage son. She reunites happily with old neighbors and seeks to become friends with new ones. The story portrays a family that is still growing, healing old injuries, welcoming new members and weaving them into the fabric of family life, providing the healthy bond that can grow between old and young and at the center of the family, keeping it moving is Katharine Hepburn.

The Lion in Winter (1986)

The Lion in Winter is a darker tale. The all-but-abandoned queen plots against her husband (Peter O'Toole) for her son Richard's succession to the throne over his two brothers. The king and queen battle in a relentless and ever escalating game of wits, using their sons, their lands and their love for each other as the pawns to be sacrificed. Even though their love/hate relationship grows more destructive by the hour, the story ends with their parting acknowledgment that they enjoy the challenge of the game and look forward to picking it up again at their next meeting. Though she confronts herself throughout the story with her own strengths and weaknesses, in the end, she accepts herself as she is, accepts her husband, accepts their situation and anticipates the next challenge. Though husband and wife come to terms with each other, the rest of her family is a shambles, each son a disappointment, jealousy rampant. She is a woman who though she feels love for her husband, for her sons, for the girl she raised who is now her husband's lover, turns away from that love and acts on the desire for power. This is a strong image of what happens to a family when the priorities change from respect and cooperation to challenge and rivalry, from loving all children equally to favoring one over the others. She sees her favorite son not as he is, but as she wants him to be and ignores the others, not caring what the consequences will be, sure that she can dominate and control her family.

Epilogue

As I write this, the rumor is that Katharine Hepburn is very near to the end of her life. She was and is the image of a great lady, sure and strong and sometimes sweet, 'A cantankerous old broad with a great sense of humor' that has left us with over 50 years of films, recording the thoroughbred, the champion, the triumphant woman not as she is but as she might become. She is an actress who worked hard, had fun, was blessed by life with fortune and sorrow. She accepted them all and uses them to create striking images of unforgettable heroines, enriching her own life and ours.

Reference Material

[Note: Student does not use correct bibliographic form]

John Belton, American Cinema/American Culture
Richard Dyer, Heavenly Bodies - Film Stars and Society
Katharine Hepburn, ME - Stories of My Line
James Prideaux, Knowing Hepburn and Other Curious Experiences
Andrew Tudor, Image and Influence - Studies in the Sociology of Film
Alexander Walkerm Stardom
James Watters, Return Engagement - Faces to Remember, Then and Now

Movies Viewed

Bill of Divorcement, 1933
Little Woment 1933
Stage Door, 1933
Bringing Up Baby, 1938
The Philadelphia Story, 1940
Woman of the Year, 1941
The African Queen, 1951
Guess Who's Coming to Dinner, 1967
Rooster Cogbourne, 1975
On Golden Pond, 1980
The Lion in Winter, 1986