000			02360cam0a2200433 4500
001			3406
005			20221123145947.0
010			_a0312366493 _bbr.
010			_a0333295412 _bbr.
010			_a0312366507 _brel.
035			_a(OCoLC)490230218
035			_asib0295841
035			_aALP8956
090			_a3406
099			_tLIVR
100			_a19910607d1986 ||||0frey50 ba
101	0		_aeng
102			_aUS
105			_ay |||||||||
200			_aHeavenly Bodies _eFilm Stars and Society _fRichard, Dyer _bTexte imprimé
210			_aNew York _d1986
215			_axi, 208 p _cill. _d22 cm
225			_aBritish Film Institute Cinema Series _fEd, Buscombe
320			_aBibliogr.: p. 195-202. Index
330			_aMore words and less sense have been written about stars than about any other aspect of the cinema. Among all the outpourings of the fan magazines and the ghosted autobiographies, there has been remarkably little writing of any worth about either the nature of performance in film or the meaning which audiences carry away from such performances. Richard Dyer, in his careful studies of three major stars, opens up new avenues of approach. Through subtle and detailed readings of the films of Marilyn Monroe, Paul Robeson and Judy Garland, combined with a wealth of material on these personalities from other sources, he shows just hoe the screen image of each star was constructed. Dyer then goes on to plot the development of each star's image against the attitudes and experience of particular social groups. Marilyn Monroe is placed in the context of ideas about sexuality in the fifties. Paul Robeson is discussed in relation to black and white definition of black identity. And Judy Garland is read in the light of her special place in gay male culture.
606			_3027581608 _aCin�ema _xAspect social _2rameau
606			_3027218287 _aActeurs de cin�ema _2rameau
610			_acinéma
610			_aJudy Garland
610			_aMarilyn Monroe
610			_aPaul Robeson
610			_asexualité dans les années 1950, Etats-Unis
610			_aidentité noire
610			_aculture homosexuelle masculine
700		1	_303186032X _aDyer _bRichard _f1945-.... _4070
801		3	_aFR _bAbes _c20200116 _gAFNOR
801		3	_aFR _bSF _c19990209 _gAFNOR