What happens when a girl tries to grow up in a world where everyone wants her to remain a child?

Hayley Mills’s teenage decade in Hollywood produced some of the era’s greatest family movies: classics like Pollyanna, The Parent Trap and In Search of the Castaways, and in Britain the acclaimed Whistle Down the Wind. Overnight, Hayley became a teen idol and a household name.

In Forever Young Hayley takes us back to a bygone era, charting a journey from her carefree childhood in post-war Britain, growing up in the shadow of her famous theatrical family, to being propelled into the Technicolor boomtown of 1960s Hollywood, where she was mentored to stardom by Walt Disney himself. With characteristic warmth, honesty and humour, Hayley finally shares her own coming-of-age story – a tale of incredible twists of fate and fortune.

This first book-length critical study of Jeremy Irons concentrates on his key performances and acting style. Through the analysis of some of the major screen roles in Irons's career, such as Brideshead Revisited, The French Lieutenant's Woman, Reversal of Fortune, Swann in Love, Dead Ringers and Lolita, Mark Nicholls identifies a new masculine identity that unites them: an emblematic figure of the 1980s and 1990s presented as an alternative to the action hero or the common man. Using clear explanations of complex theoretical ideas, this book investigates Jeremy Irons's performances through the lens of sexual inversion and social rebellion, to uncover an entirely original but recognizable screen type.

Otto Preminger (1905-1986), whose Hollywood career spanned the 1930s through the 1970s, is popularly remembered for the acclaimed films he directed, among which are the classic film noir Laura, the social-realist melodrama The Man with the Golden Arm, the CinemaScope musical Carmen Jones, and the riveting courtroom drama Anatomy of a Murder. As a screen actor, he forged an indelible impression as a sadistic Nazi in Billy Wilder's Stalag 17 and as the diabolical Mr. Freeze in television's Batman. He is remembered, too, for drastically transforming Hollywood's industrial practices. With Exodus, Preminger broke the Hollywood blacklist, controversially granting screen credit to Dalton Trumbo, one of the exiled "Hollywood Ten." Preminger, a committed liberal, consistently shattered Hollywood's conventions. He routinely tackled socially progressive yet risque subject matter, pressing the Production Code's limits of permissibility. He mounted Black-cast musicals at a period of intense racial unrest. And he embraced a string of other taboo topics-heroin addiction, rape, incest, homosexuality-that established his reputation as a trailblazer of adult-centered storytelling, an enemy of Hollywood puritanism, and a crusader against censorship. Otto Preminger: Interviews compiles nineteen interviews from across Preminger's career, providing fascinating insights into the methods and mindset of a wildly polarizing filmmaker. With remarkable candor, Preminger discusses his filmmaking practices, his distinctive film style, his battles against censorship and the Hollywood blacklist, his clashes with film critics, and his turbulent relationships with a host of well-known stars, from Marilyn Monroe and Frank Sinatra to Jane Fonda and John Wayne.

Agnes Moorehead (1900-74) was unique among twentieth-century American actresses in making a major career for herself in all four entertainment media after the age of 40. As the title indicates, Agnes Moorehead on Radio, Stage and TV focuses on Moorehead's career in radio, on the stage, and in television. A representative selection of 25 of her most interesting and representative performances in these media are discussed in separate profiles ranging in length from 1,500 to 7,500 words, with the longest chapters devoted to Mayor of the Town, Suspense, Moorehead's one-woman show, Bewitched and Gigi. Naturally, the book also covers Moorehead's celebrated appearance on The Twilight Zone, both her productions of Don Juan in Hell, and her Emmy-winning appearance on The Wild Wild West. Many less well-known performances have never been analyzed in detail before. These include fascinating and entertaining portrayals on TV series such as Wagon Train, Adventures in Paradise, Rawhide and Burke's Law. The profiles are organized in chronological order. Thus, from The Shadow to Gigi, the book can be read as a continuous, chronological narrative of Moorehead's unfolding acting career through more than three decades; or the individual chapters may be read as self-contained accounts of individual shows and performances. Each profile concentrates on Moorehead's contribution to the show or episode. In addition to analyzing the nature and function of Moorehead's role and how she performs it, the author variously discusses the place of the performance in her career development as a whole; her relationship with directors, producers, and/or fellow actors: comparisons and contrasts with similar types of roles in the same or other media; and curious, little known facts about the production. Nissen also discusses salient events in Moorehead's personal life at the time.

"Errol Morris: Interviews" is an irreverent and humorous collection of conversations with the acclaimed documentary filmmaker. Morris (b. 1948) has created some of America's most innovative, lasting cinematic works. Generations of filmmakers, scholars, cinephiles, and film fans turn again and again to such works as "The Thin Blue Line; Fast, Cheap and Out of Control"; Academy Award-winner "The Fog of War"; and "Standard Operating Procedure."

Throughout his career--which has included stints as a private eye, film programmer, and commercial director--Morris has honed a unique formal and technical cinematic approach. A Morris film is characterized by intense personal interviews; dramatic re-creations; a haunting, modernist musical atmosphere; and a keen sense of complexity, irony, and black humor. With each new film, Morris challenges and redefines what a documentary can be. This volume features startling interviews from throughout his career, as well as intimate, never-before-published discussions.

Henry Irving (1838-1905), the first actor to be knighted, dominated the theatre in Britain and beyond for over a quarter of a century. As an actor, he was strikingly different with his idiosyncratic pronunciation, his somewhat ungainly physique, and his brilliant psychological portrayals of virtue and villainy. He was also the director of spectacular, and commercially driven, entertainments and as the manager of the Lyceum theatre, he controlled every aspect of the performance. First published in 2008, this collection of essays by leading theatre scholars explores each element of Irving's art: his acting, his contribution to the plays he commissioned, his flair for the stage picture, and his ear for incidental music. This book will be of interest to those studying the history of theatre.

Documenting a theater project for incarcerated youth in a New Mexico juvenile detention facility, this book presents the script of a play about prison life, and interweaves the author's creative, self-reflective text (autoethnography). The collaborative experience of writing and staging such a play enacted by prisoners frames a discussion of larger social and political themes in the criminal justice system, and of the complexities of getting juveniles to engage with administrators and social workers as mentors.

The vanished world of India's late-colonial theatre provides the backdrop for the autobiographies in this book. The life-stories of a quartet of early Indian actors and poet-playwrights are here translated into English for the first time. These men were schooled not in the classroom but in large theatrical companies run by Parsi entrepreneurs. Their memoirs, replete with anecdote and humor, are as significant to the understanding of the nationalist era as the lives of political leaders or social reformers.

Clint Eastwood (b. 1930) is the only popular American dramatic star to have shaped his own career almost entirely through films of his own producing, frequently under his own direction; no other dramatic star has directed himself so often. He is also one of the most prolific active directors, with thirty-three features to his credit since 1971.As a star, he is often recalled primarily for two early roles--the "Man with No Name" of three European-made Westerns, and the uncompromising cop "Dirty" Harry Callahan. But on his own as a director, Eastwood has steered a remarkable course. A film industry insider who works through the established Hollywood system and respects its traditions, he remains an outsider by steadfastly refusing to heed cultural and aesthetic trends in film production and film style. His films as director have examined an eclectic variety of themes, ranging from the artist's life to the nature of heroism, while frequently calling into question the ethos of masculinity and his own star image. Yet they have remained accessible to a popular audience worldwide. With two Best Director and two Best Picture Oscars to his credit, Eastwood now ranks among the most highly honored living filmmakers.These interviews range over the more than four decades of Eastwood's directorial career, with an emphasis on practical filmmaking issues and his philosophy as a filmmaker. Nearly a third are from European sources--several appearing here in English for the first time.

Roger Corman (b. 1926) is known by many names-craftsman, artist, maverick, schlock-meister, mini-mogul, mentor, cheapskate, and King of the B's. Yet his commitment to filmmaking remains inspired. He learned his craft at the end of the studio system, only to rebel against Hollywood and define himself as the true independent. And the list of directors and producers who learned under his tutelage--Francis Ford Coppola, Martin Scorsese, James Cameron, Jonathan Demme, and many more--is astonishing.

Collected here are many of the most honest and revealing interviews of his epic career, several of which have never been seen in print. "Roger Corman: Interviews" brings into focus a life committed to the entertaining art of motion pictures.

Corman's rare talent combined artistic drive with business savvy, ensuring a successful career that was constantly in motion. At a remarkable pace more akin to silent movies than modern Hollywood, he directed over fifty films in less than fifteen years, some entertaining ("Not of This Earth"), trendsetting ("The Wild Angels"), daring ("The Intruder"), workmanlike ("Apache Woman"), stylized ("The Masque of the Red Death") and even profound ("X: The Man with the X-Ray Eyes"). In a single year, Corman famously shot a cult classic in two and a half days ("The Little Shop of Horrors"), reinvigorated the American horror film with a dash of Poe and Price ("House of Usher")--and still turned out a few more films shot across the globe. Recently awarded an honorary Oscar for his lifetime contribution to cinema, the self-made Corman has created a legacy as a defining filmmaker.

Brigitte Bardot's rise from fashion model and film starlet to global celebrity was meteoric and unprecedented: after her breakthrough role in Et Dieu ... crea la femme in 1956, audiences the world over rushed to see her films. Predating Beatlemania, she provoked mass hysteria: paparazzi stalked her, journalists, sociologists and novelists wrote about her; young women imitated her style. All at once sex bomb, radical proto-feminist and scandalous figurehead of a hedonistic and sexually free lifestyle, 'B.B.' was France's first mass-media star.

In this original and illuminating study, film scholar and Bardot fan Ginette Vincendeau explores the star's complex and revolutionary
image of femininity, her film career and her lasting and controversial celebrity. Analysing all Bardot's output, encompassing popular
comedies and melodramas, work with New Wave directors Louis Malle and Jean-Luc Godard, and international productions such
as Dear Brigitte (1965) and Shalako (1968), Vincendeau shows how Bardot's enduring fame is based on her status as a sexual, lifestyle, musical, and fashion role model and even, in her guise as Marianne, the emblem of the French Republic, an icon of national
identity. Finally, she considers the ageing Bardot's continued prominence in popular culture through her own writings and animal rights activism, arguing that, as well as a glamorous film star, Bardot was one of the inventors of modern celebrity.

Carmen Miranda was not only the first Latin American star to be invited to imprint her hands and feet outside Grauman's Chinese
Theatre in Hollywood, she was also, for a period, the highest paid female star in the US. Lisa Shaw's study of Miranda's film career and star persona traces her emergence as one of the first stars of the Brazilian film industry and her subsequent triumph in Hollywood.

Shaw charts Miranda's transition from singer to film star, analysing how her star persona drew on performance techniques honed during her singing career. She examines shifts in Miranda's star identity after her move to Broadway in 1939, and Hollywood a year later, with her identification as an 'ethnic' star emphasised by extravagant baiana costumes.

Shaw shows how Miranda consciously constructed an identity that both endorsed and subverted stereotypes about Latin America
during the era of the 'Good Neighbor Policy', and explores Miranda's appeal across mainstream and marginalised audiences, both in the US and Brazil. Finally, she considers why Miranda's image is still instantly recognisable, examining her impact on material culture, particularly women's fashions, both during her lifetime and until the present day, and the role played in the consecration of her 'tropical' star persona by imitators, ranging from Bugs Bunny, Lucille Ball and Mickey Rooney, to contemporary Carmen Miranda imitators of both genders

This book discusses affective practices in performance through the study of four contemporary performers - Keith Hennessy, Ilya Noe, Caro Novella, and duskin drum - to suggest a tentative rhetoric of performativity generating political affect and permeating attempts at social justice that are often alterior to discourse. The first part of the book makes a case for the political work done alongside discourse by performers practising with materials that are not-known, in ways that are directly relevant to people carrying out their daily lives. In the second part of the book, four case study chapters circle around figures of irresolvable paradox - hendiadys, enthymeme, anecdote, allegory - that gesture to what is not-known, to study strategies for processes of becoming, knowing and valuing. These figures also shape some elements of these performances that make up a suggested rhetorical stance for performativity.

Catherine Deneuve is indisputably one of the world's most celebrated actresses, both in her own native France and throughout the world. Her career has spanned five decades during which she has worked with the most significant of French auteurs, as well as forging partnerships with international directors such as Bunuel and Polanski. The Deneuve star persona has attained such iconic status as to come to symbolise the very essence of French womanhood and civic identity. In this wide-ranging and authoritative collection of essays by a selection of international film academics and writers, the Deneuve persona is scrutinised and illuminated. Beyond the glamorous iconographic status of Yves Saint Laurent's muse, and the epitome of sexual inviolability, Deneuve's status as actress is foregrounded. The book will be essential reading for students and lecturers in star studies.

Francis Poulenc (1899-1963) is widely acknowledged as one of the twentieth century's most significant masters of vocal music-solo, choral and operatic-quite apart from his achievements in instrumental spheres. But what it cost him has been underestimated. In this seminal biography, which will serve as the definitive guide to the songs, Graham Johnson shows that it is in Poulenc's extraordinary songs and seeing how they fit into his life-his hidden sexuality, addiction and all-that we discover the composer's essential artistic being. With Jeremy Sams's song translations, the first in over forty years, and the insight that comes from a lifetime of performing this music, Johnson provides an essential volume for singers, pianists, listeners and readers interested in the artistic milieu of modernism in the first half of the twentieth century.

Christian Petzold (b. 1960) is the best-known filmmaker associated with the "Berlin School" of postunification German cinema. Identifying as an intellectual, Petzold self-consciously approaches his work for both the big and the small screen by weaving critical reflection on the very conditions of contemporary filmmaking into his approach. Archeologically reconstructing genre filmmaking in a national film production context that makes the production of genre cinema virtually impossible, he repeatedly draws on plots from classic films, including Alfred Hitchcock's, in order to provide his viewers with the distinct pleasures only cinema can instill without, however, allowing his audience the comforts the "cinema of identification" affords them. Including thirty-five interviews, Christian Petzold: Interviews is the first book in any language to document how one of Germany's best-known directors thinking about his work has evolved over the course of a quarter of a century, spanning his days as a flailing student filmmaker in the early 1990s in postunified Germany to 2020, when his reputation as one of world cinema's most respected auteurs has been firmly enshrined. The interviews collected here-thirty of which are published in English for the first time-highlight Petzold's career-long commitment to foregrounding how economic operations affect individual lives. The volume makes for a rich resource for readers interested in Petzold's work or contemporary German cinema but also those looking for theoretically challenging and sophisticated commentary offered by one of global art cinema's leading figures.

Just as the Academy Awards have an impact upon stars and their careers, their achievements influence the Academy and contribute to the rich history of the Oscars. Upset wins, jarring losses and glaring oversights have helped define the careers of Hollywood icons, while unknown actors have proven that timing sometimes beats notoriety or even talent. With detailed discussion of their performances and Awards night results, this book describes how 107 actors earned the Academy's favor - and how 117 others were overlooked.

The Routledge Companion to Michael Chekhov brings together Chekhov specialists from around the world - theatre practitioners, theorists, historians and archivists - to provide an astonishingly comprehensive assessment of his life, work and legacy. This volume aims to connect East and West; theatre theory and practice. It reconsiders the history of Chekhov's acting method, directing and pedagogy, using the archival documents found across the globe: in Russia, England, America, Germany, Lithuania and Switzerland. It presents Chekhov's legacy and ideas in the framework of interdisciplinary theatre practices and theories, as well as at the crossroads of cultures, in the context of his forays into such areas as Western mime and Asian cosmology. This remarkable Companion, thoughtfully edited by two leading Chekhov scholars, will prove invaluable to students and scholars of theatre, theatre practitioners and theoreticians, and specialists in Slavic and transcultural studies. Marie-Christine Autant-Mathieu is Director of Research at the National Center For Scientific Research, and Assistant-Director of Sorbonne-CNRS Institute EUR'ORBEM. She is an historian of theatre and specialist in Russian and Soviet theatre. Yana Meerzon is Associate Professor in the Department of Theatre, University of Ottawa. Her book publications include Adapting Chekhov: The Text and Its Mutations, co-edited with Professor J. Douglas Clayton, University of Ottawa (Routlegde, 2012).

In a career that spanned eight decades, Christopher Lee (1922-2015) appeared in more than 200 roles for film and television. Though he is best known for his portrayal of Dracula in films of the 1950s, '60s, and '70s-as well as his appearances in the Lord of the Rings trilogy-Lee also appeared in many other films, including The Three Musketeers, The Man with the Golden Gun, and Star Wars. The Christopher Lee Film Encyclopedia encompasses all of the films in the distinguished actor's prolific career, from his early roles in the 1940s to his work in some of the most successful film franchises of all time. This reference highlights Lee's iconic roles in horror cinema as well as his non-horror films over the years, including The Lord of the Rings and The Hobbit trilogies. The entries in this book feature: *Cast and crew information *Synopsis *Critical evaluation *Newspaper and magazine reviews *DVD availability Many of the entries also feature Sir Christopher's recollections about the production, as well as the actor's insights about his directors and fellow costars. Appendices in this volume include discussions of Lee's significant work on radio and television, as well as film shorts, screen tests, films in which he is mentioned, films from which he was cut, and unrealized projects. A film-by-film review of the actor's cinematic output. The Christopher Lee Film Encyclopedia will appeal to this legend's many devoted fans.

This book gives a new view on the legacy of Jerzy Grotowski (1933-1999), one of the central, and yet misunderstood, figures who shaped 20th-century theatre, focusing on his least known last phase of work on ancient songs and the craft of the performer. Salata posits Grotowski's work as philosophical practice, and more particularly, as practical research in the phenomenology of being, arguing that Grotowski's departure from theatrical productions (and thus critical consideration) resulted from his uncompromising pursuit of one central problem, "What does it mean to reveal oneself?" - the very question that drove his stage directing work. The book demonstrates that the answer led him through the path of gradually stripping the theatrical phenomenon down to its most elemental aspect, which shows itself through the craft of the performer as a non-representational event. This particular quality released at the heights of the art of the performer is referred to as aliveness, or true liveness in this study in order to shift scholarly focus onto something that has always fascinated great theatre practitioners, including Stanislavski and Grotowski, and of which academic scholarship has limited grasp. Salata's theoretical analysis of aliveness reaches out to phenomenology and a broad range of post-structural philosophy and critical theory, through which Grotowski's project is portrayed as philosophical practice.

This is the story of one boy's journey from an ordinary childhood in a European middle-class family into an alien world of terror and persecution where fear and violence reigned. Millions had to perish before Germany was defeated and the Continent could return to sanity. The Nazis' rise to power had transformed occupied Europe into a hostile environment where life for Jews had become a living hell. Suddenly, old relationships had been swept aside as neighbours and friends had suddenly become enemies and would-be persecutors. Survival now depended on learning new skills and sharpening newly acquired instincts. The margin between freedom and incarceration was often minute. Under such a brutally repressive regime life became dependent on quick thinking and adjustment to every new situation. Living on the razor's edge those instincts soon become second nature, and with it new, hitherto unsuspected abilities to cope. With familiarity and increasing self-confidence it was inevitable that some bravado could also creep in. How else could such escapades as earning money in the epicenter of the Nazi war machine - a German Army HQ in occupied Budapest be explained? . Also described are the realities of life under continuous bombardment, from the air and by artillery, in a city laid waste and under siege where one was continually in danger, hungry and cold. To alleviate that hunger it became necessary to find food from unusual sources such as cutting flesh from army horses killed in the shelling and drinking melted snow. Everything had its uses and was recycled: even shoe polish could be used as a substitute for candles for lighting up a dark cellar in a ruined city where electricity, gas and water supplies as well as all the amenities of modern life were but a distant memory. The siege of Budapest ended with liberation by the Red Army and the realization of the terrible cost in human terms - especially that of Jews - of the Nazi regime.Starting a new life in England and a return to normalcy, concentrating on integration and education; preparing for a worthwhile career in a free and happy environment bring the story full circle. It shows that trauma need not necessarily be injurious but can also have a positive effect that leads to a greater appreciation of life and acts as a stimulant for achievement.Service in the British army, immigration to Israel and serving in the Israeli army as well as creating a family and a career conclude the narrative.Originally this memoir was intended for my children, but as it took shape I felt it could be of interest to the general reader who may wish to look at this cataclysmic era as seen through the eyes of a child.