Abstract
This paper explains that, for almost ninety years, Stella Adler, who was born into one of the most distinguished and celebrated acting families in theater, had a successful career acting, directing and teaching. The author relates that she founded the Stella Adler Conservatory of Acting in New York City in 1949 and taught such as famous students as Marlon Brando, Robert De Niro and Warren Beatty. The paper stated that Stella Adler had the best teaching approach: She was tough but her students did not fear her, they respected her and listened.

From the Paper
"From 1927 through 1931, Adler played over 100 roles in various productions. Her association with the Group Theater began in 1931. This famous organization was formed by Harold Clurman, Lee Strasberg and Cheryl Crawford. Adler won high praise for her performances in "Success Story" by John Howard Lawson, and later in two seminal Clifford Odets plays: "Awake and Sing" and "Paradise Lost". She married Harold Clurman in 1943, having previously married and divorced Horace Eleascheff. Her marriage to Clurman ended in divorce in 1960. She stayed with the Group Theater for a decade and lamented and deplored the fact that there was a dearth of good roles for women. She felt that the theater was geared for men and that the plays were written for men only. However, she credited the company for bringing the best out of her and for revitalizing her life in theater."

Tags:family, conservatory, tough, agitate, director

Abstract
The paper argues that while progress has been made, our popular culture does not yet afford women genuine freedom. The paper contends that actresses should not have to "play ugly" in order to be taken seriously as artists; specifically, to make such a demand of a woman is akin to an act of disfigurement at the same time as it suggests that a woman cannot be both beautiful and smart.

From the Paper
"While progress has been made, our popular culture does not yet afford women genuine freedom. Elaborating on this notion, the following paper will argue that actresses should not have to "play ugly" in order to be taken seriously as artists; specifically, to make such a demand of a woman is akin to an act of disfigurement at the same time as it suggests that a woman cannot be both beautiful and smart. To begin with, actresses should not have to "play ugly" on film in order to be viewed with high regard because, in a culture wherein women are constantly pressured to change their bodies or faces in unnatural ways,..."

Tags:actresses, beauty, ugly

Abstract
This paper looks at how the introduction of women into the theater was an epic move beforehand acting had not been considered a suitable pursuit for a woman. It considers the effect upon theater of introducing the actress to the stage and in particular the effect had upon the portrayal of women in plays. It uses three plays as examples, one from before the advent of actresses Ben Jonson's "Volpone"?, one from the same year as the first actress was allowed onstage, Aphra Behn's "The Rover" and one from several years afterwards, "The Two Foscari" by Lord George Byron.

From the Paper
"And indeed it became so obvious that with the Restoration came change, and around 1660 women were allowed on the stage for the first time. Obviously the classics such as Shakespeare were still being produced, but the roles for women in the plays written before this era are woeful. New plays were constantly demanded in the theater, and with the introduction of actresses, a change arose in the plays. Influential playwright Aphra Behn typifies this. Her play "The Rover", written in 1677, is a great change from "Volpone" - it has many strong, convincing female characters. The main two of note are Florinda and Hellena. Both are in many ways in control of their lives, despite the best meant intentions of other men in their lives."

Tags:aphra, behn, ben, byron, empowerment, females, foscari, johnson, lord, rover, volpone

Abstract
This paper focuses on the intense media attention paid to Renee Zellweger during the filming of "Bridget Jones' Diary" and its sequel. This paper discusses how the tale of a woman who is obsessed with finding a man and even more obsessed with her fluctuating weight struck a chord with women around the world. This paper explores the reasons that the usually slender and American Zellweger was chosen to play the British heroine as well as the eating plan the actress followed in order to gain the weight for the film. The writer of this paper also examines the media's praise for Zellweger's weight gain and eventual loss as well as its negative impact on actresses, such as Kirstie Alley, who gain weight due to childbearing or other reasons. This paper discusses the dangerous message Hollywood is sending young women regarding what is deemed beautiful and perfect.

From the Paper
"But when Zellweger showed her newly slim physique to the world, despite her command performance as Jones, her weight loss was what drew raves, as high in quality as her acting in the role may have been. And although, Zellweger was eager to note that she hadn't shaken her alter ego off completely. "I'd be out in the cab and asking the guy in an English accent," she sighs, shaking her head. "[I say] 'brilliant, lovely,' all those things. 'Quite,' I say 'quite' a lot now ... " she was also eager to find a film to show off her return to slenderness. Her thin sculpted frame in her next release in "Chicago" assured the world that Zellweger was still capable of high glamour. Her weighty photos for one fashion magazine never made it to print, but newly slender, she graced the cover of Vogue. When an actress such as Kristie Alley, a former beauty queen, gains weight not for a role but because of age and childbearing, the world grows uncomfortable."

Tags:film, industry, weight, diet, nutrition, media, perception

Abstract
This paper discusses Jean-Luc Godard's 1963 masterpiece film, "Le Mepris" which is based on the 1954 novel, "Il Disprezzo," translated as "A Ghost at Noon." It specifically compares the attributes of the character, Camille Javal and the actress portraying her, Brigitte Bardot. The paper suggests that the two women seem to be modeled off one another, relying on their sexuality as a means of power.

From the Paper
"Upon inspection of Godard's Camille, adapted from Moravia's Emilia, and Brigitte Bardot, who portrays Camille in the film, the two women seem to be almost one and the same. Both act and speak in a manner that speaks of their lower-class background. Motivated to advance in financial, social, and professional fields, the women make use of the one attribute that will quickly and effectively help them to reach the top: their sexuality. Camille employs her feminine wiles to manipulate her husband, until sensing that he has nothing further to offer her, she casts him aside. Similarly, Bardot cultivated for herself a "sex kitten" image, by feigning youthful innocence, simultaneously playing up her womanliness."

Tags:sexuality, power, feminine

Abstract
In this article, the writer discusses Marlee Matlin, as one of the most recognizable faces in the deaf community. The writer notes that, an Oscar-winning actress, Matlin has also appeared on numerous television shows including 'The West Wing' and 'Dancing with the Stars'. The writer maintains that Matlin has become a remarkable emblem for the deaf community: living proof that deaf stars can shine every bit as brightly as their hearing counterparts. Family members and friends of deaf individuals can learn a lot from reading about Matlin, a role model for the deaf community. The writer concludes that Matlin shows that deaf individuals can remain deeply involved with their communities: actively encouraging deaf children to pursue their dreams and preserving the integrity of the deaf community by encouraging multiple means of solidarity.

From the Paper
"Matlin won an Oscar for Best Actress in her performance in Children of a Lesser God. The award was meaningful on many levels: for Matlin personally as a sign of her success in the career of her choice, and also for the deaf community. Success in the hearing world--and especially in an industry saturated with sound and verbal dialogue--symbolized a transformation of ideals and ambitions. Aspiring deaf actors finally had a role model. Matlin's success also signified the progress made by deaf culture. Deaf culture could be recognized as part of American cultural discourse."

Tags:sign, language, dialogue, identity, speech

Abstract
This paper analyzes an advertisement with actress Gwyneth Paltrow against a dark and featureless background, with the words "I am African" appearing prominently on the bottom of the picture. The author vividly describes the advertisement and gives a connotative account of the Western and African symbols used in the advertisement. The paper analyzes the use of make-up and jewelry in the advertisement and examines the symbolism of gender in the Western and African context. The paper also discusses the ideology of the advertisement, that there is no difference between the races, no real barriers, between human beings of different ethnicities and genders.

Outline:
A Denotative Description
A Connotative Description
An Ideological Description

From the Paper
"The advertisement presents a gendered image of a typical, fashionable Western White woman. Gender is noted in particular by the long and full blond hair; the carefully made-up lips and the thick bands of eye shadow. But for the overly heavy application of the eye shadow, Paltrow is the picture of Western fashion - the kind of woman one might see modeling in a popular, upscale magazine, or in a television commercial for designer clothing or similarly trendy goods. Yet, the actress is also an African, just as the text informs us. The bands of face paint are of a style that would easily be recognized by the typical Western viewer as "native," if not necessarily African."

Tags:marketing, africa, western culture

Abstract
A look at the life of Sigourney Weaver, a successful actress. The author examines her background, life and career. Includes an examination of some of her movies.

From the Paper
"Well, I'm different. I can do it my way and I won't have to bow to the rules of society."That's how one of the most popular and successful actresses of the 1980s, Sigourney Weaver, chose to describe herself and her philosophy of her work in a recent biography by T.D. Maguffee.

Tags:movie, film

Abstract
This paper describes in-depth the life of Audrey Hepburn, the infamous Dutch Hollywood actress. The paper begins with her as a girl, born into Dutch Royalty, she suffered from hunger and poverty in Nazi occupied Holland. The paper provides chronological summaries of her role in all her films and plays, which provides the reader with a great sense of her enormous contribution to popular culture. It includes details of her personal life and her work as a special Goodwill Ambassador to the United Nations Children's Fund (UNICEF).

From the Paper
"Gigi was Audrey's ticket to America. At the show's premiere in New York, Audrey was surprisingly visited by James Hanson, who had come to formalize their engagement (Paris 74). The run of Gigi was over by the spring of 1952. However, Audrey's career was about to take an even greater step forward. Paramount Pictures was searching for a young girl to play the role of Princess Anne in Willy Wyler's Roman Holiday (1953). Audrey was about to costar with Gregory Peck in her first American film. However, the film had forced her to postpone her wedding date. In fact, as soon as she got the part, the studios had advised her not to get married in the belief that millions of lovestruck fans would be disappointed (Paris 80). Audrey was soon convinced that she was not ready to be married, and she broke off her engagement to James Hanson."

Tags:dutch, goodwill, ambassador, united, nations, children?s, fund, unicef, bloodline, robin, marian, sean, connery, laughter, in, paradise, gigi, roman, holiday, gregory, peck, sabrina, humphrey, bogart

Abstract
This paper discusses selected works of the actress, Sarah Michelle Gellar. The paper describes each selected work and provides critiques by several different entertainment critics to illustrate the differing opinions of her acting ability. The writer points out the evident difference of opinions of her television roles as opposed to her film roles.

From the Paper
"Although young, actress Sarah Michelle Gellar has proven herself to be a formidable actress in many different types of situations. The actress has appeared in commercials, television shows, TV movies, and even a few films as well. Although young, she has quickly become one of the most marketable faces of the teenage demographic. However, being marketable does not necessarily mean that a person is a good actor/actress. In this situation, the reviews are quite mixed as some critics completely adore her work and others say that she is lacking in acting ability."

Tags:acting, buffy, critique, doo, review, scooby, slayer, theatre, vampire