Title of Document: CARRY ON: AMERICAN WOMEN AND THE VETERANIST-COMMEMORATION OF THE FIRST WORLD WAR, 1917-1945 Allison Sarah Finkelstein, Ph.D., 2015 Directed By: Associate Professor Saverio Giovacchini, Department of History The commemoration of the First World War deeply impacted American culture between 1917 and 1945, and incited a contentious debate about the best forms of military memorialization. All kinds of American women participated in commemorations alongside men, the government, veterans, and the military. Even more frequently, they took part in predominantly female memorialization projects, many of which aided veterans. Organizations composed of American women who believed they served or sacrificed during the First World War defined community service and veterans advocacy as forms of commemoration that they pursued in addition to, or sometimes instead of, more permanent forms of commemoration. In keeping with women’s contributions to the war effort and their Progressive era service and reform activities, many American women pursued service-based commemorative projects to serve the nation in ways normally prohibited to them because of gender-based restrictions on their citizenship. This dissertation investigates how American women who served during the First World War commemorated the conflict during the interwar period and through the end of World War Two. It employs the term “veteranist-commemorations” to describe the service-based memorialization projects these women advocated, and designates these women as female “veteranist-commemorators.” Rejecting traditional monuments, female veteranist-commemorators placed the plight of male and female veterans at the center of their memorialization efforts. Women’s veteranistcommemorations did not solely address veterans of strictly defined military service, but included anyone who sacrificed during the war. Female veteranist-commemorators pioneered a new form of commemoration that revolutionized American memorial practices. Their actions forced Americans to rethink their commemorative practices and provided a new way to conceptualize the definition of a memorial. Through their outspoken support of veteranistcommemorations, these women promoted a type of commemoration that included intangible actions, human bodies, and ephemeral activities as crucial, defined parts of the memorialization process. In doing so, female veteranist-commemorators changed the course of American military commemoration, even though their memorialization methods did not gain as widespread acceptance as they hoped. CARRY ON: AMERICAN WOMEN AND THE VETERANISTCOMMEMORATION OF THE FIRST WORLD WAR, 1917-1945

Carry on: American women and the veteranist-commemoration of the First World War, 1917-1945

Humanist Narratology and the Suburban Ensemble Dramedy

Criticisms of mass media productions often include a discussion of how women and minorities are systematically excluded and/or relegated to minor roles, or roles that match traditional stereotypes. These types of portrayals are important factors in the social construction of reality among the general public, and therefore may perpetuate racism and sexism on a larger scale. Using a content analysis of fifty popular films in 1996 the present study explores the demographic composition of the leading actresses and actors. The goal is to gauge the strength of female and minority presence and to provide an assessment of character representations through an analysis of labor force participation, sex-roles of occupation, prestige of occupation, and gender. Findings indicate that although both women and minorities have made some advancement in their film portrayals, compared to earlier studies, they still are under-represented in leading roles in Hollywood, and their portrayals are often consistent with traditiona...

Symbolic reality bites: women and racial/ethnic minorities in modern film

ions serves well to introduce another period when such complex metapoetic theatre and metapoetic personiWcations was enjoyed—the late Wfth century bc. This chapter was originally inspired by the conWgurations of gender in the parabasis of Aristophanes’ Clouds. The chorus consists of Athenian citizens costumed and masked as female Clouds, who temporarily assume the voice of the male poet who had created their own comedy (528–37): Years ago I won your applause in this very theatre with The Bugger and the Prude—and I may say it’s always a pleasure to present a play to you, successful or not—well, since I was still a virgin girl, and so could not bring it up myself, I gave it to another girl to adopt; and then you very generously looked after it and fostered it with your applause . . . Now here comes this present comedy, to look for an audience equally discerning. She’s just like Electra in that play; she’ll recognise the lock of her brother’s hair if she sees it. And you can see what a modest girl she is.3 In this striking passage, whatever it signiWes about Aristophanes’ earliest career as a playwright, the poet uses gender and metaphor in a series of related images. He imagines himself as a young unmarried mother, and his play as her baby. He also conceptualizes the present comedy, Clouds, as a young woman, a sister, and a tragic heroine, Electra. It is clear from this passage that Old Comedy’s tendency to oVer metapoetic comment on itself and its creators, and these creators’ capacity for talking about their own history and their rivals, found in the discourse of gender, the female body, and sexuality a rich seam of metaphor, allegory, and personiWcation.4 Aristophanes’ images in the parabasis of Clouds belong to the same broad category as the conWgurations of literary mimēsis in Thesmophoriazusae, which have been shown by Froma Zeitlin to be inseparable from their context in the discussion of the representation of gender.5 More particularly, the images in Clouds preWgure Frogs, 3 Translation adapted from Easterling and Easterling (1962). 4 Much has been published on the blurred distinction between allegory and personification. Following e.g. Maresca (1993), this chapter seeks to avoid confusion by henceforwards using only the term ‘personification’ and avoiding ‘allegorical figure’. 5 Zeitlin (1996). Female Personifications of Poetry 171

The Theatrical Cast of Athens

Creative industries as hubs of new organizational and business practices

One of America's most renowned film scholars, Jeanine Basinger, offers a revealing, perceptive and highly readable look at the combat film. Discussing over one thousand movies, Basinger covers in-depth the key examples of the genre and uses them to define the meaning of genre itself. From "Bataan" to "Battleground" to "The Dirty Dozen" to "Saving Private Ryan," the book traces the evolution of the combat genre, as its recurring characters, plots and events are used and reused over time. There is also a section outlining what happens when women replace men in combat and when the subject is treated as comedy. First published in 1986, this updated and expanded edition of the book contains a new introduction, a new chapter on "Saving Private Ryan" and an updated filmography. This is an essential text for anyone seriously interested in genre, movies, and with 38 photographs, as much a treat to look at as it is to read.

The World War II Combat Film: Anatomy of a Genre

Now, Voyager, Stella Dallas, Leave Her to Heaven, Imitation of Life, Mildred Pierce, Gilda...these are only a few of the hundreds of "women's films" that poured out of Hollywood during the thirties, forties, and fifties - films that not only delivered on their inherent promise to entertain but also opened a door to the Other, the Something Else, that audiences came to the theater yearning to see and feel, if only for a couple of hours. Films widely disparate in subject, sentiment, and technique, they nonetheless shared one dual purpose: to provide the audience (of women, primarily) with temporary liberation into a screen dream - of romance, sexuality, luxury, suffering, or even wickedness - and then send it home reminded of, reassured by, and resigned to the fact that no matter what else she might do, a woman's most important job was...to be a woman. Now, with boundless knowledge and infectious enthusiasm, Jeanine Basinger illuminates the various surprising and subversive ways in which women's films delivered their message. Basinger examines dozens of films, exploring the seemingly intractable contradictions at the convoluted heart of the woman's genre - among them, the dilemma of the strong and glamorous woman who cedes her power when she feels it threatening her personal happiness, and the self-abnegating woman whose selflessness is not always as "noble" as it appears. Basinger looks at the stars who played these women (Kay Francis, Barbara Stanwyck, Joan Crawford, Bette Davis, Rosalind Russell, Susan Hayward, Myrna Loy, and a host of others) and helps us understand the qualities - the right off-screen personae, the right on-screen attitudes, the right faces, the right figures forcarrying the right clothes - that made them personify the woman's film and equipped them to make believable drama or comedy out of the crackpot plots, the conflicting ideas, and the exaggerations of real behavior that characterize these movies. In each of the films the author discus

A Woman's View: How Hollywood Spoke to Women, 1930-1960

The Star Machine

The i do and don t that we provide for you will be ultimate to give preference. This reading book is your chosen book to accompany you when in your free time, in your lonely. This kind of book can help you to heal the lonely and get or add the inspirations to be more inoperative. Yeah, book as the widow of the world can be very inspiring manners. As here, this book is also created by an inspiring author that can make influences of you to do more.

I Do and I Don't

Hollywood: The Oral History covers the history of Hollywood from the Silent era up to the 21st century.
 What makes this book unique from any other survey of Hollywood's history is that it is the history of an art form through the words of those people who created it – from Harold Lloyd to Katharine Hepburn to Warren Beatty to Jane Fonda and beyond, including directors, writers, producers, editors, designers of sets and costumes. As such, the authenticity of the text is irrefutable.
 The material in the book – gathered over the decades by the American Film Institute – has never been published before, has never been heard before. It is comprehensive - a monument that will never age nor be surpassed.

Jeanine Basinger

Papers

The World War II Combat Film: Anatomy of a Genre

A Woman's View: How Hollywood Spoke to Women, 1930-1960

The Star Machine

I Do and I Don't

Hollywood