The Judy Garland Souvenir Songbook

Notes ◽  
1976 ◽  
Vol 33 (1) ◽  
pp. 173
Author(s):  
Charles W. Jared ◽  
Howard Harnne
Keyword(s):  
Judy Garland

The Theatricality of Gender and Drag Performance

2020 ◽  
pp. 99-118
Author(s):  
Elyce Rae Helford
Keyword(s):  
Box Office ◽  
Female Protagonist ◽  
Old West ◽  
Judy Garland

This chapter attends to a seemingly disparate trio of films, the romantic adventure Sylvia Scarlett (1935), the theatrical Western Heller in Pink Tights (1950), and the melodrama-with-music A Star is Born (1954). The three are bound by scenes in which the female protagonist appears in male drag. Katharine Hepburn plays male for almost an entire film that went on to flop hideously at the box office, while Sophia Loren impersonates Old West stage presence Adah Isaacs Menken, with outrageous impact. Perhaps most unexpected of all, Judy Garland dons boyish drag for a song-and-dance number just before breaking down over her alcoholic husband’s disastrous life. While the films’ purposes and impacts differ, together they illustrate the concept of gender-as-performance, as it bends but does not break classic Hollywood cinematic traditions.

scholarly journals Performing gender in the studio and postmodern musical

2012 ◽  
pp. 19-35
Author(s):  
Michael Charlton
Keyword(s):  
First Century ◽  
Marilyn Monroe ◽  
Female Roles ◽  
Studio System ◽  
Twenty First Century ◽  
Judy Garland ◽  
Studio Era ◽  
Howard Hawks ◽  
Historical Periods ◽  
A Performance

This essay explores two distinct historical periods in the Hollywood musical through a Butlerian reading of gender as a performance. The two example films from the studio era, Howard Hawks’ Gentlemen Prefer Blondes (1953) and the restored version of George Cukor’s A Star is Born (1954), are contextualised not only within the studio system but through the constructed star personae of their leads—Marilyn Monroe and Judy Garland. Baz Luhrmann’s Moulin Rouge! (2001) and Rob Marshall’s Chicago (2002), the two example films from the twenty first century, are contextualised within a Jamesonian post-modern aesthetic and as examples of the non-studio, non-star filmic text as act of nostalgia. In contrasting these historical periods, the essay posits that the studio musical was, in fact, always already “post-modern” in its fragmentation of narrative in favour of the star performance, which constructs the gendered persona of the star. In addition, it is suggested that the sub-textual subversion of traditional female roles within the studio star performance is in many ways more effectively critical of gender conventions than the intentionally parodic aesthetics of Luhrmann and Marshall.

The ruby slippers at the V&A: an odyssey

2021 ◽  
pp. 62-67
Author(s):  
Keith Lodwick
Keyword(s):  
Smithsonian Institution ◽  
Wizard Of Oz ◽  
Security Guard ◽  
Judy Garland ◽  
Victoria And Albert Museum

In this chapter, a curator from the Victoria and Albert Museum in London tells of efforts to track down the iconic ruby slippers worn by Judy Garland in The Wizard of Oz for the major exhibition Hollywood Costume held at the museum in 2012. Once the shoes were located, they travelled to London from Washington, D.C. in their own seat on a plane, handcuffed to a security guard and accompanied by the curator of the Smithsonian Institution. Their arrival at the V&A prompted a top-secret security operation. The resulting exhibition remains one of the most successful in the V&A’s history.

Judy Garland at the Gymgay magazines and gay bodybuilding

Continuum ◽  
2000 ◽  
Vol 14 (2) ◽  
pp. 159-170 ◽  
Author(s):  
Tim Benzie
Keyword(s):  
Judy Garland

Get happy: the life of Judy Garland

2000 ◽  
Vol 38 (02) ◽  
pp. 38-0839-38-0839
Keyword(s):  
Judy Garland

Lena Horne and Judy Garland: Divas, Desire, and Discipline in the Civil Rights Era

2014 ◽  
Vol 58 (4) ◽  
pp. 105-119 ◽  
Author(s):  
Deborah Paredez
Keyword(s):  
Civil Rights ◽  
Civil Rights Era ◽  
Judy Garland

The diva inhabits and elicits desire that exceeds and implicates the normal. Lena Horne’s 1963 duet with July Garland embodies a model for the ways a Black diva disciplines her body to occupy desire while simultaneously maneuvering against the disciplining clutches of racist desires that circumscribe her body.

Introduction

2021 ◽  
pp. 1-22
Author(s):  
Omar G. Encarnación
Keyword(s):  
New York ◽  
American History ◽  
Gay Rights ◽  
Conventional Wisdom ◽  
Safe Environment ◽  
Greenwich Village ◽  
Judy Garland ◽  
Lgbt People ◽  
Police Commissioner ◽  
New Yorkers

This chapter mentions New York police commissioner James P. O’Neill, who during a safety briefing for the 2019 WorldPride festival apologized for an event that took place on June 28, 1969. It recounts the raid of the Stonewall Inn in 1969, a bar in Greenwich Village that provided a safe environment for LGBT people to gather and socialize. The raid turned into a violent clash that spread around the bar’s vicinity and lasted for several days. It also speculates what prompted the rioting at the Stonewall Inn, exploring the theory that the death of singer-actress and gay icon Judy Garland put gay New Yorkers on edge. The chapter discusses the paramount importance of the Stonewall Riots to the rise of the contemporary gay rights movement. It points out that conventional wisdom considers the Stonewall rebellion to have been the first instance of gay resistance in American history.

What Price Hollywood?

2020 ◽  
Author(s):  
Elyce Rae Helford
Keyword(s):  
Small Groups ◽  
Gender Performance ◽  
Gender And Sexuality ◽  
Hollywood Cinema ◽  
Romantic Comedies ◽  
Female Friendships ◽  
Marilyn Monroe ◽  
Judy Garland

A prolific director of classic Hollywood cinema, George Cukor was known for his romantic comedies and dramas and his work with difficult leading ladies. For such work, he was labeled a “woman’s director.” He did build or enhance the careers of many strong, independent actresses, including Katharine Hepburn, Greta Garbo, Judy Holliday, Judy Garland, and Marilyn Monroe. However, the tag was also derogatory, referencing the fact of Cukor’s homosexuality. He was also called an “actor’s director,” for he emphasized his connections with his stars to draw out compelling performances even within his less effective films. Taking a queer feminist approach to these labels, the director, and his directing style, this volume explores issues of gender and sexuality within groups of Cukor pictures. Chapters reach across and among eras and genres to study small groups of films by theme, nuanced by ethnicity, class, and race. Topics covered include female friendships, the male alcoholic, domesticity and ethnic assimilation, gender performance, drag acts, and queer musical excess.

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