George Cukor: Hollywood Master

A critical analysis of the films and career of George Cukor. George Cukor: Hollywood Master is the first book to focus on the career of director George Cukor, one of classic Hollywood's most important figures, with films such as The Women , Adam's Rib , Born Yesterday , Gaslight , and A Star is Born to his credit. The various essays in this volume, all written by prominent experts in the field, offer critical discussions of every feature film Cukor directed and include a rich trove of valuable information about their production histories. This is the first book devoted to one of the most beloved figures from the American cinema's golden age.

- Aa Reduce text
- Aa Enlarge text

View selected items
Save to my bookmarks
Export citations
Download PDF (zip)
Save to Kindle
Save to Dropbox
Save to Google Drive
Save content to
To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to .

To save content items to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Please be advised that item(s) you selected are not available.
You are about to save
Your Kindle email address

Please provide your Kindle email.

@free.kindle.com @kindle.com (service fees apply)

By using this service, you agree that you will only keep content for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services

Contents

Frontmatter
pp i-iv
- - Get access
    
    Check if you have access via personal or institutional login
    
    Log in Register
- Export citation

Contents
pp v-vi
- - Get access
    
    Check if you have access via personal or institutional login
    
    Log in Register
- Export citation

List of Figures
pp vii-viii
- - Get access
    
    Check if you have access via personal or institutional login
    
    Log in Register
- Export citation

List of Contributors
pp ix-xii
- - Get access
    
    Check if you have access via personal or institutional login
    
    Log in Register
- Export citation

Acknowledgments
pp xiii-xiv
- - Get access
    
    Check if you have access via personal or institutional login
    
    Log in Register
- Export citation

Introduction
pp 1-10
- By R. Barton Palmer, Calhoun Lemon Professor of Literature and Director of Film Studies at Clemson University, Murray Pomerance, Professor in the Department of Sociology at Ryerson University
- - Get access
    
    Check if you have access via personal or institutional login
    
    Log in Register
- Export citation

1 - Cukor's Tragicomedies of Marriage: Dinner at Eight, No More Ladies, The Women, and The Marrying Kind
pp 11-27
- By Maureen Turim, Professor of Film and Media Studies in the Department of English at the University of Florida and has published three books, The Films of Oshima Nagisa
- - Get access
    
    Check if you have access via personal or institutional login
    
    Log in Register
- Export citation

2 - George Cukor's Late Style: Justine, Travels With My Aunt, and Rich and Famous
pp 28-42
- By James Morrison, Professor of Literature and Film at Claremont McKenna College
- - Get access
    
    Check if you have access via personal or institutional login
    
    Log in Register
- Export citation

3 - Libel, Scandal, and Bad Big Names: It Should Happen to You, Les Girls, Camille, and Romeo and Juliet
pp 43-59
- By Dominic Lennard, Associate Lecturer in the Centre for University Pathways and Partnerships at the University of Tasmania
- - Get access
    
    Check if you have access via personal or institutional login
    
    Log in Register
- Export citation

4 - The Cukor “Problem”: David Copperfield, Holiday, and The Philadelphia Story
pp 60-76
- By Robert B. Ray, Professor of English at the University of Florida
- - Get access
    
    Check if you have access via personal or institutional login
    
    Log in Register
- Export citation

5 - Modulations of the Shot: The Quiet Film Style of George Cukor in What Price Hollywood?, Born Yesterday, Sylvia Scarlett, and My Fair Lady
pp 77-91
- By Lee Carruthers, Assistant Professor of Film Studies at the University of Calgary
- - Get access
    
    Check if you have access via personal or institutional login
    
    Log in Register
- Export citation

6 - Doubling in the Cinema of George Cukor: The Royal Family of Broadway, A Bill of Divorcement, A Double Life, and Bhowani Junction
pp 92-106
- By Michael DeAngelis, Associate Professor of Media and Cinema Studies in the College of Communication at De Paul University
- - Get access
    
    Check if you have access via personal or institutional login
    
    Log in Register
- Export citation

7 - George Cukor and the Case of an Actor's Director: Hepburn and/or Tracy in Little Women, The Actress, Keeper of the Flame, Adam's Rib, and Pat and Mike
pp 107-123
- By Charlie Keil, Professor in the History Department and the Cinema Studies Institute at the University of Toronto
- - Get access
    
    Check if you have access via personal or institutional login
    
    Log in Register
- Export citation

8 - Cukor Maudit: Tarnished Lady, Girls About Town, Our Betters, Susan and God, Desire Me, Edward, My Son, The Model and the Marriage Broker, Let's Make Love, and The Chapman Report
pp 124-138
- By Bill Krohn, Los Angeles correspondent of Cahiers du cinéma for thirty-five years
- - Get access
    
    Check if you have access via personal or institutional login
    
    Log in Register
- Export citation

9 - George Cukor's Theatrical Feminism: Gaslight, Heller in Pink Tights, A Life of Her Own, and A Star is Born
pp 139-155
- By Linda Ruth Williams, Professor of Film in the English Department at Southampton University
- - Get access
    
    Check if you have access via personal or institutional login
    
    Log in Register
- Export citation

10 - The Furthest Side of Paradise: Two-Faced Woman, A Woman's Face, Hot Spell, Wild is the Wind, and Winged Victory
pp 156-172
- By R. Barton Palmer, Calhoun Lemon Professor of Literature and Director of Film Studies at Clemson University
- - Get access
    
    Check if you have access via personal or institutional login
    
    Log in Register
- Export citation

Works Cited and Consulted
pp 173-178
- - Get access
    
    Check if you have access via personal or institutional login
    
    Log in Register
- Export citation

Index
pp 179-186
- - Get access
    
    Check if you have access via personal or institutional login
    
    Log in Register
- Export citation

Metrics

Total number of HTML views: 0

Total number of PDF views: 0 *

Loading metrics...

Total views: 0 *

Loading metrics...

* Views captured on Cambridge Core between #date#. This data will be updated every 24 hours.

Usage data cannot currently be displayed.

Why this information is here

This section outlines the accessibility features of this content - including support for screen readers, full keyboard navigation and high-contrast display options. This may not be relevant for you.

Accessibility Information

Accessibility compliance for the PDF of this book is currently unknown and may be updated in the future.

George Cukor

Hollywood Master

Book description

Refine List

Actions for selected content:

Contents

Frontmatter
pp i-iv

Contents
pp v-vi

List of Figures
pp vii-viii

List of Contributors
pp ix-xii

Acknowledgments
pp xiii-xiv

Introduction
pp 1-10

1 - Cukor's Tragicomedies of Marriage: Dinner at Eight, No More Ladies, The Women, and The Marrying Kind
pp 11-27

2 - George Cukor's Late Style: Justine, Travels With My Aunt, and Rich and Famous
pp 28-42

3 - Libel, Scandal, and Bad Big Names: It Should Happen to You, Les Girls, Camille, and Romeo and Juliet
pp 43-59

4 - The Cukor “Problem”: David Copperfield, Holiday, and The Philadelphia Story
pp 60-76

5 - Modulations of the Shot: The Quiet Film Style of George Cukor in What Price Hollywood?, Born Yesterday, Sylvia Scarlett, and My Fair Lady
pp 77-91

6 - Doubling in the Cinema of George Cukor: The Royal Family of Broadway, A Bill of Divorcement, A Double Life, and Bhowani Junction
pp 92-106

7 - George Cukor and the Case of an Actor's Director: Hepburn and/or Tracy in Little Women, The Actress, Keeper of the Flame, Adam's Rib, and Pat and Mike
pp 107-123

8 - Cukor Maudit: Tarnished Lady, Girls About Town, Our Betters, Susan and God, Desire Me, Edward, My Son, The Model and the Marriage Broker, Let's Make Love, and The Chapman Report
pp 124-138

9 - George Cukor's Theatrical Feminism: Gaslight, Heller in Pink Tights, A Life of Her Own, and A Star is Born
pp 139-155

10 - The Furthest Side of Paradise: Two-Faced Woman, A Woman's Face, Hot Spell, Wild is the Wind, and Winged Victory
pp 156-172

Works Cited and Consulted
pp 173-178

Index
pp 179-186

Metrics

Full text views

Book summary page views

Accessibility standard: Unknown

Why this information is here

Accessibility Information

George Cukor

Hollywood Master

Book description

Refine List

Actions for selected content:

Save Search

Contents

Metrics

Full text views

Book summary page views

Accessibility standard: Unknown

Why this information is here

Accessibility Information