Explore the vast range of titles available.

Mary Pickford contrató a Frances Marion en 1915 para que escribiera los guiones de sus películas, éxitos de taquilla que afianzaron su estrellato en la década de los diez del siglo veinte. En un marco social convulso, marcado por la Primera Guerra Mundial y los cambios que las mujeres sufrieron en el paso de una sociedad decimonónica a una moderna, los personajes de Mary Pickford fueron un modelo de optimismo para las audiencias. La estrella representó una figuración tradicional, pero a través de la comicidad ofreció nuevos comportamientos femeninos. El artículo estudiará la comicidad de los personajes de la estrella para exponer que en su gestualidad cómica se vislumbra una autónoma subjetividad femenina.  A partir del análisis del gag de la caída cómica que se encuentra en todas las películas de Frances Marion y Mary Pickford se demostrará que la guionista y la estrella desarrollaron un discurso alternativo a la visión falocéntrica del sujeto. A través de los Star Studies y las teorías filosóficas feministas de Teresa De Lauretis y Rosi Braidotti se demostrará que en la caída cómica Mary Pickford reveló una subjetividad “excéntrica”, capaz de crear un “otro lugar” de resistencia al logos decimonónico y patriarcal.

Actress Mary Pickford is perhaps best remembered for her silent-screen persona “Little Mary.” But there was another important aspect to her Hollywood career that is frequently overlooked today: Pickford’s rise to power and fame corresponded with the era of the “New Woman” in U.S. society. This article explores the mediated construction of new womanhood as communicated through the coverage of Pickford’s career between 1918 and 1921 in the pages of the fan magazine Photoplay. It demonstrates how Photoplay used coverage of Pickford to promote the ideal of new womanhood until 1919, when she became the most powerful woman in American moviemaking by co-founding United Artists with three men. After that, at the start of the Roaring Twenties, the magazine sought to contain new womanhood by presenting Pickford almost exclusively as a child, without continuing to acknowledge her abilities as a savvy movie mogul and grown woman as it had regularly done in the past—until significant changes in her personal life required another noteworthy shift in the magazine’s coverage patterns of this star.

By Mabel Rowland's public accounting, the Institute of the Woman's Theatre helped hundreds of so-called stagestruck girls realize their ambitions by providing a safety net for the pitfalls of the commercial theatre. The organization, officially established in 1926 and in operation until roughly 1930, was said to have begun years earlier, “the outgrowth of a group which was formed in 1910 and used to meet in the Fitzgerald Building.” As president, Rowland—a press agent, well-known comedic monologist, and all-around theatre factotum—was supported by society women and a cadre of famous female writers and performers, including Florence Reed, who served as Vice President, and charter members Julia Arthur, Irene Castle, Rachel Crothers, Helen Hayes, Violet Heming, Elsie Janis, Anita Loos, Mary Pickford, and Mary Shaw, plus about a dozen more. At the time of its official founding, the institute announced that it would undertake three activities. First, it sought to establish a professional Broadway theatre as exclusively a women's operation, employing female playwrights, designers, directors, managers, producers, box-office staff, and so forth: “The only men who will be connected with the enterprise … are the actors and stagehands.” Second and third, the institute would give “aid and advice to girls from out of town who think they have something to offer the theater, read scripts and give opinions thereon, and in other ways labor in behalf of the feminine side of the stage.” The institute's goal of a theatre in tandem with discovering talented women looked to create a meaningful shift in women's inclusion and power within commercial theatre.

\"I always study a part very carefully and try to get into the spirit of the child I am to portray,\" commented twenty-six-year-old Mary Pickford (1892-1979) in a July 1918 interview in Motion Picture Classic. \"The costume, dressing the character, means a lot. You know, when I'm dressed as a child, I never walk. I always skip or run. Funny how one feels a character when ... dressed for the part. You just naturally lose your own identity\" (McKelvie). During the years 1917-20 Mary Pickford achieved international celebrity appearing in screen adaptations of several classic children's novels and stories, including Eleanor Gates's The Poor Little Rich Girl (1912), Kate Douglas Wiggin's Rebecca of Sunny-brook Farm (1903), Frances Hodgson Burnett's A Little Princess (1903), William J. Locke's Stella Maris (1913), Belle K. Maniates's Amarilly of Clothes-Line Alley (1915), Bret Harte's \"M7apos;liss\" (1868), Jean Webster's Daddy-Long-Legs (1912), and Eleanor H. Porter's Pollyanna (1913). These \"growing girl\" films, as I shall call them, instantly eclipsed the popularity of her earlier films, most of which had featured her in adult roles. 1 Audiences, if not all the critics, notes biographer Robert Windeler, were delighted to discover the \"Little Mary\" of the long, backlighted blonde curls, \"in Tattered-Tom clothes, a sometimes smudged face, and with no visible breasts\" (96). Now, at the zenith of her career, Pickford's little-girl roles established her indisputably as the highest paid, most recognized, most idolized, and most powerful female in the entertainment business. She had forged an image, says commentator Arlene Croce with a touch of sarcasm, that \"had become the nearest thing to a universally recognized holy icon\" (132).

Stella Maris Mary Pickford plays dual leads in this 1918 film, directed by her former costar Marshall Neilan.

DYNASTY OWNED: Rosewood gate posts, each carved with a temple guardian dog at the newel, sold for $2,040. The posts were first owned by the Qing Dynasty of China.; PHOTOGRAPHER: Julien's Auctions; VALUABLE: A soup tureen that has no famous maker's name on it, and might sell for $40 at a garage sale, sold for $270 because it once sat on a table at which many celebrities wined and dined.; PHOTOGRAPHER: Julien's Auctions; [Douglas Fairbanks]: An oil portrait of [MARY Pickford]'s spouse hung at the top of the staircase in Pickfair for years. The painting by R. Hammeraas sold for $6,600.; PHOTOGRAPHER: Photographs from [Darren Julien]'s Auctions; RUSSIAN ICON: Made of cloisonne, silver and pearl.

one photo

Although \"A Life On Film\" depends too much on [Whoopi Goldberg]'s narration to tell the story (clips of [Mary Pickford]'s work explain her allure and her artistry far better than any text), the interviews with such seminal film figures as Pickford's stepson, Douglas Fairbanks Jr.; her third husband, Charles \"Buddy\" Rogers; and Roddy McDowall, who was best friend to just about everyone in Hollywood, are invaluable in understanding Pickford's life. Their interviews are made even more valuable by the realization that all three men died within the past 18 months.

What reverses have you sustained? Don't be discouraged and don't become a prisoner of defeatism. Recoup your strength and start on the comeback. It will help to read Psalm 56, especially its finale: \"Thou hast delivered my soul from death, yea my feet from falling that I may walk before God in the light of the living.\"