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1937–1940
by
Brian Kellow
in
Actors
/ Anthropology
/ Applied anthropology
/ Art criticism
/ Art theory
/ Artists
/ Arts
/ Atmospheric circulation
/ Atmospheric physics
/ Atmospheric sciences
/ Authoritarianism
/ Behavioral sciences
/ Biological sciences
/ Biology
/ Business
/ Childbirth
/ Cultural anthropology
/ Cultural industries
/ Cultural studies
/ Economic disciplines
/ Economics
/ Employment
/ Entertainment industries
/ Environmental studies
/ Fascism
/ Film criticism
/ Film studies
/ Films, cinema
/ Human physiology
/ Human reproduction
/ Individual actors & performers
/ Industrial sectors
/ Industry
/ Labor economics
/ Motion picture industry
/ Movies
/ Nazism
/ Occupations
/ Performing artists
/ Performing arts
/ Physiology
/ Political ideologies
/ Political philosophy
/ Political science
/ Scripts
/ Stagecraft
/ Theater
/ Theater criticism
/ Theatre studies
/ Trade winds
/ Wind
2004
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1937–1940
by
Brian Kellow
in
Actors
/ Anthropology
/ Applied anthropology
/ Art criticism
/ Art theory
/ Artists
/ Arts
/ Atmospheric circulation
/ Atmospheric physics
/ Atmospheric sciences
/ Authoritarianism
/ Behavioral sciences
/ Biological sciences
/ Biology
/ Business
/ Childbirth
/ Cultural anthropology
/ Cultural industries
/ Cultural studies
/ Economic disciplines
/ Economics
/ Employment
/ Entertainment industries
/ Environmental studies
/ Fascism
/ Film criticism
/ Film studies
/ Films, cinema
/ Human physiology
/ Human reproduction
/ Individual actors & performers
/ Industrial sectors
/ Industry
/ Labor economics
/ Motion picture industry
/ Movies
/ Nazism
/ Occupations
/ Performing artists
/ Performing arts
/ Physiology
/ Political ideologies
/ Political philosophy
/ Political science
/ Scripts
/ Stagecraft
/ Theater
/ Theater criticism
/ Theatre studies
/ Trade winds
/ Wind
2004
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Do you wish to request the book?
1937–1940
by
Brian Kellow
in
Actors
/ Anthropology
/ Applied anthropology
/ Art criticism
/ Art theory
/ Artists
/ Arts
/ Atmospheric circulation
/ Atmospheric physics
/ Atmospheric sciences
/ Authoritarianism
/ Behavioral sciences
/ Biological sciences
/ Biology
/ Business
/ Childbirth
/ Cultural anthropology
/ Cultural industries
/ Cultural studies
/ Economic disciplines
/ Economics
/ Employment
/ Entertainment industries
/ Environmental studies
/ Fascism
/ Film criticism
/ Film studies
/ Films, cinema
/ Human physiology
/ Human reproduction
/ Individual actors & performers
/ Industrial sectors
/ Industry
/ Labor economics
/ Motion picture industry
/ Movies
/ Nazism
/ Occupations
/ Performing artists
/ Performing arts
/ Physiology
/ Political ideologies
/ Political philosophy
/ Political science
/ Scripts
/ Stagecraft
/ Theater
/ Theater criticism
/ Theatre studies
/ Trade winds
/ Wind
2004
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Book Chapter
1937–1940
2004
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Overview
Following her departure from MGM, Constance waited around for another decent contract offer to materialize. When none did, she signed a two-picture deal with Gaumont-British, a studio known for its Alfred Hitchcock thrillers and Jessie Matthews musicals. The first film was a World War I drama calledEverything Is Thunder, adapted from a novel by J.B. Hardy; the second was being developed under the working titleThe Hawk. Constance was to receive a salary of $55,000 for each picture—a swift drop from her asking price a couple of years earlier—plus 10 percent of the U.S. gross. Once production
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