Universal Women: Filmmaking and Institutional Change in Early Hollywood

Index

Index note: page numbers in italics refer to illustrations. adams, Stella, 61 The Adventures of Kathlyn (Selig), 110, 125 Adventures of Peg o’ the Ring (cunard, ford), 113, 122, 126, 207n75, 212n38 allegorical films, 135, 143–44. See also missionary pictures; preachments; sociological films altman, rick, 99–100, 103, 106 The Amazing Wife (park), 156, 158, 160 american films, 13–14 anderson, mignon, 143 bachelard, gaston, 46, 202n2 baker, tarkington, 30, 31, 184 baldwin, ruth ann, 24; apprenticeship as director, 85–86, 142; film brands, 24; films directed at Universal, xiv; marriage, 73; media portrayal, 40–41; screenwriting career, 113, 142, 144, 184; self-sacrificing woman theme, 143; style, 142. See also ‘49–’17 ball, Eustace Hale, 114 balshofer, fred, 20 baumann, charles, 11, 20, 29 bean, Jennifer, 126 Beauty in Chains (wilson), 167 bernstein, isadore, 78; biographical information , 199n14; on hostility to movie people , 59; image, 57; as production manager, 31, 32, 184; reputation and personality, 76–79; role and power at Universal, 53, 54; on studio efficiency, 37–38 Bettina Loved a Soldier (Julian), 139 Betty in Search of a Thrill (weber, Smalley), 131 bielby, denise d., 102 bielby, william t., 102 big woods dramas, 166–67 billington, francelia, 23 Birth of Patriotism (ingleton), 142 bison films, 23 The Black Box, 48, 113, 114, 120 Black Box (serial), 62 bluebird films: advertising and marketing, 104–6, 105, 107; advertising autonomy, 12–13, 194n11, 194n16; directors, 139; income and cost statistics, 18–19; origin, 6–7, 23; prestige level, 14, 18, 19; profitability , 137–39; role at Universal, 104; star system, 108; as symbolic of changes at Universal, 104; women directors, 24, 36–37, 154–55, 166. See also specific films Bobbie of the Ballet (de grasse), 141 boddewyn, J., 9–10 Bondage (park), 156 Borrowed Clothes (weber), 157–58 bosworth, Hobart, 131 The Boy-Girl (bluebird film), 48 222 i n d E X brand architecture, 6–7 brand marketing: 22–23, 103, 196–97n41, 197n42. See also bluebird films; Jewel films brandt, Joe, 29, 114–15 Bread (park), 129, 156, 160–63, 162 broadway features, 132 Broadway Love (park), 94–95, 156 The Broken Coin (cunard, ford), 112, 116, 121, 121–22, 126 brokerage-administration, 101–2 brooks, Jim, 20 browning, tod, 96, 108–9, 168 brulatour, Jules, 11 buckam, Hazel, 22 bureaucracy, 27–28 “bureaucratic Structure and personality” (merton), 27 bush, pauline, 22 butler, Judith, xxv butterfly films, 13, 14, 144, 166 The Butterfly Man (madison), 183 Careers for Women, xv carey, Harry, 84–85, 88, 95, 140 carter, Harry, 23 caulfield, Harry, 57 Chalice of Sorrow (ingram), 139 champion film company, 11 chaney, lon, 22, 23, 155 A Chapter in Her Life (weber), 183 chauder, louis w., 22 chicago, illinois, 50 Chicago Daily Tribune, 183 christie, al, 22 The Circus of Life (wilson), 166 The City of Tears, 167 clawson, Eliot J., 23 clifford, ruth, 167–68 clifton, Elmer, 108–9 cochrane, robert H., 78; decision-making power at Universal, 28–29; on movie publicity, 107; organization structure and authority, 7–8, 32–33, 34, 35, 36 cody, lew, 183 condon, mabel, 79 conservatism: 80–84. See also happy endings ; sexual double standards and social messages conway, Jack, 23, 139 cost accounting, 41 cott, nancy, xxii The Cricket (wilson), 166 cunard, grace, 48, 121; brands and genres directed, 24; The Broken Coin, 121; feminine madcap persona, 126; films directed at Universal, xiv, 187n2; marriage, 73; private life, 184; roles involving gender switches, 62; serials, 110–12, 116 custer, peggy, 73 dating, xxi, xxiii davis, H. o., 43; business emphases, 32, 62–63; filmmaking description, 100; job gendering impact, 201n44; mcrae relationship, 35–36; meritocracy and women directors, 42–44; organizational vision for Universal, 38–40; organization structure and authority, 7–8, 31, 32; replacement by mcrae, 37; reputation and personality, 79; star system opposition, 200–201n35; struggles with laemmle, 32–35; women directors, 32, 37 dean, priscilla, 96 de grasse, Joseph: brands and genres directed, 22–24, 96, 108–9, 139; marriage , 73 de Haven, carter, 73 de Haven, flora parker, 73 denton, frances, 168 dillon, Jack, 96 dimaggio, paul, 101 dintenfass, mark, 11, 29, 57 director role and function, 38–40, 78 director-unit system v. central producer system, 40–41 The Doctor and the Woman (weber), 157 A Doll’s House (de grasse), 169 Dolly’s Scoop (de grasse, park), 47 The Double Standard (Smalley), 169 dramatic features. See feature-film dramas The Dream Lady (wilson), 48, 106, 107, 109, 167 drew, donna...