Abstract

This essay explores the significantly different representation of heterosexual romance in Carefree (Mark Sandrich, 1938), the penultimate movie in the enormously popular Depression-era cycle of Fred Astaire and Ginger Rogers musicals, and attributes the difference to a shift in the construction of Rogers’s persona, starting with her performance in Stage Door (Gregory LaCava, 1937).

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Additional Information

ISSN
1558-9595
Print ISSN
0004-1610
Pages
pp. 121-147
Launched on MUSE
2015-05-29
Open Access
No
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