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Born in New York City to Hungarian Jewish immigrant parents, he spent a decade working in the theatre on Broadway and Rochester (firing the unknown Bette Davis) before coming West in 1930. His movies reflect that background: good scripts and excellent performances from stars. He left the camera work to others.




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MGM's Production Chief Irving Thalberg entrusted Cukor with the lavish Romeo and Juliet (1936). Leslie Howard and Norma Shearer were too old for the leads, and the movie is stagy, yet has many effective moments. For him, Greta Garbo dazzled in Camille (1936). He began working on Selznick's Gone With the Wind, not completed until 1939.


Studio heads respected Cukor's commercial and critical successes. Jack Warner of Warner Bros. gave him the musical remake of A Star Is Born (1954), Judy Garland's comeback vehicle. Shooting was challenging " she worked erratically " but Cukor blamed the delays and cost overruns on the switch to CinemaScope after filming began. "Just about the finest one-woman show in modern movie history," raved Time. Business was brisk.


Cukor kept his social life divided. Hepburn, Garbo, Leigh and other legends were regular weekend lunch guests. Evenings were for gay parties, including the hustlers he hired. There is no "Cukor" look in his movies. He was a professional working in a company town who directed a high percentage of noteworthy movies. It's an admirable legacy.


Today, of course, there is widespread critical appreciation for the horror genre. In recent years, especially, the horror movie field has taken a sharp step up in terms of ambition and perceived legitimacy, with smart and multi-layered movies from artists like M. Night Shyamalan, Guillermo Del Toro, and Jordan Peele pushing boundaries and daring to let the genre wear its once-coded cultural subtext on its sleeve.


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Harry Potter author JK Rowling never made a secret of the fact that, while she was writing, she always pictured master magician and Hogwarts headmaster Albus Dumbledore as gay. This side of the old wizard's personality was never made clear in the books or the original run of movies, to the disappointment of some. Could the promised sequel to Rowling's new movie, 'Fantastic Beasts and Where to Find Them', remedy that?


We already knew that 'Fantastic Beasts and Where to Find Them' - which is set in 1920s New York and follows magical naturalist and Hogwarts pupil New Scamander (Eddie Redmayne) - would be just the first of five movies. We also knew that Dumbledore would make an appearance in the first sequel, though we've no idea how big a role he'll have, or who'll be playing him (though we reckon Benedict Cumberbatch could be the perfect choice). Albus will be a younger man in this era - somewhere in his 40s, by our calculations - and less caught up in his work, so he'll presumably have more time to dedicate to personal matters.


Smith College offers graduate work leading to the degrees of master of arts, master of arts in teaching, master of fine arts, master of education, master of education of the deaf, master of science in exercise and sport studies and master of Social Work. Each student is required to archive his or her thesis in Smith ScholarWorks for access and preservation.


Mateo Askaripour was a 2018 Rhode Island Writers Colony writer-in-residence, and his writing has appeared in Entrepreneur, Lit Hub, Catapult, The Rumpus, Medium, and elsewhere. He lives in Brooklyn, and his favorite pastimes include bingeing music videos and movie trailers, drinking yerba mate, and dancing in his apartment. Black Buck is his debut novel. Follow him on Twitter and Instagram at @AskMateo.


Marginalization, a fluid concept, challenges status quo understandings and representations of individuals throughout the world. Considered to reference individuals who have been excluded from the mainstream dialogue, marginalization has developed into a term that evokes an examination of the master narrative, also known as the metanarrative. In a world where the master narrative predominates, individuals are systematically excluded based on a characteristic or characteristics they possess that disrupt a specified system of cultural norms. In relation to the global media, marginalized voices represent groups that have self-contained cultural norms and rules that differ from mainstream norms and rules. While marginalized groups may share some norms, rules, and values with the mainstream culture, they possess differences that can be viewed as transgressive, existing outside the mainstream norms, rules, and values. Media representations of groups that are globally marginalized, and sometimes stigmatized, include but are not limited to race, ethnicity, sexuality, gender, class, ableism, and religion. A study of these marginalized groups reveals an implied system of privilege that reifies the status quo and supports the master narrative. Media invisibility results from marginalization, and when marginalized groups are represented, often those representations are through a marketable, stereotypical lens. As a result of the dearth of images, and a system of privilege, few studies examine marginalized groups in countries throughout the world. By creating a global dialogue about marginalized voices, images, and self-representations, advocacy for difference and understanding allows these voices, images, and self-representations to become expressive renderings of specific transgressive cultural norms. 041b061a72


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