Iulia Necșulescu

“Someone might ask, if the dynamic of innovation consists of schema and revision, where does true originality come from? Is there no single work we can point to as the ultimate source of this or that new storrytelling strategy? I'm inclined to say there is no such source. Artists working in mass art forms find originality by revising schemas in circulation, or by revising ones that have fallen into disuse.”
― David Bordwell, Reinventing Hollywood: How 1940s Filmmakers Changed Movie Storytelling

“I've worked very hard, you know," she confided to him, "and I've planted some kind of-I've been lucky enough, I guess, to plant a star-and then people wanted to either get in the act or else they wanted to rob me emotionally or financially, whatever. And then walk away and it's always lonely”
― Anne Edwards, Judy Garland

“The repressive fifties were giving way to the rebellious sixties, symbolized by miniskirts and Playboy magazine and the young, progressive-thinking family in the White House. Elizabeth's great achievement during this period was that she made the public want her as she was: she made being sexy, independent and defiant of cultural norms the desirable way to be.”
― william J Mann

“Though
the actresses who played female boys were of all ages and performed in a vari-
ety of acting styles, they were generally small, thin, white, and photogenic, and
their performances combined boldness and vulnerability. Their femaleness al-
lowed them to convey fragility and androgynous beauty. These performances
demonstrate that cross-gender casting, which may seem like an inherently
transgressive practice to twenty-first-century scholars, can also uphold conser-
vative gender, class, and racial regimes. At the same time, the performances
cannot be dismissed as reactionary or antifeminist, because they embodied
middle-class women’s sentimental politics and created a space in which wom-
en’s bodies had an important role in producing an idealized masculinity.”
― Laura Horak, Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema, 1908-1934