Download Doris Day confidential : Hollywood, sex and stardom by Tamar Jeffers McDonald PDF

By Tamar Jeffers McDonald

Doris Day was once a tremendous famous person throughout the Fifties and '60s. this day, 40 years after her final movie, the celebrity (who used to be 90 in April 2012) is usually nonetheless invoked as shorthand for a type of sexuality now felt outdated, being typecast as 'the 40 yr outdated virgin'. shut cognizance to the proof of Day's personal existence (three occasions married) demanding situations this assumption and the vast majority of her movie roles additionally turn out differently, with Day most often portraying a girl of maturely sexual wants. How did such pejorative labeling come up, and why has it caught so tenaciously to Day, even now?

This booklet addresses those questions via heavily reading Day's characters and performances throughout her thirty-eight movies and her television paintings, in addition to fabric from different well known media for the resource of the virgin fable. It then specializes in modern pop culture contexts, utilizing newspaper tales, articles from movie, fan and way of life magazines, studies and gossip to chart the advancements in Day's display 'persona' are charted, highlighting the alterations in public conception of the celebrity of Calamity Jane, Love Me Or depart Me and Pillow speak as aided and abetted by way of the media.

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Extra info for Doris Day confidential : Hollywood, sex and stardom

Sample text

During the major period of Day’s stardom, there were approximately 64 monthly film magazines, with others operating on a bi-monthly, quarterly or annual basis too (Slide, 2010: 234 – 245)4. In addition, women’s service and lifestyle magazines, as well as Sunday supplements to newspapers, specialist arts magazines, current affairs journals, and the scandal rags paid attention to stars, although less regularly. The frequency of Day’s appearances in the film magazines fluctuated across the course of her film and later TV career.

The article also interestingly reveals, however, an awareness of the nebulousness of virginity as a category, thus chiming with the contemporary anxiety over the idea of the technical virgin. In her account of the sex lives of her sample – noticeably younger than Kinsey’s and more personal too – Johnson invents a college Everygirl, Susie, and her boyfriend Joe, to act out the sexual negotiations she analyses. Surprisingly, it is Joe rather than Susie who wants a steady relationship leading to marriage, rather than a bachelor life of multiple conquests.

Day’s interviews in the following months’ magazines might therefore be seen as attempts to pacify fans and to reassure those she had alienated that she had not really changed. Interestingly, however, she did not immediately revert to the safer roles in light musical comedies that had previously made up the bulk of her film work. Freed from her contract with Warner Bros. after seven years, Day seems to have taken a conscious decision to work on a run of darker films, dramas which, seen together, not only demonstrate her serious acting skills, but also Film Fan Magazines 49 consistently highlight the gender inequalities enshrined within contemporary American society.

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