At Comet she produced probably her finest later film, the noir hit Sleep, My Love (1948)" as well as the broad, comedic-style films My Little Chickadee (1940) with W.C. Films; Love Happy (1950), with the Marx Brothers comedy and (briefly) Marilyn Monroe and the war movie the Story of G.I. Joe (1945) (Aberdeen 2005).
Pickford defended the role of independent producers in 1934, in a speech that noted that for film to continue to remain relevant in the 20th centuries, it must be innovative and challenging, particularly given that radio and (then in its infancy) television were competing for viewer attention: "Perhaps the greatest thing about motion pictures is that no one can ever have a monopoly on ideas. Masterpieces cannot be made to order. Artistic supremacy hovers for a season over one studio, then producers bang away with their inspirational guns and chase it to another, where it perches precariously, a harried quarry soon to wing its way elsewhere, ceaselessly pursued by these diligent huntsmen" (Pickford 1934). The key to cinematic variety, Pickford believed, was independent production methods. If a studio became dominant enough as to stifle creative control, film would become dull and uninteresting to spectators. The greatest money-making approach to filming was not formulas, but innovation. Film producers and studios had to think in the long-term rather than in the short-term.
Pickford also defended the right of other independent producers to make films. When Samuel Goldwyn, Jr.'s film Up in Arms was nearly 'shut out' of theaters, due to the studio's monopolization of venues across the nation, Pickford made an influential speech: "Mr. Goldwyn spent a whole year of intensive work and two and a half million dollars of his own; that is a lot of time and very great deal of money but to what avail? Only to be told upon the completion of a year's work and expenditure of two and one-half million dollars that he shall not be permitted to show his picture but dictated by a theater monopoly" (Pickford 1944). Although he was never an actor, Samuel Goldwyn Jr. shared Pickford's independent spirit and her willingness to support what was then considered 'edgier' films: Up in Arms displayed the hyperkinetic talents of comedian Danny Kaye. Goldwyn also released, under United Artists, such films as Wuthering Heights (1939), and the Little Foxes (1941), all Oscar-nominated films, although he gradually transitioned to RKO. Still, Goldwyn's development as a producer, after he broke away from his father's studio, was one of UA's most notable successes.
UA also released some of Disney's early films during the 1930s, but like Goldwyn, Disney too moved away from UA to form its own studios. Disney wished to have more creative control over his product. In contrast, United Artists was eclectic in its choice of productions to release. Unlike what became Disney studios, there was no particular UA style in terms of its performances, which may have been one of the weaknesses of the company and its failure to fully challenge the major studios on their own terms.
Another problem may have been that United Artists had been founded to satisfy the creative visions and goals of very different artists:...
Ii., 164). This could be taken literally and superficially as a direct commentary on the place of women in marriage and in society, or it could be that Katherine is simply going along wt things for now, either as a part of a plan with Petrcuhio (the couple wins quite a lot of money for her obedience), of for her own motives. Like Sly, she sees no reason to disturb
Taming of the shrew is one of the most memorable and prominent Shakespearean comedies. It revolves around patriarchic themes such as taming of wild woman, a man's domineering character, female subjugation etc. But while many critics feel that the play chronicles the domination process in a marriage where Petruchio, the male lead finally overpowers his wild and aggressive wife, Katherine Minola, closer analysis of the play reveals that this is
" (Act II, Scene I, Lines 339-340). He tells them: "Tis deeds must win the prize; and he of both That can assure my daughter greatest dower Shall have my Bianca's love." (Act II, Scene I, Lines 356-358) Gremmie and Tranio (Lucentio) proclaim their wealth and Gremmie is "…out-vied." (Act II, Scene I, Line 398). Baptist accepts Tranio's (Lucenio's) offer provided his father, Vincentio, can assure that if he dies before his father Bianca
Taming of the Shrew, by William Shakespeare. Specifically, it will show how the play demonstrates the comedic aspect of thematic concern with love and beauty. In Shakespearean Comedy, a shallow, often narcissistic type of love at the start is not only grounded too heavily in "beauty" of the conventional sort, but also leads to a mistaken notion of what beauty really is. LOVE AND BEAUTY IN "TAMING OF THE SHREW" Taming
Pretending to do her will in everything and to seek only her absolute contentment, Petruchio exercises Kate's patience by letting her famish and by depriving her of sleep, under the pretense that the food is not good enough for her and the bed not well made. He then calls the tailor over, offering her beautiful and costly attires with which he again finds fault and consequently refuses to buy
In Shakespeare, Bianca puts on a perfect performance of gentility and submissiveness -- the perfect daughter, until she is married. The audience sees her abused by her sister; in a way Petruccio will later abuse Katherine. "Good sister, wrong me not, nor wrong yourself, / to make a bondmaid and a slave of me;/That I disdain: but for these other gawds, / Unbind my hands, I'll pull them off
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