Bristol Fashion: Reclaiming Cary Grant for Bristol – Film Heritage, Screen Tourism and Curating the Cary Comes Home Festival

This article re-examines Cary Grant’s star persona arguing that the importance of his Bristolian identity has been under-appreciated. Through a detailed discussion of attempts to promote his Bristolian roots including the biennial Cary Comes Home Festival (established 2014), the article argues that these activities have encouraged a re-evaluation of Cary Grant’s star identity, increased understanding of his importance to Bristol’s screen heritage, and helped promote film tourism to the city. The article outlines the history and development of the festival, critically reflecting on the curatorial practices that underpinned them. It is informed by three main interlinked theoretical areas: star studies; the literature on fan practices of cinematic tourism and pilgrimage, and festival studies. It analyses the ways in which expanded cinema programming provides opportunities for decentering the understanding of Grant’s persona as a Hollywood star, by exploring the festival’s programming of immersive cinematic experiences in locations that were significant to his Bristolian identity. The article also examines the impact of the festival’s role in relocating Grant within Bristol, the ways in which it has enhanced the city’s sense of its cinematic heritage – including achieving UNESCO City of Film status in October 2017 – and the ways in which Bristol has become a living archive through which and in which Cary Grant’s star persona is constructed and circulates, which has helped promote film tourism to the city today.

Introduction

The introduction establishes the critical and cultural contexts of the study and makes the case for the value of an archival exploration of Vivien Leigh’s working life and career. It positions the book in relation to existing work on Leigh and on star archives and explains how the book as a whole seeks to reframe her legacy. More broadly, the case is made for a reframing of star studies through feminist historiography, focusing on the laboring life of female stars. The introduction outlines the major claims of the book and how it navigates the fields of feminist film historiography, archival theory, and star studies, and details the main archival collections with which the book engages.

Reframing Vivien Leigh

Reframing Vivien Leigh takes a fresh new look at one of the twentieth century’s most iconic stars. Focusing on Vivien Leigh as a distinctly archival subject, the book draws upon original oral history work with curators, archivists, and fan collectives and extensive research within a network of official and unofficial archives around the world to produce alternative stories about her place within film history. The study examines an intriguing variety of historical correspondence, costume, scripts, photography, props, and memorabilia in order to reframe the dominant narratives that have surrounded her life and career. While Leigh’s glamour, collaborations with Laurence Olivier, and mental health form important coordinates for any study of the star, the book foregrounds a range of alternative contexts that emphasize her creative agency, examining her off-screen labor in areas such as theatrical training, adaptation, war work, producing, protesting, and interactions with her fan base. Part I examines a variety of case studies of Leigh’s screen and stage craft as they emerge from the archive, looking at Leigh’s varied collaborations, her investment in faithful adaptations, and her vocal training. It interconnects star studies, feminist film studies, and performance studies to produce a new take on stardom as creative process rather than stardom as image. Part II turns toward unofficial archives and local museum collections, centering the work of the archivist and the amateur collector and their impact on women’s star histories. It explores Leigh’s archival afterlives as they are constructed by a range of agents and institutions beyond the “official” star archive.

Bruce Lee as director and the star as author

This article examines Bruce Lee’s films as a director as well as his influence on films in which he starred. Using Richard Dyer’s “star studies” framework in conjunction with Patrick McGilligan’s notion of the “actor as auteur,” this article analyzes Bruce Lee’s star persona and his authorial power and contends that a case can be made for Lee’s authorship even in films for which he did not serve as the director. Against the backdrop of Golden Harvest and the New Hollywood–modeled Hong Kong production context in which Lee worked, Lee’s fight scenes as a director are juxtaposed with his fight scenes as a star in the interest of identifying similarities and differences toward the goal of identifying greater similarities than critics and scholars have hitherto realized. Ultimately, this article proposes that so overpowering was Lee’s stardom that, whether as “merely” a star or as a “true” auteur, every Bruce Lee film bears his irrepressible signature.

STAR STUDIES TERHADAP KONTRUKSI IMAGE ANDROGYNOUS YOUTUBER “JOVI ADHIGUNA HUNTER”

Penelitian star studies terhadap YouTuber Jovi Adhiguna Hunter dengan pendekatan kualitatif deskriptif dilakukan dengan melihat bagaimana konstruksi image yang dibentuk oleh Jovi Adhiguna. Melalui analisa menggunakan metode star studies milik Richard Dyer, Christine Gledhill, dan Jane Stokes ditemukan bahwa Jovi Adhiguna menggunakan pendekatan dramaturgi untuk menciptakan citra positif bagi dirinya. Jovi mendukung kaum LGBT, namun tidak mengakui sebagai bagian dari kaum LGBT. Jovi Adhiguna Hunter menjadikan dirinya sebagai komoditas laki-laki androgini yang cantik dalam profesinya sebagai YouTuber.

Onset to reperfusion time as a determinant of outcomes across a wide range of ASPECTS in endovascular thrombectomy: pooled analysis of the SWIFT, SWIFT PRIME, and STAR studies

BackgroundThe time–benefit relationship of endovascular thrombectomy (EVT) according to the size of the core infarct has been incompletely explored in prior studies. We investigated whether established infarct core size on baseline imaging modifies the relationship between onset-to-reperfusion time (OTR) and functional outcomes in patients with acute ischemic stroke treated with EVT.MethodsWe analyzed a database containing individual patient data pooled from three prospective Solitaire stent retriever studies. The inclusion criteria were treatment with a Solitaire device and achievement of substantial reperfusion (modified Thrombolysis in Cerebral Infarction 2b–3). Main analyses were performed in patients with baseline Alberta Stroke Program Early CT Scores (ASPECTSs) of 7–10.ResultsAmong the 305 patients (mean age 67±13 years, 58% women), the proportions of patients in different categories of pretreatment infarct extent were: small (ASPECTS 9–10) 52.0%, moderate (ASPECTS 7–8) 37.1%, and large (ASPECTS 0–6) 7.6%. The mean OTR was 297±95 min. At 3 months, 60.1% of the patients achieved a good outcome. For OTRs of 2–8 hours, the rates of good outcomes at all time points were higher with higher baseline ASPECTS but declined with similar steepness. Both baseline ASPECTS (OR 1.23 (95% CI 1.04 to 1.45)) and OTR (every 30 min delay, OR 0.80 (95% CI 0.73 to 0.88)) were independently associated with a good 3-month outcome. No interaction between OTR and baseline ASPECTS was observed.ConclusionsAlthough patients with higher baseline ASPECTS are more likely to have good clinical outcomes at all OTR intervals after 2 hours, this benefit consistently declines with time, even in patients with a small infarct core, reinforcing the need to treat all patients as quickly as possible.

Lucilla You Min and Her Embodiment of a Cosmopolitan Fantasy

Lucilla You Min, who acted in Japanese and Hong Kong coproduced films in the early 1960s, is a valuable case study for postwar East Asian border-crossing star studies. This article conceptualizes the body of the star as a site of constructed meaning, and argues that You Min's embodiment of cosmopolitan fantasy as constructed by the studios she worked for was fraught with corporate and cultural competition in the Cold War era. The first part examines how Japanese cinema's discourses of publicity constructed You Min's embodiment of the imaginary of tōyō—an expression of Japan's desire for a leadership role in mediating between Asia and the West. The second part analyzes how Hong Kong cinema constructed the imaginary of the cosmopolitan, embodied by You Min's seemingly natural adaptability in world travel.