1,721,383 research outputs found
Anna May Wong Performing the Modern
No full textIntro -- Contents -- Author's Note -- Introduction -- Prologue: Anna May Wong in Los Angeles -- 1. "Speaking German Like Nobody's Business": Anna May Wong in Berlin -- 2. American Moderns in Europe: Anna May Wong and Josephine Baker -- 3. "I Can Play Any Type of Oriental": Anna Watches Josephine at the Casino de Paris, 1932 -- 4. Glamourous American Moderns: Anna May Wong and Lupe Vélez -- 5. "My China Film" -- 6. Anna May Wong in Australia -- Epilogue: Bold Journey, Native Land -- Acknowledgments -- Scholarship on Anna May Wong -- Selected Bibliography -- IndexDescription based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Anna May
No full textBoat, the "Anna May", built in South River by Gustav Bartz. Sank and was raised and repaired in 1912. "Boat is 33 ft long 8 ft beam. Will make 10 mile an hour
Garcia, Anna May
No full textCentro Asturiano membership record of Anna May Garcia; Socio Number: 241.https://digitalcommons.usf.edu/asturiano_membership/2922/thumbnail.jp
Anna May Wong
No full textAnna May Wong (b. 1905–d. 1961) pioneered as the first Chinese American film star with celebrity status in every continent and the ability to perform in multiple languages. She starred or appeared in over sixty films, five plays, ten television shows, and her own vaudeville show that she staged throughout Europe in the 1930s and in Australia in 1939. She attempted to overcome racial prejudice even as her career suffered from being typecast with such stereotypes as “China doll” and “dragon lady.” Her early roles, including the leading role in the first-ever full Technicolor silent feature titled Toll of the Sea (1922), and the supporting role of a Mongol slave girl in The Thief of Bagdad (1924) made her the earliest embodiment and interpreter of Asian women on the international screen and stage. She crystallized the careers and roles of Asian actors in European and American filmmaking, and her achievement remains undimmed in the present day. Anna May Wong learned to code her talents and cultural references in spite of racist scripts and audiences fully ignorant of Asian culture. In supporting roles, she at times upstaged the lead actress; the most famous example was her performance with Marlene Dietrich in Shanghai Express (1932). Struggling in a racist and conservative Hollywood in an era when the Chinese Exclusion Act (1882–1943) was in effect, her strategy of sustaining her professional life and film career for two decades was through ocean-crossing—pursuing roles in the United Kingdom, the Weimar Republic, and Australia, then returning to Hollywood on her own will. Rejected for the role of a lifetime as O-Lan, the good wife, in the cinematic adaptation of Pearl Buck’s novel, The Good Earth (1937), she made a highly publicized trip to China. Upon her return, she starred in a series of B-movies with a positive view of China and its people. During World War II, Anna May Wong made several propaganda films and toured USO bases entertaining the troops. Never completely forgotten, Anna May’s legend was revived by scholars during the centennial of her birth in 2003. As an early cosmopolitan woman, a fashion icon, and an imposing photographed image, Anna May Wong inspired scholarly studies, as well as creative works including song, children’s books, documentaries, and recently, a multimedia work. In the era celebrating global cultures, Anna May Wong is recognized for defining a lifestyle that was unique then but is now considered distinctly modern. Nancy Gibbs named Anna May Wong as the woman of 1928 in her article “100 Women of the Year” for Time magazine’s 16–23 March 2020 issue to celebrate women of influence.</p
To Be an Actress
No full textBetween 1919 and 1961, pioneering Chinese American actress Anna May Wong established an enduring legacy that encompassed cinema, theater, radio, and American television. Born in Los Angeles and growing up amid the suspicion and scrutiny epitomized by the Chinese Exclusion Act, Wong—a defiant misfit—innovated nuanced performances to subvert the racism and sexism that beset her life and career. This critical study of her cross-media and transnational career marshals extraordinary archival research and takes a multifocal approach to illuminate a lifelong labor of performance. Viewing Wong as a performer and worker, not just a star, Yiman Wang adopts a feminist decolonial perspective to speculatively meet her subject as an interlocutor. In doing so, she invites a reconsideration of racialized, gendered, and migratory labor as the bedrock of the entertainment industries.
“The definitive work regarding the contributions of Anna May Wong to cinema. The recognition that her talent demands and deserves is finally given to her by this magnificent book.” — Celine Parreñas Shimizu, author of The Movies of Racial Childhoods: Screening Self-Sovereignty in Asian/America
“No work has so rigorously, elegantly, and persuasively considered Anna May Wong’s screen presence, her affective labor, and the longue durée of a career that spanned over half a century. A definitive and field-shaping work.” — Denise Khor, author of Transpacific Convergences: Race, Migration and Japanese American Film Culture before World War I
Anna May & Broadway Group
No full textANNA MAY & BROADWAY GROUP Rimini District. Lewis & Clark County. Minerals Yearbook 1945. Page 398. Operated under lease by the Armstrong Minig Syndicate. Erected flotation mill and treated 2,320 tons of low-grade gold-silver-lead ore. Also shipped 206 tons of lead ore.https://digitalcommons.mtech.edu/minerals_yearbook_all/1023/thumbnail.jp
- …
