1,721,002 research outputs found
Publicity still of Eleanor Powell on set of movie Lady Be Good
No full textPublicity still of Eleanor Powell on set of MGM movie, Lady Be Good , 1941, b&w Note attached states it was a coat of white fox tops a gown of pink chiffon. Eleanor Powell wore it in the MGM musical, Lady Be Good, released in 1941.https://mds.marshall.edu/bliss_enslow_papers/1312/thumbnail.jp
1936 Packard convertible sedan and actress Eleanor Powell
No full text8x10 black and white Packard Co. file photograph of a 1936 Packard nine-tenths left side view, top raised, actress Eleanor Powell standing at driver's door. Inscribed on photo back: 1936 Packard one twenty, model 120-B, fourteenth series, 8-cylinder, 120-horsepower, 120-inch wheelbase, 5-person convertible sedan (body type #997). Note white sidewall tires
Oh, sweet and lovely lady, be good! [first line of chorus]
No full textPerformers: Eleanor Powell, Ann Sothern, Robert YoungPiano, Voice and Chord
Everybody sing, everybody sing, let the sound of your voice turn [first line of chorus]
No full textPerformers: Robert Taylor, Eleanor Powell, Sophie Tucker, George Murphy, Buddy Ebsen, Judy Garland, Charles Igor GorinPiano, Voice and Chord
You are my lucky star, I saw you from afar, [first line of chorus]
No full textPerformers: Robert Taylor, June Knight, Jack Benny, Una Merkel, Nick Long, Jr., Frances Langford, Sid Silvers, Eleanor Powell, Buddy EbsenPiano, Voice and Chord
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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