By Diane Negra
Off-White Hollywood investigates how the 'ethnicity' of white European-American actresses has performed a key function within the mythology of yankee id and state construction. Negra makes a speciality of key stars of the silent - Colleen Moore and Pola Negri - classical - Sonja Henie and Hedy Lamarr - and post-classical eras - Marisa Tomei and Cher - to illustrate how every one superstar illuminates features of ethnicity, gender, consumerism, and sophistication at paintings in American tradition.
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Extra info for Off-White Hollywood: American Culture and Ethnic Female Stardom
John McCormick is Irish, and, therefore, hot-headed. N. 29 Discourses of Irishness are prevalent in many accounts of the Moore/McCormick marriage. Just as McCormick is ﬁgured in the foregoing article in ways that strikingly conform to stereotypes of Irish masculinity (that is, rash, mercurial, and yet ultimately so charming that he wins over even studio executives), Moore emerges as long-suffering Irish wife. In an article detailing the couple’s 1930 divorce proceedings, Moore is even described as giving testimony ‘with a slight Irish accent,’ which seems highly implausible given that she was born and raised in the United States.
In addition, this study represents an attempt to amplify the ethnic feminine voice, arguing that this voice can and should be heard amongst a cacophony of more privileged speakers in Hollywood discourse who have dominated historical accounts. The book is organized into the following sections: Chapter 2 looks at comedienne Colleen Moore, a box ofﬁce phenomenon of the mid-1920s, whose emblematic girlishness was linked to a secure, positively-valued white ethnic identity. In electing to amplify her Irish heritage, Moore crafted an acceptably ethnic version of the ‘All-American Girl’ whose Irishness explained her fundamental innocence.
Delia and Michael then have a spat in which he threatens to hit her, but then they quickly laugh and make up. With things at an uncertain point between Shane and Moyna, the group arrives at the Carmody mansion for dinner. Overawed by her surroundings, Moyna demonstrates her unfamiliarity with the concept of dressing for dinner. When offered the loan of a gown, she says, ‘Gown? ’ In her new borrowed clothes, Moyna later sees her reﬂection and visualizes a transformation back to her former self, costumed in more functional, rural attire.