Members of the Goldwyn Cover Girls in bakery in a scene from the film 'Palmy Days', 1931.

Queer Representation in Pre-Code Hollywood

Before the establishment of the Hollywood Production Code in the 1930s, filmmakers deployed gender and sexuality stereotypes for glamour, humor, and drama alike.
Burlesque dancer Mary Mack reclining on a chaise longue, circa 1950.

Burlesque Beginnings

From its nineteenth-century origins, burlesque developed into a self-aware performance art that celebrates the female form and challenges social norms.
A cartoon illustration of Brigid in Puck, 1883

From Saint to Stereotype: A Story of Brigid

Caricatures of Irish immigrants—especially Irish women—have softened, but persist in characters whose Irishness is expressed in subtle cues.
Gremlins, 1984

PG-13: Some Material May Be Inappropriate

The creation of the PG-13 rating in 1984 can be traced to a few key films: Poltergeist, Indiana Jones and the Temple of Doom, and Gremlins.
John Cho

Why #StarringJohnCho Is Not Enough for Asian American Cinema

Filling more movie roles with Asian American actors may be the wrong goal if such visibility promotes stereotypes or buys into Hollywood's fantasies of power.
Director Julie Dash poses for the movie "Daughters of the Dust," circa 1991

Feminist Film Theory: An Introductory Reading List

Evolving from the analysis of representations of women in film, feminist film theory asks questions about identity, sexuality, and the politics of spectatorship.
Barbie in her various incarnations

Teaching Barbie: Scholarly Readings to Inspire Classroom Discussion

Barbie is having a(nother) moment. Researchers have been studying the famous doll for years.
American actors Cindy Williams (right) and Ron Howard as Laurie and Steve on the set of the Lucasfilm production 'American Graffiti',

The Sonic Triumph of American Graffiti

In 1973, George Lucas joined forces with sound designer Walter Murch to celebrate a bygone era. They ended up revolutionizing the role music plays in film.
Mae West c. 1930

Mae West and Camp

A camp diva, a queer icon, and a model of feminism—the memorable Mae West left behind a complicated legacy, on and off the stage.
A large poster for the film Ebony Parade with a blue background and an off-white border. Across the blue background are red musical notes and stars outlined in white. At the top center in red lettering is "20 Great Stars". Printed in the center in small black type is "Astor Pictures presents" followed by "EBONY PARADE" in large yellow letters over a red background. Surrounding the title are color photographic portraits of the stars of the film. At the top left are the faces of Mantan Moreland, Dorothy Dandridge and Ruby Hill, followed by a full portrait of a seated Mabel Lee and in the bottom left corner is an image of the Mills Brothers gathered around two microphones. On the right side are the faces of Cab Calloway, Vanita Smythe, Francine Everett, and Count Basie. At the bottom right is a yellow box bordered in black with red text that reads "featuring / Cab Calloway * Count Basie / His Band His Band / Mills. Bros. * Vanita Smythe / Mantan Moreland * Mable Lee/ Ruby Hill * Francine Everett / Dorothy Dandridge * Pat Flowers / and / Day, Dawn, and Dusk * Jubilaries".

Mills Panoram and Soundies

In the 1940s, these short films set to music transgressed Hollywood’s racial mythology to create space for Black artists to experiment—and have fun.