Thursday, March 20, 2008
Lindsay Morgan Lohan Biography
Lindsay Morgan Lohan was born in New York City, on 2nd July 1986, to Dina and Michael Lohan. Her mum is a former Radio City Rockette & her father was in the pasta business after making enough, he went to Hollywood financing independent films. She is the eldest of four siblings. Lohan has been studying dancing and singing since age 4 & a model since age 3, Lohan has the distinction of being the first red-headed child to be signed by the prestigious Ford Modeling Agency. Her freckled face is familiar from more than sixty television commercials including spots for The Gap, Jello, Pizza Hut, and Wendy’s. At seventeen, Lindsay Lohan (Anna in "Freaky Friday") has already appeared on the cover of “Vanity Fair,” having been featured as part of the prestigious magazine’s “It’s Totally Raining Teens” July spread. She won the dual role of the two sisters in "The Parent Trap" after a six-month casting search in the United States, Canada, and Britain. She's also stars in Disney’s “Confessions of A Teenage Drama Queen.” Lohan was featured in the long-running role of Alli Fowler on the daytime drama “Another World,” as well as on “Guiding Light.” On television, she starred in two movies for Disney—the Wonderful World of Disney’s “Life-Size,” with Tyra Banks, and Disney Channel’s original “Get a Clue” — and in the sitcom “Bette.” Lohan’s first pop single, “Ultimate,” appears on the soundtrack of “Freaky Friday.” She will also perform on the soundtrack of “Confessions of a Teenage Drama Queen.” A straight 'A' student at her local school, Lindsay excels at math and science. She also enjoys gymnastics, swimming, ice skating, roller blading, singing, biking, reading, writing, and playing with her siblings.
Saturday, March 1, 2008
Jennifer Jones Biography (1919-)
Actress. Born Phyllis Flora Isley (professionally known as Jennifer Jones), on March 2, 1919, in Tulsa, Oklahoma. Jones studied at the American Academy of Dramatic Arts in New York, where she met and married aspiring actor Robert Walker in 1939. Shortly after, she won a six-month contract from Republic Pictures and moved to California. In 1944, Jones divorced Walker. Around the same time, she met Hollywood mogul David O. Selznick, who saw promise in Jones’ work and signed her to a personal contract. Selznick and Jones were married from 1945 until his death in 1965.
In general, Jones’ professional and personal involvement with Selznick has been given a prominence that has colored assessments of her distinctive contribution to 1940s cinema. Interestingly, the central issue is not that Jones lacked talent or screen presence. The longstanding criticism is that Selznick, because of his commitment to Jones, had no critical distance and, with King Vidor's Duel in the Sun (1946), tried to fashion an erotic identity for her, making Jones into a ridiculous creation. Previously, her screen persona was as an innocent child/woman, an image established by her first starring role in Henry King's The Song of Bernadette (1943). She had also given an intense and emotionally charged performance as a girl making the transition from youth to maturity in John Cromwell's Since You Went Away (1944).
As the sensual half-breed Pearl in Duel in the Sun, Jones succeeded in giving an audaciously conceived performance employing a degree of physical gesture having more in common with silent-screen acting technique than with the naturalistic behavioral mannerisms associated with the sound cinema. In addition, while her physical presence is intended to be provocative, she does not allow her physicality to undermine the complex psychological dimensions of the character. Duel in the Sun is thus a remarkable achievement but, like her performance, it has often been misinterpreted as degrading to female sexuality. Though conceived on a lesser scale, Ruby Gentry (1952) is equally successful in dealing with the same themes, and again Jones's sensuality is central to the expression of those concerns.
From the beginning, the screen persona of Jones was imbued with a degree of hysteria, and in Vincente Minnelli's underrated Madame Bovary (1949) this characteristic erupts with particular impact. Minnelli, a director very sensitive to the various aspects of Jones' sensibility, including her romantic indulgence, encourages her to give a subtle performance without relinquishing the extravagant conception the character has of her identity. These same elements might have been as fully articulated in the Michael Powell/Emeric Pressburger version of The Wild Heart (1952), but unfortunately Selznick's reworking of their footage does not present a rounded characterization.
No matter with what coloration one paints the envied Selznick-Jones collaboration, her status as melodramatic princess of the 1940s is indisputable. If adjectives such as ethereal and luminous became excess baggage with the passage of time, these qualities were responsible for Jones' realizing the evocative fantasy of Portrait of Jennie (1948), the fortunes fools romance of Love Letters (1945), and the valentine to homefront frustration in Since You Went Away (1944)—projects in which this actress's breathtaking vulnerability aroused the audience's protectiveness. If Selznick overproduced Portrait of Jennie, he stayed out of William Wyler's way long enough for Jones to hold her own against Laurence Olivier with her superb characterization of an unwittingly destructive demimonde in the underappreciated Carrie (1952).
Jones’ career flourished in the 1950s, with the unexpected box-office bonanza Love Is a Many-Splendored Thing (1955), followed by Good Morning, Miss Dove (1955) and The Barretts of Wimpole Street (1957). Deftly imbricating the complexities in Jones' persona with F. Scott Fitzgerald themes, the flawed Tender Is the Night (1962) is the last film to resurrect her patented fragility to good effect. Afterwards, the neurotic mannerisms consume her performances in the unworthy The Idol (1966) and the cheesy Angel, Angel Down We Go (1970).
In general, Jones’ professional and personal involvement with Selznick has been given a prominence that has colored assessments of her distinctive contribution to 1940s cinema. Interestingly, the central issue is not that Jones lacked talent or screen presence. The longstanding criticism is that Selznick, because of his commitment to Jones, had no critical distance and, with King Vidor's Duel in the Sun (1946), tried to fashion an erotic identity for her, making Jones into a ridiculous creation. Previously, her screen persona was as an innocent child/woman, an image established by her first starring role in Henry King's The Song of Bernadette (1943). She had also given an intense and emotionally charged performance as a girl making the transition from youth to maturity in John Cromwell's Since You Went Away (1944).
As the sensual half-breed Pearl in Duel in the Sun, Jones succeeded in giving an audaciously conceived performance employing a degree of physical gesture having more in common with silent-screen acting technique than with the naturalistic behavioral mannerisms associated with the sound cinema. In addition, while her physical presence is intended to be provocative, she does not allow her physicality to undermine the complex psychological dimensions of the character. Duel in the Sun is thus a remarkable achievement but, like her performance, it has often been misinterpreted as degrading to female sexuality. Though conceived on a lesser scale, Ruby Gentry (1952) is equally successful in dealing with the same themes, and again Jones's sensuality is central to the expression of those concerns.
From the beginning, the screen persona of Jones was imbued with a degree of hysteria, and in Vincente Minnelli's underrated Madame Bovary (1949) this characteristic erupts with particular impact. Minnelli, a director very sensitive to the various aspects of Jones' sensibility, including her romantic indulgence, encourages her to give a subtle performance without relinquishing the extravagant conception the character has of her identity. These same elements might have been as fully articulated in the Michael Powell/Emeric Pressburger version of The Wild Heart (1952), but unfortunately Selznick's reworking of their footage does not present a rounded characterization.
No matter with what coloration one paints the envied Selznick-Jones collaboration, her status as melodramatic princess of the 1940s is indisputable. If adjectives such as ethereal and luminous became excess baggage with the passage of time, these qualities were responsible for Jones' realizing the evocative fantasy of Portrait of Jennie (1948), the fortunes fools romance of Love Letters (1945), and the valentine to homefront frustration in Since You Went Away (1944)—projects in which this actress's breathtaking vulnerability aroused the audience's protectiveness. If Selznick overproduced Portrait of Jennie, he stayed out of William Wyler's way long enough for Jones to hold her own against Laurence Olivier with her superb characterization of an unwittingly destructive demimonde in the underappreciated Carrie (1952).
Jones’ career flourished in the 1950s, with the unexpected box-office bonanza Love Is a Many-Splendored Thing (1955), followed by Good Morning, Miss Dove (1955) and The Barretts of Wimpole Street (1957). Deftly imbricating the complexities in Jones' persona with F. Scott Fitzgerald themes, the flawed Tender Is the Night (1962) is the last film to resurrect her patented fragility to good effect. Afterwards, the neurotic mannerisms consume her performances in the unworthy The Idol (1966) and the cheesy Angel, Angel Down We Go (1970).
Ron(ald William) Howard
Born in Duncan, OK, actor and director Ron Howard gained fame as a child actor on such TV shows as Happy Days (1973?80). He made his directorial debut with Grand Theft Auto (1977), and went on to great success with suchBorn in Duncan, OK, actor and director Ron Howard gained fame as a child actor on such TV shows as Happy Days (1973?80). He made his directorial debut with Grand Theft Auto (1977), and went on to great success with such films as A Beautiful Mind films as A Beautiful Mind
Tourism
In truth, the attributes of tourism have changed rapidly during the
twentieth century. Today, it is virtually impossible even to avoid the
effect that the tourism industry has on the world. On the following
lines I shall in an explaining voice treat the subject of tourism and I
wager you'll find it rather interesting. First and for most; Why do we
become tourists? What is this incredible force which drives us to leave
the safe shelter of our homes to travel to places some times thousands
of miles from our native lands? Well, in order to answer that, we need
to find out the benefits of tourism. It's usually us people from the
richer countries in the west that travel abroad as tourists. This
became possible during the early twentieth century, when the industrial
revolution had reached most western countries in a big way, and the
governments had begun to get more and more democratic. They started to
have governmental foundings with the intention of giving people who
worked in different sectors their wages in sp Although, most Americans
would probably not be so negative about it. The American Dream that
influences their society speaks for the strength of the individual.
That is, if you really want to be rich, you can be, as long as you're
not afraid of working hard. So, people obviously like being tourists,
and the even more obvious reasons for that can be the need for
something different to occur in ones life, not always being stuck in
the same old tracks, over and over again. Or, that we need to relax,
which you apparently can't do at home, only abroad. One classic reason
for tourism is of course that it is a social benefit; You'll get a lot
of attention from people back home both before and after the journey,
which indeed can be just as much, if not more of a pleasure then the
holiday itself. Tourism, according to the Department of National
Heritage, apparently outnumbers most any other line of business, from
construction industry to raising cattle. Today, it is more or less well
known to people that tourism has grown to massive proportions, being
almost the largest industry in the world. This of course brings along
with it heaps of problems, connected to the fact that where there is
money to be earned (and thus power to be controlled), man has neither
moral nor restrictions to prevent her from doing just about all she can
to exploit that source of wealth. In the compendium, there is an
article from the Morning Star that talks about how people in the 70s
considered the tourism a "harmless way to transfer wealth from the
north to the third world". Today there are evidence which speaks of a
terminal degeneration over the last 20 years, where the tourism
industry and tourists weakens third world countries standard as unique
territories into being merely "attractive spots", without either
culture nor sense of dignified nationalism. Another problem is the vast
prostitution, which follow in the steps of tourism like a swarm of
dragonflies around a heap of treasure. In the Philippines for example,
it is estimated that 60000 children are active prostitutes. Due to
this, dreams are shattered for many families as they see their children
fall victim to drugs and its consequences, thus breaking down the will
and spirit of the countries inhabitants, as they every day go to the
backdoor of the hotels to serve the very people who might be the ones
to rape their offspring. Du Tourism - 1, 2,
3
twentieth century. Today, it is virtually impossible even to avoid the
effect that the tourism industry has on the world. On the following
lines I shall in an explaining voice treat the subject of tourism and I
wager you'll find it rather interesting. First and for most; Why do we
become tourists? What is this incredible force which drives us to leave
the safe shelter of our homes to travel to places some times thousands
of miles from our native lands? Well, in order to answer that, we need
to find out the benefits of tourism. It's usually us people from the
richer countries in the west that travel abroad as tourists. This
became possible during the early twentieth century, when the industrial
revolution had reached most western countries in a big way, and the
governments had begun to get more and more democratic. They started to
have governmental foundings with the intention of giving people who
worked in different sectors their wages in sp Although, most Americans
would probably not be so negative about it. The American Dream that
influences their society speaks for the strength of the individual.
That is, if you really want to be rich, you can be, as long as you're
not afraid of working hard. So, people obviously like being tourists,
and the even more obvious reasons for that can be the need for
something different to occur in ones life, not always being stuck in
the same old tracks, over and over again. Or, that we need to relax,
which you apparently can't do at home, only abroad. One classic reason
for tourism is of course that it is a social benefit; You'll get a lot
of attention from people back home both before and after the journey,
which indeed can be just as much, if not more of a pleasure then the
holiday itself. Tourism, according to the Department of National
Heritage, apparently outnumbers most any other line of business, from
construction industry to raising cattle. Today, it is more or less well
known to people that tourism has grown to massive proportions, being
almost the largest industry in the world. This of course brings along
with it heaps of problems, connected to the fact that where there is
money to be earned (and thus power to be controlled), man has neither
moral nor restrictions to prevent her from doing just about all she can
to exploit that source of wealth. In the compendium, there is an
article from the Morning Star that talks about how people in the 70s
considered the tourism a "harmless way to transfer wealth from the
north to the third world". Today there are evidence which speaks of a
terminal degeneration over the last 20 years, where the tourism
industry and tourists weakens third world countries standard as unique
territories into being merely "attractive spots", without either
culture nor sense of dignified nationalism. Another problem is the vast
prostitution, which follow in the steps of tourism like a swarm of
dragonflies around a heap of treasure. In the Philippines for example,
it is estimated that 60000 children are active prostitutes. Due to
this, dreams are shattered for many families as they see their children
fall victim to drugs and its consequences, thus breaking down the will
and spirit of the countries inhabitants, as they every day go to the
backdoor of the hotels to serve the very people who might be the ones
to rape their offspring. Du Tourism - 1, 2,
3
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