Catherine Russell is Distinguished University Research Professor of Cinema at Concordia University. Her books include Archiveology: Walter Benjamin and Archival Film Practices and Classical Japanese Cinema Revisited.

• Acknowledgments Introduction to Stanwyck Studies A         All I Desire: Pastiche and PerformanceB         The Barbara Stanwyck Show: Everyday MelodramaC         Crimes of Passion: A Destructive CharacterD         Dion the Son, and Barbara the Bad MotherE          Edith Head: Clothing Makes the Woman a WomanF          Forty Guns and The Furies: Angry WomenG         Gambling Ladies: Playing GamesH         William Holden: Making MenI           Illicit: How to be UltramodernJ          Jungle Films/White WomenK         Kate Crawley: Cross-Dressing in the ArchiveL          The Lady Eve: Performativity and MelancholiaM        Fred MacMurray: Kissing and PlayingN         No Man of Her Own: Double Women and the StarO         Annie Oakley: A Girl and a GunP          Paranoia, Abjection, and GaslightingQ         The QueenR         Riding, Falling, and StuntsS          The Stella Dallas DebatesT          Theresa Harris: Black DoubleU         Union Pacific: Unmaking HistoryV         Voice, Body, IdentityW        Working Women and Cultural LaborX         Exotica and Bitter TearsY         You Belong to Me: Archives and FansZ          Zeppo Marx: Comedy and Agency  NotesBibliographyIndex

"Russell has positioned her concise, structurally adventurous contribution to 'Stanwyck studies' to reflect the expanding range of cultural approaches to women in media published during the past decade. . . . The twenty-six bite-sized essays cover themes of work, gender, sexuality, ageing, misogyny, class and race." --Times Literary Supplement "Catherine Russell's The Cinema of Barbara Stanwyck adds illuminating dimension to the actress's complex life story and equally vaunted career. Her meticulously researched and thoughtful analysis brings a fresh perspective to Stanwyck' s legacy, and captures the enduring power and charm of the classical Hollywood movie star." --Cineaste "The Cinema of Barbara Stanwyck makes the choice to refuse to simplify Stanwyck’s career. It underscores Stanwyck’s importance, but it doesn’t pretend like she, the films, or the era that created them are something they’re not. As a result, Russell has put together an unflinching work of criticism that must be acknowledged as the definitive work on the subject. It’s essential reading for anyone interested in Stanwyck or the era of film she headlined." --NewCity “Catherine Russell’s inventive study of Barbara Stanwyck’s long, fascinating career as a ‘working star’ offers a tantalizing model for other feminist histories of women’s work in the film industry. Achronological and essayistic, Russell’s approach weaves back and forth between Stanwyck’s onscreen roles, her star persona, and her working life to document what Russell calls ‘the structural misogyny of the industry.’”--Shelley Stamp, author of Lois Weber in Early Hollywood and Movie-Struck Girls “A deeply creative and insightful critical study of Barbara Stanwyck’s agency and labor as a performer, The Cinema of Barbara Stanwyck is a stunning blend of feminist historiography, archival research, star-studies, biography, and film analysis--a rewarding and immensely pleasurable read.”--Julie Grossman, author of The Femme Fatale

Catherine Russell is Distinguished University Research Professor of Cinema at Concordia University. Her books include Archiveology: Walter Benjamin and Archival Film Practices and Classical Japanese Cinema Revisited.

• Acknowledgments Introduction to Stanwyck Studies A         All I Desire: Pastiche and PerformanceB         The Barbara Stanwyck Show: Everyday MelodramaC         Crimes of Passion: A Destructive CharacterD         Dion the Son, and Barbara the Bad MotherE          Edith Head: Clothing Makes the Woman a WomanF          Forty Guns and The Furies: Angry WomenG         Gambling Ladies: Playing GamesH         William Holden: Making MenI           Illicit: How to be UltramodernJ          Jungle Films/White WomenK         Kate Crawley: Cross-Dressing in the ArchiveL          The Lady Eve: Performativity and MelancholiaM        Fred MacMurray: Kissing and PlayingN         No Man of Her Own: Double Women and the StarO         Annie Oakley: A Girl and a GunP          Paranoia, Abjection, and GaslightingQ         The QueenR         Riding, Falling, and StuntsS          The Stella Dallas DebatesT          Theresa Harris: Black DoubleU         Union Pacific: Unmaking HistoryV         Voice, Body, IdentityW        Working Women and Cultural LaborX         Exotica and Bitter TearsY         You Belong to Me: Archives and FansZ          Zeppo Marx: Comedy and Agency  NotesBibliographyIndex

"Russell has positioned her concise, structurally adventurous contribution to 'Stanwyck studies' to reflect the expanding range of cultural approaches to women in media published during the past decade. . . . The twenty-six bite-sized essays cover themes of work, gender, sexuality, ageing, misogyny, class and race." --Times Literary Supplement "Catherine Russell's The Cinema of Barbara Stanwyck adds illuminating dimension to the actress's complex life story and equally vaunted career. Her meticulously researched and thoughtful analysis brings a fresh perspective to Stanwyck' s legacy, and captures the enduring power and charm of the classical Hollywood movie star." --Cineaste "The Cinema of Barbara Stanwyck makes the choice to refuse to simplify Stanwyck’s career. It underscores Stanwyck’s importance, but it doesn’t pretend like she, the films, or the era that created them are something they’re not. As a result, Russell has put together an unflinching work of criticism that must be acknowledged as the definitive work on the subject. It’s essential reading for anyone interested in Stanwyck or the era of film she headlined." --NewCity “Catherine Russell’s inventive study of Barbara Stanwyck’s long, fascinating career as a ‘working star’ offers a tantalizing model for other feminist histories of women’s work in the film industry. Achronological and essayistic, Russell’s approach weaves back and forth between Stanwyck’s onscreen roles, her star persona, and her working life to document what Russell calls ‘the structural misogyny of the industry.’”--Shelley Stamp, author of Lois Weber in Early Hollywood and Movie-Struck Girls “A deeply creative and insightful critical study of Barbara Stanwyck’s agency and labor as a performer, The Cinema of Barbara Stanwyck is a stunning blend of feminist historiography, archival research, star-studies, biography, and film analysis--a rewarding and immensely pleasurable read.”--Julie Grossman, author of The Femme Fatale

Catherine Russell is Distinguished University Research Professor of Cinema at Concordia University. Her books include Archiveology: Walter Benjamin and Archival Film Practices and Classical Japanese Cinema Revisited.

• Acknowledgments Introduction to Stanwyck Studies A         All I Desire: Pastiche and PerformanceB         The Barbara Stanwyck Show: Everyday MelodramaC         Crimes of Passion: A Destructive CharacterD         Dion the Son, and Barbara the Bad MotherE          Edith Head: Clothing Makes the Woman a WomanF          Forty Guns and The Furies: Angry WomenG         Gambling Ladies: Playing GamesH         William Holden: Making MenI           Illicit: How to be UltramodernJ          Jungle Films/White WomenK         Kate Crawley: Cross-Dressing in the ArchiveL          The Lady Eve: Performativity and MelancholiaM        Fred MacMurray: Kissing and PlayingN         No Man of Her Own: Double Women and the StarO         Annie Oakley: A Girl and a GunP          Paranoia, Abjection, and GaslightingQ         The QueenR         Riding, Falling, and StuntsS          The Stella Dallas DebatesT          Theresa Harris: Black DoubleU         Union Pacific: Unmaking HistoryV         Voice, Body, IdentityW        Working Women and Cultural LaborX         Exotica and Bitter TearsY         You Belong to Me: Archives and FansZ          Zeppo Marx: Comedy and Agency  NotesBibliographyIndex

"Russell has positioned her concise, structurally adventurous contribution to 'Stanwyck studies' to reflect the expanding range of cultural approaches to women in media published during the past decade. . . . The twenty-six bite-sized essays cover themes of work, gender, sexuality, ageing, misogyny, class and race." --Times Literary Supplement "Catherine Russell's The Cinema of Barbara Stanwyck adds illuminating dimension to the actress's complex life story and equally vaunted career. Her meticulously researched and thoughtful analysis brings a fresh perspective to Stanwyck' s legacy, and captures the enduring power and charm of the classical Hollywood movie star." --Cineaste "The Cinema of Barbara Stanwyck makes the choice to refuse to simplify Stanwyck’s career. It underscores Stanwyck’s importance, but it doesn’t pretend like she, the films, or the era that created them are something they’re not. As a result, Russell has put together an unflinching work of criticism that must be acknowledged as the definitive work on the subject. It’s essential reading for anyone interested in Stanwyck or the era of film she headlined." --NewCity “Catherine Russell’s inventive study of Barbara Stanwyck’s long, fascinating career as a ‘working star’ offers a tantalizing model for other feminist histories of women’s work in the film industry. Achronological and essayistic, Russell’s approach weaves back and forth between Stanwyck’s onscreen roles, her star persona, and her working life to document what Russell calls ‘the structural misogyny of the industry.’”--Shelley Stamp, author of Lois Weber in Early Hollywood and Movie-Struck Girls “A deeply creative and insightful critical study of Barbara Stanwyck’s agency and labor as a performer, The Cinema of Barbara Stanwyck is a stunning blend of feminist historiography, archival research, star-studies, biography, and film analysis--a rewarding and immensely pleasurable read.”--Julie Grossman, author of The Femme Fatale