<\/span><\/span><\/p>\n1. BISKIND, Peter, Seeing is Believing: How Hollywood Taught Us to Stop Worrying and Love the Fifties<\/i>, New York, Henry Holt, 2000, page 290-291.<\/span><\/span><\/div>\n\n
2. ROSEN, Marjorie, Popcorn Venus: Women, Movies and the American Dream<\/i>, NewYork, Coward, Mc Cann and Geoghegan, 1973, page 264. Cit\u00e9e par BYARS, Jackie, All that Hollywood Allows: Re-Reading Gender in 1950s Melodrama<\/i>, Chapel Hill, the University of North Carolina Press, 1991, page 98. <\/b><\/span><\/div>\n<\/div>\n
R\u00e9trospective: “Who’s Afraid of Elizabeth Taylor?”:<\/b><\/span><\/b> <\/i><\/div>\n<\/div>\n\n
Father of the Bride<\/i> (Vincente Minnelli, 1950)<\/div>\nA Place<\/i> in the Sun<\/i> (George Stevens, 1951)<\/div>\nIvanhoe<\/i> (Richard Thorpe, 1952)<\/div>\nGiant<\/i> (George Stevens, 1956)<\/div>\nCat on a Hot Tin Roof<\/i> (Richard Brooks, 1958)<\/div>\nSuddenly, Last Summer<\/i> (Joseph L. Mankiewicz, 1959)<\/div>\nWho’s Afraid of Virginia Woolf?<\/i> (Mike Nichols, 1966)<\/div>\n<\/div>\nvia
\nMarion en V.O<\/a>
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