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This pulp classic of motherhood and money introduced the immortal character portrayed on film by Barbara Stanwyck and Bette Midler—“a feminist gem” (Michael Bronski). An ambitious woman from working-class roots, Stella sets her sights on marrying rich—and hits a bullseye. But her unshakable crudeness becomes too much for her husband. When he leaves her, she keeps their daughter Laurel. And now Stella sets her sights one again—this time, on giving her daughter the life she could never achieve for herself. Originally published in 1923, this epic tale inspired the first radio soap opera, a Broadway play, and multiple films, including the Oscar-nominated 1937 movie starring Barbara Stanwyck and the 1990 movie Stella starring Bette Midler. Stella Dallas is a razor-sharp critique of our societal obsession with the judgment of mothers, offering cultural commentary that is still shockingly relevant nearly one hundred years after its initial publication.
Stella Dallas a pretty working class girl decides she wants more out of life than drudgery and work. She sets her sights on marry rich and she manages it. But she soon finds that marrying a rich man and keeping him are not the same things. Course and vulgar by upper class standards she is unable to bridge the cultural divide that separates them. When Stella and her husband inevitably divorce she shifts her ambitions to her daughter. But can she be any more successful at helping her daughter fit into that world than she was herself? Stella Dallas has captivated audiences since it first appeared. It has been successfully adapted three times for the screen and once as a radio play and is credited with creating the modern soap opera. Barbara Stanwyck garnered an Oscar nomination for playing the title role.
#1 New York Times bestselling author J. D. Robb presents an intense and terrifying case for New York homicide cop Eve Dallas: one that will take her all the way to the city that named her—and plunge her into the nightmares of her childhood... When a monster named Isaac McQueen—taken down by Eve back in her uniform days—escapes from Rikers, he has two things in mind. One is to take up where he left off, abducting young victims and leaving them scarred in both mind and body. The other is to get revenge on the woman who stopped him all those years ago.
“860 glittering pages” (Janet Maslin, The New York Times): The first volume of the full-scale astonishing life of one of our greatest screen actresses—her work, her world, her Hollywood through an American century. Frank Capra called her, “The greatest emotional actress the screen has yet known.” Now Victoria Wilson gives us the first volume of the rich, complex life of Barbara Stanwyck, an actress whose career in pictures spanned four decades beginning with the coming of sound (eighty-eight motion pictures) and lasted in television from its infancy in the 1950s through the 1980s. Here is Stanwyck, revealed as the quintessential Brooklyn girl whose family was in fact of old New England stock; her years in New York as a dancer and Broadway star; her fraught marriage to Frank Fay, Broadway genius; the adoption of a son, embattled from the outset; her partnership with Zeppo Marx (the “unfunny Marx brother”) who altered the course of Stanwyck’s movie career and with her created one of the finest horse breeding farms in the west; and her fairytale romance and marriage to the younger Robert Taylor, America’s most sought-after male star. Here is the shaping of her career through 1940 with many of Hollywood's most important directors, among them Frank Capra, “Wild Bill” William Wellman, George Stevens, John Ford, King Vidor, Cecil B. Demille, Preston Sturges, set against the times—the Depression, the New Deal, the rise of the unions, the advent of World War II, and a fast-changing, coming-of-age motion picture industry. And at the heart of the book, Stanwyck herself—her strengths, her fears, her frailties, losses, and desires—how she made use of the darkness in her soul, transforming herself from shunned outsider into one of Hollywood’s most revered screen actresses. Fifteen years in the making—and written with full access to Stanwyck’s family, friends, colleagues and never-before-seen letters, journals, and photographs. Wilson’s one-of-a-kind biography—“large, thrilling, and sensitive” (Michael Lindsay-Hogg, Town & Country)—is an “epic Hollywood narrative” (USA TODAY), “so readable, and as direct as its subject” (The New York Times). With 274 photographs, many published for the first time.
A Note on the Captions Preface Introduction 1: Naughty Orators: Negation of Voices in Gaslight 2: Psychoanalysis and Cinema: Moments of Letter from an Unknown Woman3: Ugly Duckling, Funny Butterfly: Bette Davis and Now, Voyager 4: Postscript: To Whom It May Concern 5: Stella's Taste: Reading Stella Dallas Notes Bibliography Filmography Index Copyright © Libri GmbH. All rights reserved.
Barbara Stanwyck (1907–1990) rose from the ranks of chorus girl to become one of Hollywood's most talented leading women—and America's highest-paid woman in the mid-1940s. Shuttled among foster homes as a child, she took a number of low-wage jobs while she determinedly made the connections that landed her in successful Broadway productions. Stanwyck then acted in a stream of high-quality films from the 1930s through the 1950s. Directors such as Cecil B. DeMille, Fritz Lang, and Frank Capra treasured her particular magic. A four-time Academy Award nominee, winner of three Emmys and a Golden Globe, she was honored with a Lifetime Achievement Award by the Academy. Dan Callahan considers both Stanwyck's life and her art, exploring her seminal collaborations with Capra in such great films as Ladies of Leisure, The Miracle Woman, and The Bitter Tea of General Yen; her Pre-Code movies Night Nurse and Baby Face; and her classic roles in Stella Dallas, Remember the Night, The Lady Eve, and Double Indemnity. After making more than eighty films in Hollywood, she revived her career by turning to television, where her role in the 1960s series The Big Valley renewed her immense popularity. Callahan examines Stanwyck's career in relation to the directors she worked with and the genres she worked in, leading up to her late-career triumphs in two films directed by Douglas Sirk, All I Desire and There's Always Tomorrow, and two outrageous westerns, The Furies and Forty Guns. The book positions Stanwyck where she belongs—at the very top of her profession—and offers a close, sympathetic reading of her performances in all their range and complexity.
On homosexuality in cinema.
Lieutenant Eve Dallas must foil a terrorist plot in this explosive thriller in the #1 New York Times bestselling In Death series. It was just another after-work happy hour at a bar downtown—until the madness descended. And after twelve minutes of chaos and violence, more than eighty people lay dead. Lieutenant Eve Dallas is trying to sort out the inexplicable events. Surviving witnesses talk about seeing things—monsters and swarms of bees. They describe sudden, overwhelming feelings of fear and rage and paranoia. When forensics makes its report, the mass delusions make more sense: it appears the bar patrons were exposed to a cocktail of chemicals and illegal drugs that could drive anyone into temporary insanity—if not kill them outright. But that doesn’t explain who would unleash such horror—or why. Eve’s husband, Roarke, happens to own the bar, but he’s convinced the attack wasn’t directed at him. It’s bigger than that. And if Eve can’t figure it out fast, it could happen again, anytime, anywhere. Because it’s airborne…
"This anthology makes it abundantly clear that feminist film criticism is flourishing and has developed dramatically since its inception in the early 1970s." —Journal of Aesthetics and Art Criticism Erens brings together a wide variety of writings and methodologies by U.S. and British feminist film scholars. The twenty-seven essays represent some of the most influential work on Hollywood film, women's cinema, and documentary filmmaking to appear during the past decade and beyond. Contributors include Lucie Arbuthnot, Linda Artel, Pam Cook, Teresa de Lauretis, Mary Ann Doane, Elizabeth Ellsworth, Lucy Fischer, Jane Gaines, Mary C. Gentile, Bette Gordon, Florence Jacobowitz, Claire Johnston, E. Ann Kaplan, Annette Kuhn, Julia Lesage, Judith Mayne, Sonya Michel, Tania Modleski, Laura Mulvey, B. Ruby Rich, Gail Seneca, Kaja Silverman, Lori Spring, Jackie Stacey, Maureen Turim, Diane Waldman, Susan Wengraf, Linda Williams, and Robin Wood.