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Part II: Interacting with Readers 6. ‘There is a War on. Does She Know?’: Transatlantic Female Stardom and Women’s Wartime Labour in British Film Fan Magazines

Lisa Smithstead

Women's Periodicals and Print Culture in Britain, 1940s-2000s, Pages: 117 - 132

Swansea University Author: Lisa Smithstead

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DOI (Published version): 10.1515/9781474469999-009

Abstract

The chapter takes as its central case study the transatlantic star Vivien Leigh,whose treatment by British fan magazines across the wartime period illuminates anetwork of conflicted discourses on celebrity, patriotism and gendered labour, givenher status as a star positioned uneasily between America...

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Published in: Women's Periodicals and Print Culture in Britain, 1940s-2000s
ISBN: 9781474469982
Published: Edinburgh Edinburgh University Press 2020
URI: https://cronfa.swan.ac.uk/Record/cronfa60753
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first_indexed 2022-08-05T12:08:08Z
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spelling 2022-08-23T09:56:12.4031249 v2 60753 2022-08-05 Part II: Interacting with Readers 6. ‘There is a War on. Does She Know?’: Transatlantic Female Stardom and Women’s Wartime Labour in British Film Fan Magazines 93398d7d636683958868319f391a8260 Lisa Smithstead Lisa Smithstead true false 2022-08-05 AMED The chapter takes as its central case study the transatlantic star Vivien Leigh,whose treatment by British fan magazines across the wartime period illuminates anetwork of conflicted discourses on celebrity, patriotism and gendered labour, givenher status as a star positioned uneasily between America and Britain. I examineLeigh’s representation within the leading UK fan magazine of the time, Picturegoerand Film Weekly,3 considering its complex attempts to both establish and discredither stardom specifically in relation to war in a period during which ‘stars fi guredmuch more prominently than individual fi lms’ (Glancy 2011: 474). Leigh’s efforts atwar work, both on screen in overtly patriotic roles and off-screen through practicallabours such as knitting, visiting troops and tea-making, sit against a wider backdropof women’s wartime labour. Women’s work was essential to the national war effort,both on the public and domestic front. Robert Murphy (1992: 99) notes that by1944, ‘seven-and-a-half million women were working outside the home’. As a wartime woman whose labour and stardom was divided across the Atlantic, therefore, Leigh’s relatively conflicted treatment within the magazine illustrates the broader complexity of its specific articulations of wartime femininity. Examining her treatment within Picturegoer offers a fresh understanding of how magazine discourses addressed UK audiences in the Second World War, charting the specific role that British fan papers played in creating and disseminating gendered representations of wartime femininity. Book chapter Women's Periodicals and Print Culture in Britain, 1940s-2000s 117 132 Edinburgh University Press Edinburgh 9781474469982 27 10 2020 2020-10-27 10.1515/9781474469999-009 COLLEGE NANME Media COLLEGE CODE AMED Swansea University Another institution paid the OA fee 2022-08-23T09:56:12.4031249 2022-08-05T12:59:52.5080817 Faculty of Humanities and Social Sciences School of Culture and Communication - Media, Communications, Journalism and PR Lisa Smithstead 1
title Part II: Interacting with Readers 6. ‘There is a War on. Does She Know?’: Transatlantic Female Stardom and Women’s Wartime Labour in British Film Fan Magazines
spellingShingle Part II: Interacting with Readers 6. ‘There is a War on. Does She Know?’: Transatlantic Female Stardom and Women’s Wartime Labour in British Film Fan Magazines
Lisa Smithstead
title_short Part II: Interacting with Readers 6. ‘There is a War on. Does She Know?’: Transatlantic Female Stardom and Women’s Wartime Labour in British Film Fan Magazines
title_full Part II: Interacting with Readers 6. ‘There is a War on. Does She Know?’: Transatlantic Female Stardom and Women’s Wartime Labour in British Film Fan Magazines
title_fullStr Part II: Interacting with Readers 6. ‘There is a War on. Does She Know?’: Transatlantic Female Stardom and Women’s Wartime Labour in British Film Fan Magazines
title_full_unstemmed Part II: Interacting with Readers 6. ‘There is a War on. Does She Know?’: Transatlantic Female Stardom and Women’s Wartime Labour in British Film Fan Magazines
title_sort Part II: Interacting with Readers 6. ‘There is a War on. Does She Know?’: Transatlantic Female Stardom and Women’s Wartime Labour in British Film Fan Magazines
author_id_str_mv 93398d7d636683958868319f391a8260
author_id_fullname_str_mv 93398d7d636683958868319f391a8260_***_Lisa Smithstead
author Lisa Smithstead
author2 Lisa Smithstead
format Book chapter
container_title Women's Periodicals and Print Culture in Britain, 1940s-2000s
container_start_page 117
publishDate 2020
institution Swansea University
isbn 9781474469982
doi_str_mv 10.1515/9781474469999-009
publisher Edinburgh University Press
college_str Faculty of Humanities and Social Sciences
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hierarchy_top_id facultyofhumanitiesandsocialsciences
hierarchy_top_title Faculty of Humanities and Social Sciences
hierarchy_parent_id facultyofhumanitiesandsocialsciences
hierarchy_parent_title Faculty of Humanities and Social Sciences
department_str School of Culture and Communication - Media, Communications, Journalism and PR{{{_:::_}}}Faculty of Humanities and Social Sciences{{{_:::_}}}School of Culture and Communication - Media, Communications, Journalism and PR
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description The chapter takes as its central case study the transatlantic star Vivien Leigh,whose treatment by British fan magazines across the wartime period illuminates anetwork of conflicted discourses on celebrity, patriotism and gendered labour, givenher status as a star positioned uneasily between America and Britain. I examineLeigh’s representation within the leading UK fan magazine of the time, Picturegoerand Film Weekly,3 considering its complex attempts to both establish and discredither stardom specifically in relation to war in a period during which ‘stars fi guredmuch more prominently than individual fi lms’ (Glancy 2011: 474). Leigh’s efforts atwar work, both on screen in overtly patriotic roles and off-screen through practicallabours such as knitting, visiting troops and tea-making, sit against a wider backdropof women’s wartime labour. Women’s work was essential to the national war effort,both on the public and domestic front. Robert Murphy (1992: 99) notes that by1944, ‘seven-and-a-half million women were working outside the home’. As a wartime woman whose labour and stardom was divided across the Atlantic, therefore, Leigh’s relatively conflicted treatment within the magazine illustrates the broader complexity of its specific articulations of wartime femininity. Examining her treatment within Picturegoer offers a fresh understanding of how magazine discourses addressed UK audiences in the Second World War, charting the specific role that British fan papers played in creating and disseminating gendered representations of wartime femininity.
published_date 2020-10-27T04:19:07Z
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score 11.037056

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