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Images
in Abortion’s Coded Visibility: The Failed Censorship and Box Office Success of Leave Her to Heaven
> Feminist Media Histories
Published: 20 October 2020
FIGURE 1. Ellen Berent (Gene Tierney) in the abortion sequence in Leave Her to Heaven (dir. John M. Stahl), 1945. Images courtesy Twentieth Century-Fox. More
Images
in Abortion’s Coded Visibility: The Failed Censorship and Box Office Success of Leave Her to Heaven
> Feminist Media Histories
Published: 20 October 2020
FIGURE 1. Ellen Berent (Gene Tierney) in the abortion sequence in Leave Her to Heaven (dir. John M. Stahl), 1945. Images courtesy Twentieth Century-Fox. More
Images
in Abortion’s Coded Visibility: The Failed Censorship and Box Office Success of Leave Her to Heaven
> Feminist Media Histories
Published: 20 October 2020
FIGURE 1. Ellen Berent (Gene Tierney) in the abortion sequence in Leave Her to Heaven (dir. John M. Stahl), 1945. Images courtesy Twentieth Century-Fox. More
Images
in Abortion’s Coded Visibility: The Failed Censorship and Box Office Success of Leave Her to Heaven
> Feminist Media Histories
Published: 20 October 2020
FIGURE 2. Ellen in riding gear as she prepares to spread her father’s ashes in Leave Her to Heaven (dir. John M. Stahl), 1945. Image courtesy Twentieth Century-Fox. More
Images
in Abortion’s Coded Visibility: The Failed Censorship and Box Office Success of Leave Her to Heaven
> Feminist Media Histories
Published: 20 October 2020
FIGURE 3. “Ellen always wins”: having bested her competition in a swimming race, Ellen emerges triumphant in her bathing costume in Leave Her to Heaven (dir. John M. Stahl), 1945. Image courtesy Twentieth Century-Fox. More
Images
in Abortion’s Coded Visibility: The Failed Censorship and Box Office Success of Leave Her to Heaven
> Feminist Media Histories
Published: 20 October 2020
FIGURE 4. A pregnant Ellen disapprovingly surveys her family’s surprise conversion of her late father’s laboratory into a baby’s playroom in Leave Her to Heaven (dir. John M. Stahl), 1945. Image courtesy Twentieth Century-Fox. More
Images
Published: 20 October 2020
FIGURE 1. An exhibition hall at the first Consumer Electronics Show, held in 1967. CTA promotional photo. More
Images
Published: 20 October 2020
FIGURE 2. A press reception at CES 2016. Photo by the author. More
Images
Published: 20 October 2020
FIGURE 3. The OhMiBod booth at CES 2016. Photo by the author. More
Images
in Open Mic?: The Gendered Gatekeeping of Authenticity in Spaces of Live Stand-Up Comedy
> Feminist Media Histories
Published: 20 October 2020
FIGURE 1. Ad for The Kates show at the Improv Chicago, October 2017. This image was used across their social media platforms. More
Images
in Open Mic?: The Gendered Gatekeeping of Authenticity in Spaces of Live Stand-Up Comedy
> Feminist Media Histories
Published: 20 October 2020
FIGURE 2. Graph created from February 3, 2015, Bitch magazine data breaking down findings by year and booking type. Headliners perform last and get paid the most, followed by featured comics, who perform before the headliner. The MC opens the show and generally gets paid the least. More
Images
in Open Mic?: The Gendered Gatekeeping of Authenticity in Spaces of Live Stand-Up Comedy
> Feminist Media Histories
Published: 20 October 2020
FIGURE 3. The three spaces in Champaign-Urbana, Illinois, where Broad Comedy has taken place, and the three founders of the show: the author performing at Pizza M in 2016, Lisa Graff performing at Blackbird Bar in 2019, and Andrew Schiver performing at the Rose Bowl Tavern in 2020. Since the autho... More
Images
in Open Mic?: The Gendered Gatekeeping of Authenticity in Spaces of Live Stand-Up Comedy
> Feminist Media Histories
Published: 20 October 2020
FIGURE 4. From backstage at the author’s Feminine Comique graduation show, July 2018. More
Images
in Open Mic?: The Gendered Gatekeeping of Authenticity in Spaces of Live Stand-Up Comedy
> Feminist Media Histories
Published: 20 October 2020
FIGURE 5. A typical image of the Clark Bar open mic in Champaign-Urbana, Illinois. These open mics were held Wednesdays and Thursdays from 9 to 10:30 p.m. Shown is the author’s former roommate Andrea Ruehlicke performing in 2017. Ruehlicke was vigorously encouraged by the author to try stand-up be... More
Images
in Open Mic?: The Gendered Gatekeeping of Authenticity in Spaces of Live Stand-Up Comedy
> Feminist Media Histories
Published: 20 October 2020
FIGURE 6. The original space where Broad Comedy was held in 2016, in the back of a popular pizza place in Urbana that has since closed. We held these open mics once or twice a month on Tuesdays at 6 pm. More
Images
in Embodying the Background: Connecting Pachucas and Movie Theaters in Filmic and Literary Depictions of the Zoot Suit Riots
> Feminist Media Histories
Published: 20 October 2020
FIGURE 1. Pachuca Vocalist #3 (Candice L. Silva), at right, faces away from the legs of her fellow Pachuca Vocalists (Anacani Echeverria and Bertha E. Oropeza) while Rudy Reyna (Tony Plana) drunkenly converses with a recruitment poster in Zoot Suit (dir. Luis Valdez), 1981. Image courtesy Univer... More
Images
in Embodying the Background: Connecting Pachucas and Movie Theaters in Filmic and Literary Depictions of the Zoot Suit Riots
> Feminist Media Histories
Published: 20 October 2020
FIGURE 2. El Pachuco (Edward James Olmos) is carried away by servicemen while the audience watches in Zoot Suit (dir. Luis Valdez), 1981. Images courtesy Universal Pictures. More
Images
in Embodying the Background: Connecting Pachucas and Movie Theaters in Filmic and Literary Depictions of the Zoot Suit Riots
> Feminist Media Histories
Published: 20 October 2020
FIGURE 3. Esperanza Montoya (Vira Montes) boards the streetcar and looks for a seat in American Me (dir. Edward James Olmos), 1992. Images courtesy Universal Pictures. More
Images
in Embodying the Background: Connecting Pachucas and Movie Theaters in Filmic and Literary Depictions of the Zoot Suit Riots
> Feminist Media Histories
Published: 20 October 2020
FIGURE 4. Pedro (Sal Lopez) and Acha (Robert Martín Márquez) after they have been beaten in American Me (dir. Edward James Olmos), 1992; notice Pedro’s outstretched arm bearing his new tattoo with Esperanza’s name. This blocking of the actors recalls an infamous archival photo of the actual even... More
Images
in Embodying the Background: Connecting Pachucas and Movie Theaters in Filmic and Literary Depictions of the Zoot Suit Riots
> Feminist Media Histories
Published: 20 October 2020
FIGURE 5. Esperanza Montoya in a flashforward to 1959 in American Me (dir. Edward James Olmos), 1992. Image courtesy Universal Pictures. More