Carmen Miranda Paper Dolls In Full Color

Her name was Maria do Carmo Miranda Da Cunha, but to millions around the world she was known as the "Brazilian Bombshell" ... the very essence of Latin fun, verve and vitality. From her first American film appearance in a Betty Grable musical, "Down Argentine Way" (20th Century-Fox), 1940, to her final role with Martin and Lewis, "Scared Stiff" (Paramount), 1953, the irrepressible and irreplaceable Carmen Miranda sang and danced her way across the cinematic screen and into the hearts of an adoring public. Carmen was born in the small northern Portuguese town of Marco de Canavezes in approximately 1909. She was brought to Brazil as a young girl and it was there that she first entered show business. By 1939 she had made some four hundred recordings several Brazilian films, had become a household word throughout South America and a national idol in Brazil when she was "discovered" for the American stage. Her lively sambas, Carnival marches, unique stage presence, and highly demanding rapid-delivery numbers completely overwhelmed audiences. Hollywood immediately clamored for this four-foot, eight-inch dynamo of talent who wore three-inch platforms on her feet and an orchard on her head. Relive those exciting performances with a full-color Carmen Miranda paper doll figure and thirty-one gorgeous costumes from all fourteen American films, including: "Down Argentine Way, " 1940 "Week-End in Havana," 1941 "The Gang's All Here," 1943 "Greenwich Village, " 1944 "Doll Face, " 1945/6 "Copacabana," 1947 "Nancy Goes to Rio," 1948/50 "That Night in Rio," 1941 "Springtime in the Rockies," 1942 "Four Jills in a Jeep," 1943/4 "Something for the Boys ," 1944/5 "If I'm Lucky," 1946 "A Date withJudy," 1948 "Scared Stiff," 1953For film historians, nostalgia enthusiasts, or for a generation that has yet to discover the sheer joy of Carmen Miranda, noted artist Tom Tierney has accurately captured an extraordinary and unforgettable performer in all her mirthful and exotic splendor.

This is the first book-length study of Carmen Miranda in English. It traces her origins as a radio singer, recording artist and film star in Brazil in the 1930s, before exploring in depth her Hollywood screen roles and the construction of her long-lasting star persona in the USA.

Movie star favorites with Hispanic roots! Each of the 16 glamorous ladies is wearing an outfit from one of her motion pictures and is accompanied by a second costume. Among the Latin lovelies are Rita Hayworth, Raquel Welch, Penelope Cruz, Jennifer Lopez, Carmen Miranda, Rita Moreno, Cameron Diaz, Rosie Perez, and Salma Hayek.

Dance and the Hollywood Latina asks why every Latina star in Hollywood history began as a dancer or danced onscreen. Introducing the concepts of ""inbetween-ness"" and ""racial mobility"" to further illuminate how racialized sexuality and the dancing female body operate in film, this book focuses on the careers of Dolores Del Rio, Rita Hayworth, Carmen Miranda, Rita Moreno, and Jennifer Lopez and helps readers better understand how the United States grapples with race, gender, and sexuality through dancing bodies on screen

To a few people, she was Grace Kelly of Philadelphia. To her movie fans, she was a cool, dignified and glamorous leading lady, and to countless others, she was the American girl who became a fairy-tale princess. Now, in this new paper doll collection, noted illustrator Tom Tierney recreates over 30 memorable outfits worn by the actress in major rolls and events in her life. Sixteen full-color plates include four dolls (three of Grace and one of Prince Rainier), while 32 skillfulkly rendered illustrations of costumes, gowns and outfits recall special events - from a dress worn in her professional stage debut in 1949, to a Dior outfit worn at a party in her honor in 1982. Her film fans will be pleased to find costumes from 11 film roles, including an appropriately prim dress she wore as Gary Cooper's Quaker bride in "High Noon" (1952); an elegant evening ensemble from "Rear Window" (1954); the sumptuous evening dress worn in "To Catch a Thief" (1955); and a graceful gown from "The Swan" (1956). Also included in this volume are the dress worn for the Academy Awards presentation at which she won her 1954 Oscar, and here royal wedding gown - made of 250 yards of antique heirloom lace. Two family groupings also feature delightful portraits of the royal children. Paper doll enthusiasts will want to add this unique volume to their collection, while Grace Kelly fans and movie buffs will treaure this colorful tribute to a talented actress and charming modern-day princess.

Following completion of the U.S. air base in Natal, Brazil, in 1942, U.S. airmen departing for North Africa during World War II communicated with Brazilian mechanics with a thumbs-up before starting their engines. This sign soon replaced the Brazilian tradition of touching the earlobe to indicate agreement, friendship, and all that was positive and good—yet another indication of the Americanization of Brazil under way during this period. In this translation of O Imperialismo Sedutor, Antonio Pedro Tota considers both the Good Neighbor Policy and broader cultural influences to argue against simplistic theories of U.S. cultural imperialism and exploitation. He shows that Brazilians actively interpreted, negotiated, and reconfigured U.S. culture in a process of cultural recombination. The market, he argues, was far more important in determining the nature of this cultural exchange than state-directed propaganda efforts because Brazil already was primed to adopt and disseminate American culture within the framework of its own rapidly expanding market for mass culture. By examining the motives and strategies behind rising U.S. influence and its relationship to a simultaneous process of cultural and political centralization in Brazil, Tota shows that these processes were not contradictory, but rather mutually reinforcing. The Seduction of Brazil brings greater sophistication to both Brazilian and American understanding of the forces at play during this period, and should appeal to historians as well as students of Latin America, culture, and communications.