bluuebunny/crossref_metadata_2025_split huggingface dataset:
“A Tour Of History: Old New Orleans”
Authors: Tidwell John Edgar , Sanders Mark A 
Published: November 2023

Abstract
The stretch along the gulf from Pascagoula to Biloxi to Pass Christian to Bay St. Louis to Mulatto Bayou prepared me for New Orleans. Old French bungalows in shady thick gardens; the crosses and Catholic shrines; the shacks propped on stilts at the edge of the bays and bayous; the oyster shell roads bending into lush wildernesses where the tangled elephant-eared or lance-like plants showed all shades of green; cypress knees hunching swollen out of the muck; flowers delicately hued or like flame or startlingly white; sluggish bayous set in green frames; bearded water oaks and willows; straight long-leaf pines; palmettoes; the blue waters of the gulf, dazzling in the sunlight—all were fit settings for easy living Latins. The beauty of crepe-myrtles and magnolias belonged here, but so did the littered beaches, briny and tangy, smelling of fish at low tide. Old Spain was here— the hanging moss went by the name of “Spaniards beard,” and the yucca by the name of Spanish dagger. Old France was here in the houses, the cemeteries, and the people—Cajuns, Creole whites, Creole Negroes. It was hard to tell, looking at these olive, sloe-eyed brunettes, where one started and the other left off. The Indians had been here, leaving traces in the high cheek-bones and long, coarse, blue-black hair of many of the people, white and colored. But the Choctaws were gone; the grandsons of the Congo were here to stay.
What Did Judas Betray and Why Did He Betray It?
Authors: Ehrman Bart D 
Published: November 2023

Abstract
The accomplishments and achievements of a person’s entire lifetime can be overshadowed or even obliterated by a single incident. Most of my under- graduate students know about Richard Nixon for one reason: Watergate. And which of us knows anything about the actor John Wilkes Booth apart from the fact that he shot Abraham Lincoln? What do people know about Judas Iscariot? He betrayed Jesus. But what exactly did he betray? And why did he betray it? To make sense of my thesis—that the commonly held answers to these questions are probably wrong, or at least inadequate—I need to set the stage by reviewing a couple of important background issues.
Virginia, Kentucky, and the Complex Politics of Early Republican Federalism
Authors: Robertson Lindsay G 
Published: November 2023

Abstract
Chief Justice Marshall himself anticipated that questions might arise as to why he ventured so far beyond the minimum rationale necessary to support the Court’s finding that the Illinois and Wabash purchases were in valid. To forestall such inquiry, he attributed the “degree of attention” that he “bestow[ ed] upon this subject” to “the magnitude of the interest in litigation, and the able and elaborate arguments” advanced by Harper, Webster, Winder, and Murray.1 The true explanation is somewhat more com plicated. Marshall’s motives were mixed. Like others of his generation, his interests were not entirely divorced from his politics. His decision in Johnson reflected his institutional concern for the power of the Supreme Court and his personal concern to secure land grants to Revolutionary War soldiers.
Reception and Authenticity
Authors: González Marcial 
Published: November 2023

Abstract
In one of the many theme-packed scenes in Danny Santiago’s Famous All over Town, the novel’s fourteen-year-old Chicano narrator, Chato, pays a visit to Max Pilger, a sympathetic but somewhat idealistic school counselor. Pilger recognizes Chato’s academic potential, despite the boy’s poor grades. But the counselor remains puzzled by a dramatic drop in Chato’s IQ test scores from 135 to 95 in just one year. He decides to examine Chato himself with a series of Rorschach inkblot tests and other images. Chato reads all the images pessimistically, while Pilger counters with more optimistic interpretations. The boy says of one image, “A giant man-eating butterfly [with] blood dripping from its mouth” (67). The counselor explains that most people see “happy dancing girls.” Pilger asks Chato why he sees sadness in all the pictures; the boy replies that all the pictures are sad. “The sadness is in you, son,” Pilger says. “I don’t see sadness at all.” Then Chato blurts out, “You’re not a Mexican” (67).
The Power of Recirculation
Authors: Garvey Ellen Gruber 
Published: November 2023

Abstract
Recovering the reading practices of actual readers anchors the more theoretical considerations of reception. Present-day readers can be interviewed and surveyed (Radway; Long), but traces of historical readers have to be sought in diaries, reviews, letters, and even court records (Sicherman; Zboray and Zboray; Augst; Ginsburg). Many nineteenth-century readers, male and female, kept scrapbooks of items clipped from their newspaper reading.
Accuracy or Fair Play?
Authors: Nord David Paul 
Published: November 2023

Abstract
When Isaac Russell noticed a small story in the New York World of 24 April 1916, he did something countless newspaper readers have done over the centuries: He got angry. He dashed off a letter denouncing the “defamatory tone” of the story, the “distorted words,” and the lack of context for quotations. “What good does it possibly do the world,” he wrote, “to wrench words far away from the situation that was proper, respectful, and in taste, into something wild-eyed, intemperate and unseemly?” (26 Apr. 1916).1 Though anger has always been a fairly typical reader response to newspaper journalism, Isaac Russell was no typical reader. He was himself a news-paper reporter, and the person whose words were “raided and distorted” in the World were his own. The story quoted from a speech that Russell had given the evening before, assailing the New York papers for their unfair treatment of antiwar activists.
Political Talk and the Flow of Ambient Television
Authors: Press Andrea , Johnson-Yale Camille 
Published: November 2023

Abstract
I arranged with Janelle to show up at 10:30 on a Thursday morning. When I arrived at the scheduled time, the salon was locked. As I waited in the parking lot I noticed a woman in a battered old car right next to me in the parking lot. She was sleeping. Sensing me watching her, she stirred and sat up. “Are you waiting for Janelle?” I inquired. “Yeah, she told me to come at 9:30, so I’m waiting. I know she’ll show up.” She had been napping in her car for an hour waiting for Janelle to open the shop. I realized that now I had no idea when Janelle would show up, so I ran out to the bank, as I had forgotten to bring cash for my subject payment to Janelle. When I returned almost an hour later Janelle was just opening the salon.
The Reception Deception
Authors: Miller Toby 
Published: November 2023

Abstract
Eve Tushnet was editor-in-chief of The Yale Free Press in 1999. Reflecting on her leaving year’s reception of Gilda, Charles Vidor’s 1946 film noir, she wrote, “Gilda tries to get her dignity back through sex, Johnny through power—the same trophies many of us seek at Yale, the former on couches and the latter in classrooms.” Tushnet, who went on to be a conservative Catholic-conversa blogger, understood the importance of a materially situated uptake of texts. So should we. I take her illuminating remark on ruling-class methods and mores, titillation and training, as a touchstone to criticize what I am calling the “reception deception”—namely, dominant investigations of cultural effects. In its place I propose a hybrid of political economy and ethnography, borrowing, inter alia, from several essays in this volume.
The ABCs of Classic Hollywood
Authors: Ray Robert B 
Published: November 2023

Abstract
Speaking about the kind of filmmaking now known as Classic Hollywood, the most popular and influential cinema ever invented, Vincente Minnelli once gave away its secret: “I feel that a picture that stays with you is made up of a hundred or more hidden things. They’re things that the audience is not conscious of, but that accumulate.” How would we go about finding those things? What method would enable us to retrieve them, and by doing so, to understand better how Hollywood films got made? The ABCs of Classic Hollywood attempts to answer those questions by looking closely at four movies from the 1930-1945 period when the American Studio System reached the peak of its economic and cultural power: Grand Hotel, The Philadelphia Story, The Maltese Falcon, and Meet Me in St. Louis. To avoid the predictable generalizations that have plagued film studies, Ray works with the movies’ details, treated as initially mysterious, but promising, clues: e.g., Grand Hotel’s coffin and room assignments; The Philadelphia Story’s diving board and license plate PA55; The Maltese Falcon’s clocks and missing bed; Meet Me in St. Louis’s violinist and ribboned cat. By producing at least 26 entries for each of these films (one for every letter of the alphabet), Ray demonstrates that a movie’s details contain the record of the work and ideas that produced them, the endless negotiation between commercial efficiency and seductive enchantment. In our unconscious memories, we recognize something in the movies, something tantalizing and just out of reach. This book unlocks those memories, making them conscious and explicit, so that they will help us understand the most powerful and important storytelling system ever designed.
Dachshund
Authors: Ray Robert B 
Published: November 2023

Abstract
Grand Hotel’s choice of pet confirms how even peripheral objects contribute to a movie’s meaning. For Americans, the dachshund’s exaggeratedly silly appearance and lapdog size soften the Baron’s character, making even this jewel thief seem less threatening than threatened. To measure this effect, one has simply to imagine replacing the dachshund with another appropriately German breed—Doberman pinscher, rottweiler, German shepherd—whose more menacing aspects and connotations would convert the Baron from dandy to predator.
Errors
Authors: Ray Robert B 
Published: November 2023

Abstract
Hollywood cinema’s continuity system developed as a means of managing the hundreds of choices involved in every stage of the filmmaking process. That system addressed itself primarily to two crucial sites: the contents of individual shots and the articulation between them. For individual shot decisions (known as mise-en-scène), mainstream commercial cinema settled on centering, using various devices to keep narratively important elements prominent in the frame. Typically, this process involves framing and character positioning: in Grand Hotel, for example, Garbo’s scenes keep her spatially centered, rarely allowing her to dissolve into the mise-en-scène’s background. Designed to overcome early movies’ illegibility, centering could also work more subtly, especially with sound: by merely speaking, for example, even a marginalized character would at least temporarily command the viewer’s attention.
I Want to Be Alone
Authors: Ray Robert B 
Published: November 2023

Abstract
This famous line, forever associated with Garbo, occurs for the first time in Grand Hotel, where its effect demonstrates star-acting’s dependence on the viewer’s extratextual knowledge. By 1932, Garbo’s aloofness—in part her natural disposition, but also a persona carefully nurtured by MGM—had become central to her performances. Merely by playing them, Garbo could now endow her characters with a world-weary remoteness requiring little narrative motivation. Garbo, in other words, like almost all great movie stars, had become a shorthand, an extraordinarily efficient way of rendering a person, a situation, an atmosphere.
Overhead Shots
Authors: Ray Robert B 
Published: November 2023

Abstract
Grand Hotel opens with one of its most memorable images, an overhead shot of the hotel switchboard, the depersonalized operators (the film never shows their faces) busily routing incoming and outgoing calls. This overhead angle, unsponsored by any diegetic motivation (it issues from no character’s point of view), will recur intermittently throughout the movie. The shots of the circular staircase and lobby, the image of Garbo removing her ballet costume, the view of Kringelein’s drunken return to his room—taken together, these moments indicate Goulding’s taste for, and Thalberg’s tolerance of, design over plot.
Questions
Authors: Ray Robert B 
Published: November 2023

Abstract
In The Avant-Garde Finds Andy Hardy, I suggested that the surreal- ist game of “irrational enlargement” might offer a tool for thinking about classic Hollywood. The game asks questions of the sort expressly forbidden by New Criticism, whose paradigmatic example of an improper question was, “What did Hamlet study in Wittenberg before the play begins?”—i.e., a question unaddressed by the play. Hollywood films, however, never provide answers for all of the questions they imply.
Seduction
Authors: Ray Robert B 
Published: November 2023

Abstract
In S/Z, Barthes demonstrated how an apparently innocent description of Sarrasine’s visits to La Zambinella’s performances might be replaced by a structurally identical erotic anecdote. “This operation,” Barthes suggested, “is based not on a lexicon of symbols but on systematic cohesion, a congruence of relationships” that appear in rereadings. Similarly, Grand Hotel’s dictation scene between Flaemmchen and Preysing provides an analogue of the sexual-act-interrupted- by-impotence.
War Souvenirs
Authors: Ray Robert B 
Published: November 2023

Abstract
When “the chauffeur” interrupts the Baron instructing Adolphus on the rules of courtship, the camera focuses on the desk and its significant objects: a kaiser helmet (used by German troops in World War I), a model airplane, and a miniature artillery cannon. These souvenirs, along with the Baron’s wristwatch (which the war had popularized), are what Barthes called semes, “flickers of meaning” that “appear to float freely, to form a galaxy of trifling data.” As S/Z demonstrated, they work collectively to create a character, whose proper name will act “as a magnet field for the semes” traversing it. Casablanca’s introduction of Rick Blaine (Humphrey Bogart) offers another ideal example. While temporarily withholding Rick’s face, the shot defines him through objects whose meaning repeated use has made clear: The champagne glass and cigarette suggest both sophistication and jadedness, the solo chess game (an intellectual’s solitaire) cleverness and a solitude simultaneously proud and melancholy.
Yellow Room
Authors: Ray Robert B 
Published: November 2023

Abstract
Grand Hotel often mentions what Flaemmchen calls “the funny yellow room where they dance.” There, strange events take place: the drinking of absinthe and Louisiana Flips, an affirmation of love’s existence, dance lessons, attempts at murder, solicitation of a prostitute (even this partial summary will suggest the movie’s proximity to the world of directors like Pabst). The Yellow Room’s name also invokes an issue central to film history. In one of his most famous essays, André Bazin argued that the critics who regretted the coming of sound had failed to understand “the myth of total cinema,” whose ideal had always been an asymptotic advance toward reality’s perfect reproduction. If the movies’ ontology involved, as Bazin thought, “an integral realism, a recreation of the world in its own image,” then the advent of technological developments like sound and color warranted celebration. Hollywood, however, conflated “realism” with an “invisible style” that hid not only the process of filmmaking, but also the gap between the screen and the world. But the Yellow Room’s name confounds the goals of both realism and stylistic self-effacement: in a black-and-white movie, the room’s “yellowness” calls attention to the cinema’s technological immaturity, its inability to render completely its own chosen subjects. Given the name, a viewer cannot help inferring that an actual Yellow Room exists somewhere, and this is not it.
A in Katharine Hepburn (after Roland Barthes’s S/Z)
Authors: Ray Robert B 
Published: November 2023

Abstract
Katharine Hepburn’s individuality appears not only in her screen persona, but also in the spelling of her name. The opening K defies countless Catherines, including several English and French queens and two Russian empresses. Nevertheless, the K better represents Hepburn’s characteristic angularity than would the curvy C. More interesting is the uncommon vowel choice for Katharine’s second syllable, where the usual e gets replaced by the eccentric a, inherited from her mother, a women’s rights and birth-control activist. Since this syllable is silent, its purpose remains symbolic and aesthetic, offering the suggestion of several connotations: androgyny, achievement, Academy Awards (12 nominations, 6 wins), A for the highest grade.
Hepburn
Authors: Ray Robert B 
Published: November 2023

Abstract
By now, the story is well known: reeling from being denounced as “box-office poison” by Harry Brandt, president of the Independent Theater Owners of America, Hepburn retreated to her parents’ house in Connecticut, where, nearing 30, she feared her movie career was over. She continued to seek the part of Scarlett O’Hara, but would get nowhere on that front. Suddenly, play- wright Philip Barry, whose earlier Broadway hits (1923’s You and I and 1928’s Holiday) had only led to a string of failures, appeared with the rough idea for two different plays. The first, about a suicidal diplomat, Hepburn quickly rejected, but the second was a marital comedy whose heroine Barry had based both on his Philadelphia socialite friend Hope Montgomery Scott and on Hepburn herself. Hepburn retired with Barry to his Maine summer house, where they worked on the play together. As Sheridan Morley observes, “Few actresses in the entire world history of theater can ever have had such close attention from a playwright.” George Jean Nathan detailed Barry’s method: He spent two long months observing at close quarters, recording carefully every attractive gesture she made, every awkwardly graceful movement of her body, every odd little quirk of her head and every effective dart of her eye, then to incorporate them all into the play he was writing for her. A line was interpolated to allow her to swing her lithe figure across the stage; another was so contrived that a toss of her lovely brown hair would pictorially embellish it; still another was so framed that it would permit her, while seated, relevantly to cross her knees and display her pretty legs to the critical professors out front. If her voice was found unable to cope properly with a line, it was altered until she could handle it nicely.
Kittredge
Authors: Ray Robert B 
Published: November 2023

Abstract
Brendan Gill once identified Philip Barry with a group of Irish- American writers, including Eugene O’Neill, John O’Hara, and F. Scott Fitzgerald, “drawn to the rich and well-born.” Each of the four had Ivy League connections: O’Neill and Fitzgerald attended Princeton, where O’Hara ended up living; Barry graduated from Yale, for which O’Hara had so longed that he kept scrapbooks detailing the exploits of his imaginary class. Barry even named Kittredge for a Harvard English professor, famous at the time.
Mac the Night watchman
Authors: Ray Robert B 
Published: November 2023

Abstract
“Mac the nightwatchman is a prince among men,” Tracy declares, and Dexter offers even higher praise: “You could marry Mac the night watchman, and I’d cheer for you.” Despite his minuscule role, undeveloped character, and single brief appearance, Mac seems The Philadelphia Story’s most respected character. And yet, neither Philip Barry nor George Cukor appears especially interested in this walk-on part, played with a slight Scottish accent by the uncredited David Clyde. Why, then, does the movie repeatedly refer to him? Mac is an alibi, providing assurance that character, not wealth, determines a person’s quality. Although Tracy has contemplated marrying George, though she has entertained having an affair with Mike, she ultimately marries Dexter, thereby defying Ellie Andrews of It Happened One Night and, indeed, the whole screwball comedy genre. Tracy’s decision represents the genre’s retreat from socioeconomic to marital conflicts. Instead of bridging social classes, the union of Tracy and Dexter un- ashamedly reunites old money with old money. Mac, however, offers the continuing promise of a classless, utopian American society, and thus, he enables The Philadelphia Story to avoid the scandal of snobbery. Only Mac’s “princeliness,” the means of displacement from class to character, permits George to be “beneath” Tracy.
Red
Authors: Ray Robert B 
Published: November 2023

Abstract
Although Katharine Hepburn’s father called her “Redtop,” she has been alternately described as having “red,” “coppery-reddish,” “reddish-brown,” or “auburn” hair. Pinpointing the exact shade proves difficult. Hepburn didn’t make a color film until 1951’s The African Queen, when she had reached her mid-40s, and her hair had begun to turn gray. Even the promotional posters for Holiday (1938), another Barry-Cukor-Grant-Hepburn production, offer contradictory images of a coppery-reddish and an auburn-haired Hepburn, dueling representations repeated by The Philadelphia Story’s ads.
Spy
Authors: Ray Robert B 
Published: November 2023

Abstract
Sidney Kidd’s Dime and Spy magazines, with their celebrity photo spreads and “horrible, snide, corkscrew English” (“No hunter of buckshot in the rear is Cagey Crafty Connor”), are obvious parodies of Henry Luce’s Time and Life, whose syntax would again be imitated by Citizen Kane’s newsreel. Dime goes unmentioned by the movie, but Spy (read: Life) initiates the plot, prompting a gathering of characters and romantic confusion worthy of Jean Renoir’s La Règle du Jeu, made only a few months earlier. Nevertheless, Spy caused Philip Barry trouble. On the one hand, Kidd’s blackmail provides the motivation for introducing Mike and Liz into the Lord household while, at least in the film version, also enabling Dexter’s return. But, on the other, integrating that story into the narrative of the Tracy-Dexter reunion was a problem. “As he started the second act,” Barbara Leaming reports, “Barry lost track of the original story about a reporter.” The movie version of The Philadelphia Story betrays Barry’s struggle.
Two Years Later
Authors: Ray Robert B 
Published: November 2023

Abstract
This title card, appearing after the prologue’s Tracy-Dexter fight, represents the movie’s only obvious concession to the demands of temporal discontinuity. Like almost all classic Hollywood films, The Philadelphia Story relies on radical abridgement made legible: its events, if played out in real time, would require far more than the movie’s 112 minutes. Here is the basic structure: women”) prevents that need, and its solution, from seeming purely mechanical (the weakness of the “well-made play”). At the same moment, the narrative’s speed (things are coming to a head) averts any objections to the regressive image of “a woman’s place.” Thus, the typewriter represents The Philadelphia Story’s economy: by acting in cahoots, the movie’s narrative and ideologi- cal tactics render each other invisible.
UnansweredTelephone
Authors: Ray Robert B 
Published: November 2023

Abstract
To suggest narrative’s interference with what he most valued about the cinema, its capacity for producing photogénie, Jean Epstein complained, “The telephone rings. All is lost.” The Philadelphia Story offers one solution to that problem: don’t answer it. Tracy ignores the ringing in her bedroom. In doing so, however, she triggers the plot’s denouement, thereby confirming that Hollywood cinema can almost never escape a telephone’s importuning. George will arrive to track Tracy down, and the resulting confrontations will lead her back to Dexter.