The Weaponization of Beauty: British female film stars and the struggle for women's agency 1938- 1948.

这个博士项目调查了英国电影明星，他们的电影，以及他们在粉丝杂志上的待遇，如何在第二次世界大战期间被用来影响女性的行为。电影历史学家Mark Glancy（2011）指出，由于缺乏事实准确性，历史学家并不认为电影杂志是一个有用的历史证据来源。接受明星角色是精心策划的观点，本文通过利用现有的方法，如内容分析和文化分析，重新审视粉丝杂志的证据基础，以确定其隐含的信息。以当时五位受欢迎的女演员为案例研究，它考虑了她们明星形象的整体，包括角色类型、那段时间的剧本“选择”，以及在可能的情况下，对她们的传记所做的任何“编辑”。该项目评估了英国政府部门（如新闻部）以及杂志编辑和电影制片厂的议程在多大程度上影响了女明星的呈现。它考虑了公开或隐蔽的指导是否仅仅提供了现代版本的“行为文学”——关于社会习俗和自我表现的指导——使用道德劝说来支持女性保持当代的美丽标准。另外，该研究提出，官方批准的信息传递是否倾向于意识形态宣传，以追求改变妇女的态度和行为，以满足当权派的政治目标？这些对女性的影响的成功并不是统一的，而是取决于女明星和她们的粉丝各自的代理。就明星而言，这与他们在发展自己的明星形象方面的共谋有关，就粉丝而言，这与他们对理想化女性原型的认知和遵从程度有关。因此，该项目致力于通过探索电影和更广泛的电影文化来扩展现有的接受研究奖学金，这些文化可能具有变革性和体验性

This doctoral project investigates how British film stars, their films, and their treatment in fan magazines, were used during World War II to influence women's behaviour. Film historian Mark Glancy (2011) notes that historians do not value film magazines as a useful source of historical evidence, due to lack of factual accuracy. Accepting that the star persona was heavily curated, this thesis revisits fan magazines' evidential basis by utilising existing methodologies, such as content analysis and cultural analytics, to ascertain their implicit messages. Taking five popular actresses of the time as case studies, it considers the totality of their star persona, including role types, script 'choices' during the period and, where possible, any 'edits' made in respect of their biographies. The project evaluates the extent to which the agendas of UK Government departments, such as the Ministry of Information, as well as magazine editors and film studios, shaped the presentation of female stars. It considers whether overt or covert instructions merely offered a modern version of 'conduct literature' - guidance about social mores and self-presentations - using moral suasion to support women in maintaining contemporary beauty standards. Alternatively, the study asks, did officially sanctioned messaging lean towards ideological propaganda, in pursuit of effecting changes in women's attitudes and behaviour to meet the establishment's political objectives? The success of these influences upon women was not uniform, but dependent upon the agency of both the female stars and their fans respectively. Regarding stars, this relates to their complicity in the development of their own star persona, and in the case of fans the degree of cognisance of, and conformity to, the promotion of an idealised woman prototype. The project thus works to extend existing reception studies scholarship by exploring cinema-going, and wider cinema cultures, as potentially transformative as well as experiential