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Stephen Gundle
6. Sybil DelGaudio, Dressing the Part: Sternberg, Dietrich, and Costume (Rutherford,
NJ: Farleigh Dickinson University Press, 1993), p. 21.
7. Neal Gabler, An Empire of their Own: How the Jews Invented Hollywood (New York:
Anchor, 1989).
8. See Kathy Peiss, Hope in a Jar: The Making of America’s Beauty Culture (New York:
Metropolitan/Holt, 1998), chs 4 and 5.
9. Walter Wanger, “America’s Secret Weapon,” University of Wisconsin-Madison,
State Historical Society, Papers of Walter Wanger/Speeches 36.58. See also Wanger,
“Donald Duck and Diplomacy,” Public Opinion Quarterly (Fall 1950), pp. 443–52.
10. Pier Paolo Pasolini, Amado mio (Milan: Garzanti, 1982), pp. 191–2.
11. Gion Guida, “Gilda,” Cinemmoda (April 6, 1947), p. 7.
12. Edgar Morin, Les Stars (Paris: Seuil, 1957).
13. Ugo Zatterin, “Matrimonio in technicolor per Tyrone il buono e Linda la bella,” Oggi
(February 3, 1949), p. 11.
14. For an analysis of the event as reported in the press, see Stephen Gundle, “Memory
and Identity: Popular Culture in Postwar Italy,” in Patrick McCarthy (ed.), Italy since 1945
(Oxford: Oxford University Press, 2000), pp. 190–2.
15. For some perceptive observations on postwar Roman aristocracy, see Luigi Barzini,
From Caesar to the Mafia: Sketches of Italian Life (New York: Doubleday, 1971), pp. 107–
10.
16. For a more detailed examination of these issues, see Stephen Gundle, “Il divismo
nel cinema europeo, 1945–60,” in Gian Piero Brunetta (ed.), Storia del cinema mondiale,
vol. 1, L’Europa, book 1: Miti, luoghi, divi (Turin: Einaudi, 1999).
17. On the cultural clashes of the whole Cold War period, see Stephen Gundle, Between
Hollywood and Moscow: The Italian Communists and the Challenge of Mass Culture,
1943–91 (Durham, NC: Duke University Press, 2000).
18. On this episode, see Stephen Gundle, “Saint Ingrid at the Stake: Stardom and
Scandal in the Bergman-Rossellini Collaboration,” in David Forgacs, Sarah Lutton, and
Geoffrey Nowell-Smith (eds), Roberto Rossellini: Magician of the Real (London: British
Film Institute, 2000).
19. On the stars and consumerism, see Charles Eckert, “The Carole Lombard in Macy’s
Window,” in Christine Gledhill (ed.), Stardom: Industry of Desire (London: Routledge,
1991).
20. Ubis, “La Fornarina cede il passo a Rita Hayworth,” Grazia 404 (1948), pp. 22–3.
Cited in Marina Coslovi, “Il Glamour ci viene da Hollywood: l’immagine dell’America in
una rivista femminile del dopoguerra,” unpublished paper, undated, p. 7.
21. Cited in Cinema Nuovo, “Lo scandalo delle curve” (1953), in Guido Aristarco (ed.)
Il mito dell’attore: come l’industria della star produce il sex symbol (Bari: Dedalo, 1983),
p. 261.
22. Anon., “Lollo degli americani,” Le ore (February 6, 1954), pp. 12–13.
23. See Reka C.V. Buckley, “National Body: Gina Lollobrigida and the Cult of the Star
in the 1950s,” Historical Journal of Film Radio and Television 20, 4 (2000), pp. 527–47.
24. See Andrew Tobias, Fire and Ice: The Story of Charles Revson – The Man Who Built
the Revlon Empire (New York: Morrow, 1976), p. 122.
25. Paul Swann, The Hollywood Feature Film in Postwar Britain (London: Croom Helm
1987); Jackie Stacey, Star Gazing: Hollywood Cinema and Female Spectatorship (London:
Routledge, 1994).
26. Erica Carter, How German is She? Postwar West German Reconstruction and the
Consuming Woman (Ann Arbor, MI: University of Michigan Press, 1987).
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