thirteen women
women, war & peace is a co - production of thirteen and fork films .
vampires, weres a... : thirteen (women of the other world # 13 )
looking for movie tickets? enter your location to see which movie theaters are playing thirteen women near you .
on february 21, 2012, thirteen women was released on manufactured - on - demand dvd through the warner archive collection. [ 8 ]
if you are on twitter you can follow thirteen at @ thirteenwnet and me at @ e20launderette. on instagram, find thirteen at @ thirteenwnet and me at @ gothamtomato .
we’d love your help. let us know what’s wrong with this preview of thirteen by kelley armstrong .
makers: women in film airs tuesday, october 7 at 9 p. m. on thirteen, and october 10 at 6 p. m. on wliw world .
hall, mordaunt (1932) .
another murder mystery. thirteen women ...
, part of multiple film reviews, the new york times, october 15, 1932. retrieved november 22, 2017 .
, which spotlights the first fifty women in morocco to graduate from an imam academy in rabat .
you can also find the text of thirteen women online at the internet archive: urltoken. be sure to browse through one of the formats that preserve david berger’s illustrations from the book, some of which were pretty strong stuff for their time .
aha! it was something called “thirteen men” (first edition). correctly surmising the reason for its placement there, i immediately started reading it .
the french political thinker alexis de toqueville travelled extensively through the united states in gathering research for his book democracy in america. in this excerpt, he described the belief that american men and women lived in “separate spheres: ” men in public, women in the home. this expectation justified the denial of rights to women. all women were denied political rights in nineteenth century america, but only a small number of wealthy families could afford to remove women from economic production, like de toqueville claimed .
thirteen women: urltoken shortly before shedding her snakeskin vamp persona for good by wrapping herself in the ermine confines of nora charles, myrna loy terrified and terrorized as the murderous mesmerist ursula georgi in the pre - code horror show thirteen women. following a racist sorority' s cruel rebuff, half - caste ursula embarks on a blood - thirsty trail of deceit and murder until only one woman (irene dunne) is left to face her. aside from the allure and interest of its two leading ladies - - each on the cusp of their ascension into cinema legend - - thirteen women' s delights are rather more diabolical and devastating than the more domestic concerns of a traditional
women' s picture .
from its breathless and terrifying (and arrestingly staged) opening aerial atrocity through its stabbings, suicides and hidden bombs, thirteen women' s relentless pace startles and astonishes, ever driven by loy' s portrayal of ursula' s unalloyed and unapologetic evil. - - - - - - 1, 000 + rare films, tv movies, and series on dvd direct from the studio. urltoken
featuring narrators matt damon, tilda swinton, geena davis and alfre woodard, women, war & peace is the most comprehensive global media initiative ever mounted on the roles of women in war and peace .
when the u. s. troop surge was announced in late 2009, women in afghanistan knew that the ground was being laid for peace talks with the taliban. peace unveiled follows three women in afghanistan who are risking their lives to make sure that women’s rights don’t get traded away in the deal .
after thirteen years held captive by her kidnapper, ivy moxam escapes. piecing back together the version of family life that existed before is no easy task .
thirteen - year - old danielle bregoli, aka the “cash me outside” girl, is slamming the “dr. phil show” for its editing, which she says “was
• from jana pruden of the walrus: thirteen years ago, a five - year - old girl named tamra keepness disappeared in regina. she has never been found
women have been present in the film industry since its inception, but often in roles that make them all but invisible. makers: women in film brings due recognition to those who have worked hard to make hollywood more inclusive. while there’s still a long way to go, here are ten more women who changed the shape of the movie industry :
from bbc three’s thirteen and the oscar - winning room to the the unbreakable kimmy schmidt and 10 cloverfield lane, british and american pop culture has been gripped by the kidnap narrative .
four women brawled at a traffic light in florida, with one suspect appearing to use a baton as a weapon. p
thirteen - year - old danielle bregoli, aka the
cash me outside
girl, is slamming the
dr. phil show
for its editing, which she says
was
thirteen women was made into a film within a few months of its publication in 1932. starring irene dunne and myrna loy, “thirteen women” is a good example of a talkie from the brief period before the hayes code took effect, and was considered so lurid that rko trimmed out two of the dozen deaths in the picture soon after its first release. you can read several appreciations of the film, at the irene dunne project and une cinephile. and, if you have the stamina, you can watch the whole thing online at youtube: part 1, part 2, part 3, part 4, part 5, and part 6 .
laura benanti, patti lupone, sherie rene scott and nikka graff lanzarone in
women on the verge of a nervous breakdown .
fictional story is that of “the indiana mole women”, four women kept in an underground bunker by a doomsday cult leader, who told them that the world above ground had burnt to nothing. despite its surface tonal silliness, it shares dna with the story of “
hartigan - o’connor, ellen. ties that buy: women and commerce in revolutionary america. philadelphia: university of pennsylvania press, 2009 .
worldwide – 35. 6 per cent – will experience physical or sexual violence in their lifetime. we know more about the lingering psychological affects physical and sexual abuse have on women, and we also know that the women that surround us are not solely defined by these experiences .
the idea of separate spheres also displayed a distinct class bias. middle - and upper - classes reinforced their status by shielding “their” women from the harsh realities of wage labor. women were to be mothers and educators, not partners in production. but lower - class women continued to contribute directly to the household economy. the middle - and upper - class ideal was only feasible in households where women did not need to engage in paid labor. in poorer households, women engaged in wage labor as factory workers, piece - workers producing items for market consumption, tavern and inn keepers, and domestic servants. while many of the fundamental tasks women performed remained the same—producing clothing, cultivating vegetables, overseeing dairy production, and performing any number of other domestic labors—the key difference was whether and when they performed these tasks for cash in a market economy .
thirteen women is a 1932 american pre - code psychological thriller film, produced by david o. selznick and directed by george archainbaud. it stars myrna loy, irene dunne and ricardo cortez. the film is based on the 1930 bestselling novel of the same name by tiffany thayer and was adapted for the screen by bartlett cormack and samuel ornitz. [ 1 ]
the vast majority of today’s conflicts are not fought by nation states and their armies, but rather by informal entities: gangs and warlords using small arms and improvised weapons. women, war & peace reveals how the post - cold war proliferation of small arms has changed the landscape of war, with women becoming primary targets and suffering unprecedented casualties. yet they are simultaneously emerging as necessary partners in brokering lasting peace and as leaders in forging new international laws governing conflict. with depth and complexity, women, war & peace spotlights the stories of women in conflict zones from bosnia to afghanistan and colombia to liberia, placing women at the center of an urgent dialogue about conflict and security, and reframing our understanding of modern warfare .
several characters were deleted from the film' s final release, including those played by leon ames, phyllis fraser, and betty furness (in what would have been furness' film debut at the age of 16). the film portrays only eleven women, not thirteen, with fraser and furness playing the two characters edited out of the film. [ 2 ]
thirteen women, who were sorority sisters at the all girl' s college st. alban' s, all write to a clairvoyant
swami
( c. henry gordon) who by mail sends each a horoscope foreseeing swift doom. however, the clairvoyant is under the sway of ursula georgi (myrna loy), a half - javanese eurasian woman who was snubbed at school by the other women owing to her mixed - race heritage, eventually forcing georgi to leave school. she now seeks revenge by manipulating the women into killing themselves or each other. she also goads the clairvoyant into killing himself by falling into the path of a subway train .
dublin, thomas. transforming women’s work: new england lives in the industrial revolution. ithaca, n. y: cornell university press, 1994 .
thirteen (or 13) marks the end of an era. for at least a few years, there won' t be any full - length women of the otherworld books. i' m still hoping she will write some spin - offs in the form of a trilogy or something. i think i' m completely in denial that this actually might really be the end. i have had a hard relationship with the last few books in this series, but thirteen returned to that what made me fall in love with the series. awesome characters, cute interactions, and plenty of action. i w
. reticker is one of the world’s leading documentary filmmakers putting a lens on the real - life dramatic stories of women’s rights and international social justice issues .
simply by calling attention to the multitude of films that do not meet the criteria, bechdel has exponentially raised awareness of misrepresentation of women in the movies .
explores kimmy’s techniques for dealing with her trauma, but also in many ways aligns itself with modern american sitcoms about women in new york city. we are explicitly interested in women telling their own stories. arguably, to tell their own nuanced, varied, individual stories, these characters must first survive their kidnaps .
disney also co - founded the daphne foundation, which works with low - income communities in the five boroughs of new york city. her work in philanthropy, women’s engagement and leadership, and conflict resolution has been recognized through the epic award from the white house project, the changing the landscape for women award from the center for the advancement of women, and the prestigious international advocate for peace (iap) award from the cardozo law school’s cardozo journal of conflict resolution .
, the first full length documentary about the impact of hiv on women in the u. s. she produced and directed the 2005 emmy award - winning documentary
for the pbs series wide angle, which focuses on the role of women in rebuilding post - genocide rwanda. she also garnered an emmy for directing and producing
halttunen, karen. confidence men and painted women: a study of middle - class culture in america, 1830 - 1870. yale university press, 1982 .
• a remarkable story by washington post reporter craig m. whitlock on the fbi’s investigation of complaints that bobby knight groped women at u. s. spy agency
ellen hartigan - o’connor, ties that buy: women and commerce in revolutionary america (philadelphia: university of pennsylvania press, 2009), 138. [ ↩ ]
it also reflects a culture more specifically interested in female experience than before, as well as one in which women writers have more creative influence than ever. emma donoghue’s
“it has to (1) have two women in it, (2) who talk to each other, about (3) something other than a man. ”
held back the release of
thirteen women
to take advantage of irene´s great success in
back street
didn´t help matters. it seems this story of deleting one victim after the other, which reminds slightly of slasher elements of our modern films was just too brutal for contemporary moviegoers - and i assume that this film was quite a shock for irene dunne fans having still the impression of
back street
on their minds .
thirteen marks the final entry for full - length novels in the otherworld series. perhaps uncreative with its title, thirteen can also indicate bad luck and superstition, so maybe it works well enough. i' m happy the author changed the formula up a bit by having this be multiple point of view. the series has been filled with a few mains, not just one, so having their individual perspectives makes sense. still she mainly makes this a savannah book, leaving the young witch as the focal point to wrap
thirteen women who were schoolmates send to a swami for their horoscopes. little do they realize that ursula, a half - breed asian, is using her hypnotic powers over the swami and them to lead them or their families to their deaths. it seems that she too went to their school, but was forced to leave by their bigotry, and is exacting revenge. will she be stopped in time to save laura' s son, bobby ?
”: three young women who were kidnapped and kept in an bunker, where they were sexually abused and tortured (sometimes becoming pregnant). they escaped after ten years underground .
women, war & peace premiered on your local pbs station in the autumn of 2011. the bold five - part series challenges the conventional wisdom that war and peace is men’s domain .
thirteen women who were schoolmates send to a swami for their horoscopes. little do they realize that ursula, a half - breed asian, is using her hypnotic powers over the swami and them to lead them or their families to their deaths. it seems that she too went to their school, but was forced to leave by their bigotry, and is exacting revenge. will she be stopped in time to save laura' s son, bobby? written by robert tonsing
with a trapeze mishap, the
marvel circus
begins a series of horrifying accidental deaths, which seem to be hypnotically predicted by an exotic
swami
from the far east. as the bodies pile up, a connection becomes clear; they are among the
thirteen women
who attended a boarding school with sexy mystic myrna loy (as ursula georgi). it quickly becomes evident that ms. loy is seeking revenge against twelve schoolgirls. they were cruel to, and exposed loy, who was trying to pass as white .
do you know what it means to be a half - breed, a half - caste in world rule by whites ?
loy asks. sensible irene dunne (as laura stanhope) tries to reassure the still friendly women, but they are understandably wary. handsome detective ricardo cortez (as barry clive) investigates the deaths, which threaten to include ms. dunne' s cute son. there are a few good moments, but they don' t add up. * * * * * thirteen women (9 / 16 / 32) george archainbaud ~ myrna loy, irene dunne, ricardo cortez, jill esmond
thirteen is the final book for kelley armstrong’s women of the otherworld. while i’m very sad to see the end of one of my favorite series, i’m also glad that armstrong chose not to drag it out until she was beating a dead horse. the world is turning to chaos as the supernatural liberation movement sets into motion their plans to expose the supernatural population. with powerful demons now choosing sides, all the factions of the otherworld must work together if they hope to successfully stop the m
blewett, mary h. men, women, and work: class, gender, and protest in the new england shoe industry, 1780 - 1910. urbana: university of illinois press, 1988 .
the women, war & peace podcast series features interviews with gloria steinem, sheryl wudunn, mona eltahawy, gayle tzemach lemmon, and many more. find the full series on our site or on itunes .
while the market revolution remade many women’s economic roles, their legal status remained essentially unchanged. upon marriage, women were rendered legally dead by the notion of coverture, the custom that counted married couples as a single unit represented by the husband. without special precautions or interventions, women could not earn their own money, own their own property, sue, or be sued. any money earned or spent belonged by law to their husbands. women shopped on their husbands’ credit and at any time husbands could terminate their wives’ access to their credit. although a handful of states made divorce available—divorce had before only been legal in congregationalist states such as massachusetts and connecticut, where marriage was strictly a civil contract, rather than a religious one—it remained extremely expensive, difficult, and rare. marriage was typically a permanently binding legal contract .
that´s an interesting, odd, disturbing little film which hadn´t the luck of being successful in its time but has got some appreciation in the last years. after poor reviews ,
thirteen women
was edited from its initial 74´minutes down to 59´minutes, which is the duration of the print we can watch nowadays. those missing 15 minutes explain some of the discrepancies of the script - to start with the fact that there are only 10 women and not the announced 13. two characters were deleted completely and as rumors will have it a scene of myrna chasing irene through a train - i´d love to watch that! considering what is packed in the surviving 60 minutes one can only imagine what happened in this missing quarter of an hour. even the fact that
pamela hogan is an executive producer of women, war & peace, producer / writer of the film about bosnia which kicks off the series – i came to testify – and co - writer of the series’ fourth film, the war we are living, about colombia. previously, she has been at the forefront of making pbs’s emmy - winning, international documentary series wide angle, a standard setter in the coverage of global women’s issues .
similar domestic expectations played out in the slave states. enslaved women labored in the fields. whites argued that african american women were less delicate and womanly than white women and therefore perfectly suited for agricultural labor. the southern ideal meanwhile established that white plantation mistresses were shielded from manual labor because of their very whiteness. throughout the slave states, however, aside from the minority of plantations with dozens of slates, the majority of white women by necessity continued to assist with planting, harvesting, and processing agricultural projects despite the cultural stigma attached to it. white southerners continued to produce large portions of their food and clothing at home. even when they were market - oriented producers of cash crops, white southerners still insisted that their adherence to plantation slavery and racial hierarchy made them morally superior to greedy northerners and their callous, cutthroat commerce. southerners and northerners increasingly saw their ways of life as incompatible .
thirteen women features the only film appearance of actress peg entwistle. entwistle became despondent over her career and jumped to her death from hollywood sign on september 16, 1932. the film premiered in new york on october 15 (almost exactly a month after her suicide), and in los angeles in november. [ 2 ] [ 7 ] entwistle had a supporting role as
hazel cousins
in the original cut with scenes running approximately sixteen minutes long. her time onscreen was subsequently cut to four minutes after the film performed poorly for test audiences. [ 1 ]
which is also, of course, what also makes them almost irresistable. if you’re going to read a bad book, you don’t want one that’s half - heartedly bad, one whose author betrays any misgivings or sense of aesthetic standards. you want a full, unrepentant wallow–and that’s exactly what you get. in the case of thirteen women, you get adultery–both hetero - and homosexual–suicide, murder, rape, revenge, envy, gossip, corruption, show business, clairvoyance, yoga, blackmail, and chain letters. and i probably left something out of that list .
as myrna is typecast in this period as exotic vamp - still some way to the
thin man myrna
- irene is typecast as being poised, behaved and sensible - the most interesting aspect being that she is totally defined through motherhood in this film. irene´s screen persona certainly had a maternal streak through the years; she played 18 times a mother in her 41 films. i can´t imagine that
thirteen women
was much of an acting challenge for irene - not after
back street
- but it´s surely once again a consolidating of her screen image .
this review was posted at under the covers it is sad to see a series that i love come to an end but it' s also refreshing to see one ending on such a high note. oftentimes series just start falling on the quality and originality of the books but women of the otherworld has always either kept steady or improved. and thirteen is one of the best books in the series! a truly perfect grand finale. and all i can do is applaud ms. armstrong for a job well done and now go cry in a corner because i won' t
domestic expectations constantly changed and the market revolution transformed many women’s traditional domestic tasks. cloth production, for instance, advanced throughout the market revolution as new mechanized production increased the volume and variety of fabrics available to ordinary people. this relieved many better - off women of a traditional labor obligation. as cloth production became commercialized, women’s home - based cloth production became less important to household economies. purchasing cloth, and later, ready - made clothes, began to transform women from producers to consumers. one woman from maine, martha ballard, regularly referenced spinning, weaving, and knitting in the diary she kept from 1785 to 1812. 41 martha, her daughters, and female neighbors spun and plied linen and woolen yarns and used them to produce a variety of fabrics to make clothing for her family. the production of cloth and clothing was a year - round, labor - intensive process, but it was for home consumption, not commercial markets .
malenda m. edwards to sabrina bennett, 4 apr 1839, quoted in thomas dublin, ed. , farm to factory women’s letters, 1830 - 1860 (new york: columbia university press, 1993), 74. [ ↩ ]
june mathis was one of the most powerful women in hollywood in the 1920s. she served as the first (and most highly paid) female executive at mgm, and wrote the hugely successful 1921 film the four horseman of the apocalypse .
in the
note from the author
at the end of thirteen, she says this is the last book in the otherworld series but raises the possibility of revisiting the world - presumably through the darkest powers and darkness rising series, which are clearly related in supernatural - powers / ideas but so far haven' t quite been played out. (less )
women might also parlay their feminine skills into businesses. in addition to working as seamstresses, milliners, or laundresses, women might undertake paid work for neighbors or acquaintances or combine clothing production with management of a boarding house. even slaves with particular skill at producing clothing could be hired out for a higher price, or might even negotiate to work part - time for themselves. most slaves, however, continued to produce domestic items, including simpler cloths and clothing, for home consumption .
pray the devil back to hell is the astonishing story of the liberian women who took on the warlords and regime of dictator charles taylor in the midst of a brutal civil war, and won a once unimaginable peace for their shattered country in 2003 .
this fantastic movie is based on the bestselling novel of the same name written by tiffany thayer. the movie is not faithful to the book. there are a few differences. the plot for this one is about a woman, ursula georgi (myrna loy), revolted by the fact that she was snubbed by the other women owing to her mixed - race heritage decides to revenge by tricking the women into killing each other and themselves. curious fact: the 12th and 13th women scenes were deleted from the film, leaving it with only 11. also, peg entwistle' s scenes in the original cut had 20 minutes, then it was cut to 16 minutes and then reduced to 4 minutes. each women received a horoscope, sent by a clairvoyant
swami
( c. henry gordon), on which it tells that each one of them will die by commiting suicide or by the hand of others. georgi also hypnotizes the victims, leading them to commit suicide. in the end, when she confronts the last survivor of the women, laura stanhope (irene dunne), doesn' t kill her. ursula hypnotizes her into falling asleep. after that, she is caught and runs to the back of the train jumping to her death .
alison bechdel although she works as a cartoonist, alison bechdel has been a hugely influential figure in the world of film. in her comic dykes to watch out for, she outlines a set of criteria that are meant to score films’ depictions of women .
is an executive producer of women, war & peace, producer of the film pray the devil back to hell and writer on peace unveiled, the third film in the series about afghanistan. her longtime passion for women’s issues and peacebuilding led her to producing films. she has executive produced films that address various social issues, including family affair, playground, sun come up (academy award® nominee 2011, best documentary short) and return, and is involved in several more films in various stages of development and production .
the film premiered in october at the roxy theater in new york city on october 15, 1932, [ 2 ] then released in los angeles, [ 3 ] and a few other cities in november 1932. [ 4 ] [ 5 ] a limited national release came in 1933. originally running seventy - three minutes, the studio edited fourteen minutes out of the picture prior to release. the film was re - released in 1935 (post - code) by rko, hoping to turn a profit by cashing in on the growing popularity of stars dunne and loy. thirteen women has been cited as an early
female ensemble
film. [ 6 ]
, about the role of women in re - building post - genocide rwanda. she also directed wide angle’s post - film interviews, including conversations with arundhati roy, james a. baker iiird, joseph stiglitz, leon panetta, susan rice, and george mitchell .
in 1741, english colonists in new york city felt anxious. they worried about spanish and french plans to gain control of north america. they felt threatened by a recent influx of irish immigrants, whose catholicism might incline them to accept jobs as spanish spies. and, above all, they feared that the city' s growing slave population, now numbering about 20% of the 11, 000 residents of manhattan and increasingly competing with white tradesmen for jobs, might revolt. when a series of thirteen fires broke out in march and april of 1741, english colonists suspected a negro plot - - perhaps one involving poor whites. much as in salem a half century before, hysteria came to colonial america, and soon new york city' s jails were filled to overflowing. in the end, despite grave questions about the contours of the suspected conspiracy, thirty - four defendants were executed. thirteen black men burned at the stake and seventeen more hanged. in addition, four alleged white ringleaders - - two men and two women - - made trips to new york city' s gallows .
in cities, where women could buy cheap imported cloth to turn into clothing, they became skilled consumers. they stewarded money earned by their husbands by comparing values and haggling over prices. in one typical experience, mrs. peter simon, a captain’s wife, inspected twenty - six yards of holland cloth to ensure it was worth the £130 price. 42 even wealthy women shopped for high - value goods. while servants or slaves routinely made low - value purchases, the mistress of the household trusted her discriminating eye alone for expensive or specific purchases .
this understanding of the young woman kidnapped as a human being with a full, rounded life that both precedes and extends beyond her relationship with her kidnapper reveals a society with a greater awareness of both the extent of violence against women, and its impact. we know now that, for example ,
and while thirteen is fiction, part of that realness lies in the fact that, unlike a grisly headline, it moves beyond the misery. sensitivity is key but so too is suspense and – though there’s no kimmy schmidt - style screwball comedy –some humour. “there’s a lot of hope and humanity, ” dickens insists, before adding in a deadpan voice, “hopefully people don’t watch it and go, ‘that was a bit of a downer. ’”
the idea for the five - part thriller, which airs on the now web - only bbc3, came from the londoner’s fascination with what happens once survivors are out of the public eye. “there are so many of those real - life horror stories of people who are taken, and i do think people are traditionally more interested in what happened wherever they were kept, ” dickens explains. “but i just thought: what happens to these women – and it does tend to be women – after the press is out of their face? how do they begin to return to real life? ”
chaudry travels internationally to documentary forums, festivals and markets; has been a judge and panelist for the independent filmmaker project, silverdocs, pov, among others; and is as an advisor on a feature documentary about floating schools and solar power in bangladesh. in addition to her documentary work, chaudry was a senior editor for a national women’s health magazine; reported for the new york times; produced a women’s health website for lifetime television; and performs voiceovers. she holds degrees from columbia college and the columbia graduate school of journalism and is a member of the american federation of television and radio artists .
her plays include abeyance (druid debut, druid theatre co), pumpgirl (bush / traverse / manhattan theatre club), which won the 2007 susan smith blackburn award, the stewart parker award and was nominated for the irish times best new play, strandline (fishamble) which was shortlisted for the susan smith blackburn award and nominated for the meyer whitworth award, and bogwog (npc) o’neill centre connecticut. lally the scut was named by fintan o' toole (irish times) as irish play of the year 2015 and poena 5x1 premiered in the underbelly at the edinburgh festival 2016, receiving fantastic reviews. her short plays include thirteen (women in power and politics, tricycle theatre), shaving the pickle (59e59 nyc) and rubberfoot (pentabus) .
the war we are living travels to cauca, a mountainous region in colombia’s pacific southwest, where two extraordinary afro - colombian women are braving a violent struggle over their gold - rich lands. they are standing up for a generation of colombians who have been terrorized and forcibly displaced as a deliberate strategy of war .
watching thirteen women i wonder what merle oberon must have thought. she lived in real life what myrna loy' s character was experiencing in the film. it was only after she died that it came out that merle was of mixed racial origin. she successfully passed her entire life. loy who was in fact caucasian until she became the incarnation of the perfect wife and mother played a whole lot of these exotic characters. she borrows a bit from her performance as fu manchu' s daughter in playing a woman who is exacting terrible revenge on members of a sorority at a finishing school who discovered her background and used it to get her expelled. it was her ticket into the white world and respectability as she saw it. using c. henry gordon as a phony swami she has unpleasant horoscopes made against her thirteen enemies. loy doesn' t want to just kill them, she wants to torment them and uses gordon as her means. loy wants maximum satisfaction. in the case of irene dunne who she sees as her chief enemy loy also has plans for dunne' s child as well. a whole lot of women dominate this film as the sisters like kay johnson, jill esmond, florence eldridge and more. ricardo cortez plays the police sergeant who tracks down loy and edward pawley plays another of the men she uses in her fiendish schemes. as this was a before the code film, there was some frank talk about racism under the guise of snobbery. no doubt that dunne and the rest were guilty of it. it drove loy off the deep end and she enacts a terrible vengeance. a really good before the code film that should be better known .
in the first half of the nineteenth century, families in the northern united states increasingly participated in the cash economy created by the market revolution. the first stirrings of industrialization shifted work away from the home. these changes transformed americans’ notions of what constituted work, and therefore shifted what it meant to be an american woman and an american man. as americans encountered more goods in stores and produced fewer at home, the ability to remove women and children from work determined a family’s class status. this ideal, of course, ignored the reality of women’s work at home and was possible for only the wealthy. the market revolution therefore not only transformed the economy, it changed the nature of the american family. as the market revolution thrust workers into new systems of production, it redefined gender roles. the market integrated families into a new cash economy. as americans purchased more goods in stores and produced fewer at home, the purity of the domestic sphere—the idealized realm of women and children—increasingly signified a family’s class status .
it’s the most contemporary project that barnard has been involved with in a while, and slightly jarring to see him using an iphone and offering up predictions on the future of tv. he reckons that true crime hits like making a murderer have had an effect on what audiences want from scripted drama. “we’ve had so many period dramas and all the rest of it. we want to watch real situations happen in the now, ” he says, citing thirteen as an example of what he sees as a larger trend .
i' ve been a fan of the otherworld series ever since i picked up bitten and fell in love with the hot, complicated and largely dysfunctional romance between clay danvers and elena michaels. over the years, i have liked some stories more than others. some had better narrators, others had a stronger story arc, and yet others appealed more to the romance lover in me. but these last two otherworld books took the series to an entirely different level. thirteen was everything i wanted... everything i n
in thirteen’s opening episode, protagonist ivy moxam (jodie comer) begins to answer those questions, as she makes her escape from the bristol basement where she’s been held for 13 years. the world has carried on in the 26 - year - old’s absence: her parents have separated, her younger sister is engaged and her first love tim is married. unable to believe that ivy is alive, her sister even demands that the police carry out a dna test to make sure that the person claiming to be her sister isn’t an imposter .
never dwells or reimagines her sexual trauma; it is dealt early on in the single throwaway line: “yes, there was weird sex stuff in the bunker. ” in fact, all these narratives focus not on the immediate experience of victimhood, but ultimately on survival. the singular experience these women share is not that they are kidnapped, but that they escape .
war redefined, the capstone of women, war & peace, challenges the conventional wisdom that war and peace are men’s domain through incisive interviews with leading thinkers, secretaries of state and seasoned survivors of war and peace - making. interviewees include secretary of state hillary clinton; liberian peace activist leymah gbowee; bosnian war crimes investigator fadila memisevic; and globalization expert moisés naím .
please note: as this is a new release, this will be a mostly spoiler - free review of “thirteen”. however, since the other books have been out for a while, they are fair game. please do not reveal spoilers in the comments to allow others the chance to enjoy the book. there’s something about reaching the final book in a series that you love that makes you a little crazy. there’s a large part of you that’s excited and says, “it’s here! finally! ” however, there’s also a smaller part of you that whispe
i came to testify is the moving story of how a group of 16 women who had been imprisoned and raped by serb - led forces in the bosnian town of foca broke history’s great silence – and stepped forward to take the witness stand in an international court of law. their remarkable courage resulted in a triumphant verdict that led to new international laws about sexual violence in war .
lauren feeney is the senior web producer for women, war & peace. an award - winning documentary filmmaker and multimedia journalist, lauren’s reporting has taken her from the crime - infested streets of west philadelphia to the mountains of northern pakistan. her work has been featured on pbs and pbs. org, al jazeera english, newyorktimes. com, urltoken and the huffington post, among others. before joining women, war & peace, lauren was the senior editor for pbs’s need to know and the senior multimedia producer for pbs’s wide angle. while at wide angle, she produced an online - exclusive series of documentary shorts called focal point, which was nominated for a webby award. lauren is a graduate of bard college and the columbia university graduate school of journalism .
loy is a half - japanese, half - indian woman forced to leave a college sorority because of 12 racist members. she sets up a plan for revenge using gordon, an astrologer, to assist her. he comes up with terrifying horoscopes for the assorted victims that frighten the women into doing terrible things. one kills herself, while another murders her husband. the... read more
, kidnapped women are a very specific staple of the patriarchal canon. when we view the girl suffering at the hands of her abuser, the male gaze functions in a specific voyeuristic way: the straight male viewer can both, on one level, distance himself from (and condemn the actions of) the abuser, pitying his victim whilst simultaneously enjoying the on - screen depiction of transgressive sexual fantasies .
the revolution reverberated across the country. more and more farmers grew crops for profit, not self - sufficiency. vast factories and cities arose in the north. enormous fortunes materialized. a new middle class ballooned. and as more men and women worked in the cash economy, they were freed from the bound dependence of servitude. but there were costs to this revolution. as northern textile factories boomed, the demand for southern cotton swelled, and american slavery accelerated. northern subsistence farmers became laborers bound to the whims of markets and bosses. the market revolution sparked explosive economic growth and new personal wealth, but it also created a growing lower class of property - less workers and a series of devastating depressions, called “panics. ” many americans labored for low wages and became trapped in endless cycles of poverty. some workers, often immigrant women, worked thirteen hours a day, six days a week. others labored in slavery. massive northern textile mills turned southern cotton into cheap cloth. and although northern states washed their hands of slavery, their factories fueled the demand for slave - grown southern cotton and their banks provided the financing that ensured the profitability and continued existence of the american slave system. and so, as the economy advanced, the market revolution wrenched the united states in new directions as it became a nation of free labor and slavery, of wealth and inequality, and of endless promise and untold perils .
just as children were expected to be sheltered from the adult world of work, american culture expected men and women to assume distinct gender roles as they prepared for marriage and family life. an ideology of “separate spheres” set the public realm—the world of economic production and political life—apart as a male domain, and the world of consumers and domestic life as a female one. (even non - working women labored by shopping for the household, producing food and clothing, cleaning, educating children, and performing similar activities. but these were considered “domestic” because they did not bring money into the household, although they too were essential to the household’s economic viability .) while reality muddied the ideal, the divide between a private, female world of home, and a public, male world of business defined american gender hierarchy .
f marnie dickens crossed paths with tina fey, she reckons they would have a laugh about their differing approaches to writing about kidnap and survival. “i’d be like, ‘your show looks more fun to write, ’” the emerging screenwriter quips. while dickens has a playful nature that extends from her frequent witticisms to her bright blue nails, her debut drama is essentially the antithesis of unbreakable kimmy schmidt, fey’s offbeat comedy about a twentysomething cult escapee. don’t expect a weepy life - affirmer like lenny abrahamson’s oscar - nominated room, neither; thirteen also subverts traditional abduction tales, but it’s a more adrenaline - charged offering .
these images are each taken from a different film, novel, or tv show. but they’re all variations on the same story. a girl suddenly disappeared. she was just a child, or perhaps a teenager. she vanished from the face of the earth so completely that even her own family have resigned themselves to never seeing her again, and never knowing why. she’s been missing for five, thirteen, fifteen years, alive and imprisoned all the while in a suburban cellar or basement or shed. and then, as suddenly as she disappeared, she is miraculously reinserted into her old life: once lost, now found .
anne goodwin winslow australia biography children' s book christina stead death diaries dorothy richardson england essays ethel mannin felix riesenberg fiction france g. b. stern gavin lambert germany helen bevington herbert clyde lewis historical fiction history hollywood humor illness india isabel paterson jetta carleton louise bogan memoirs michael frayn music new york city nonfiction pilgrimage poetry politics r. v. cassill russia science fiction sea short stories travel women writers world war one world war two
major funding for women, war & peace is provided by the 40x50, a group of visionary donors who have provided key support for this initiative; norwegian ministry of foreign affairs; foundation to promote open society; ford foundation; john d. and catherine t. macarthur foundation; swanee hunt family fund of the denver foundation; starry night, an anne delaney charitable fund; lauren embrey, gayle embrey and embrey family foundation; the atlantic philanthropies; dobkin family foundation; cheryl and philip milstein family; gruber family foundation; bill haney; pierre n. hauser; susan disney lord; partridge foundation, a john and polly guth charitable fund; vital projects fund; elizabeth h. weatherman and the warburg pincus foundation; the shelley & donald rubin foundation; cynda collins arsenault; barbara h. zuckerberg; sigrid rausing trust; more than 1, 500 members of thirteen; and corporation for public broadcasting. major funding for i came to testify is also provided by national endowment for the humanities, and for peace unveiled by the david and lucile packard foundation. funding for the online education guide is provided by the overbrook foundation .
the story is, at best, preposterous. a group of women, all former members of a literary club at a prestigious girls’ school, receive mysterious letters from a swami yogadachi. the letters foretell some terrible event that will occur to each within the next few weeks. and sure enough, it does–at least to the first few. one commits suicide. another starves to death. a third murders her cheating husband in front of his entire office .
education equipped young women with the tools to live sophisticated, genteel lives. after sixteen - year - old elizabeth davis left home in 1816 to attend school, her father explained that the experience would “lay a foundation for your future character & respectability. ” 34 after touring the united states in the 1830s, alexis de tocqueville praised the independence granted to the young american woman, who had “the great scene of the world…open to her” and whose education prepared her to exercise both reason and moral sense. 35 middling young women also utilized their education to take positions as school teachers in the expanding common school system. bristol academy in tauten, maine, for instance, advertised “instruction…in the art of teaching” for female pupils. 36 in 1825, nancy denison left concord academy with references indicating that she was “qualified to teach with success and profit” and “very cheerfully recommend [ ed ] ” for “that very responsible employment. ” 37
thirteen white women who all went to school together are marked for death by a half - caste woman that they were cruel to as kids. irene dunne plays the lead, an early precursor to the final girl from slasher movies made decades later. myrna loy as the killer is the principal reason to watch. she was cast as asian or half - asian a lot in early films. here, whatever they' ve done to her makeup - wise works because she' s stunning. ricardo cortez plays the detective investigating the case. it' s nice to see an actual police detective be smart and not bumbling or corrupt. notable as the only film of peg entwistle, a young actress who infamously committed suicide by jumping off of the hollywood sign. one of the earliest movies with a female ensemble. the racial subject matter is also pretty frank for the time. i mentioned slasher films before. well, structurally this one is very similar so, in a sense, it' s one of the earliest examples of what would become that subgenre. it' s a very interesting movie with some good performances, clever direction, and bonus historical value.
thirteen women is a 1932 american pre-code psychological thriller film , produced by david o. selznick and directed by george archainbaud . it stars myrna loy , irene dunne and ricardo cortez . the film is based on the 1930 bestselling novel of the same name by tiffany thayer and was adapted for the screen by bartlett cormack and samuel ornitz . several characters were deleted from the film 's final release , including those played by leon ames , phyllis fraser , and betty furness ( in what would have been furness ' film debut at the age of 16 ) . the film portrays only eleven women , not thirteen , with fraser and furness playing the two characters edited out of the film . the film premiered in october at the roxy theater in new york city on october 15 , 1932 , then released in los angeles , and a few other cities in november 1932 . a limited national release came in 1933 . originally running seventy-three minutes , the studio edited fourteen minutes out of the picture prior to release . the film was re-released in 1935 ( post-code ) by rko , hoping to turn a profit by cashing in on the growing popularity of stars dunne and loy . thirteen women has been cited as an early " female ensemble " film . 
thirteen women is a 1932 american pre-code psychological thriller film, produced by david o. selznick and directed by george archainbaud. it stars myrna loy, irene dunne and ricardo cortez. the film is based on the 1930 bestselling novel of the same name by tiffany thayer and was adapted for the screen by bartlett cormack and samuel ornitz. several characters were deleted from the film's final release, including those played by leon ames, phyllis fraser, and betty furness (in what would have been furness' film debut at the age of 16). the film portrays only eleven women, not thirteen, with fraser and furness playing the two characters edited out of the film. the film premiered in october at the roxy theater in new york city on october 15, 1932, then released in los angeles, and a few other cities in november 1932. a limited national release came in 1933. originally running seventy-three minutes, the studio edited fourteen minutes out of the picture prior to release. the film was re-released in 1935 (post-code) by rko, hoping to turn a profit by cashing in on the growing popularity of stars dunne and loy. thirteen women has been cited as an early " female ensemble " film.
thirteen women is a 1932 american pre-code psychological thriller film, produced by david o. selznick and directed by george archainbaud. it stars myrna loy, irene dunne and ricardo cortez. the film is based on the 1930 bestselling novel of the same name by tiffany thayer and was adapted for the screen by bartlett cormack and samuel ornitz. several characters were deleted from the film's final release, including those played by leon ames, phyllis fraser, and betty furness (in what would have been furness' film debut at the age of 16). the film portrays only eleven women, not thirteen, with fraser and furness playing the two characters edited out of the film. the film premiered in october at the roxy theater in new york city on october 15, 1932, then released in los angeles, and a few other cities in november 1932. a limited national release came in 1933. originally running seventy-three minutes, the studio edited fourteen minutes out of the picture prior to release. the film was re-released in 1935 (post-code) by rko, hoping to turn a profit by cashing in on the growing popularity of stars dunne and loy. thirteen women has been cited as an early " female ensemble " film.