"Information presented regarding birth, death, film credits and analyzes each player's unique talents, signature roles and career development. Representative range of backgrounds, character types and career experiences including actresses such as Agnes Moorehead, Thelma Ritter, Beulah Bondi, Sara Allgood, and Jessie Ralph, among others. A fascinating tour through Hollywood's big studio era and the lives of its characters"--Provided by publisher.

Substantially revised and enlarged, this new edition of the Dictionary of Pseudonyms includes more than 2,000 new entries, bringing the volume's total to approximately 13,000 assumed names, nicknames, stage names, and aliases. The introduction has been entirely rewritten, and many previous entries feature new accompanying details or quoted material. This volume also features a significantly greater number of cross-references than was included in previous editions. Arranged by pseudonym, the entries give the true name, vital dates, country of origin or settlement, and profession. Many entries also include the story behind the person's name change.

Includes, beginning Sept. 15, 1954 (and on the 15th of each month, Sept.-May) a special section: School library journal, ISSN 0000-0035, (called Junior libraries, 1954-May 1961). Also issued separately.

Presents an annotated bibliography of general and subject reference books covering the humanities, social and behavioral sciences, history, science, technology, and medicine.

A world list of books in the English language.

straight / 'strāt (adj.) . . . without curves . . . correct . . . honest . . . not deviating from the normal . . . conventional . . . Heterosexual Practically all mainstream cinema is "straight," and has been since its inception. In Straight, Wheeler Winston Dixon explores how heterosexual performativity has been constructed in film, from early cinema to the present day. In addition to discussing how cinematic visions of masculine and feminine desire have been commodified and sold to reinforce existing societal constructs, Dixon also documents the recent emergence of "hypermasculinity," a kinetic and exaggerated masculinity that has been created to counter the more gentle, thoughtful male portrayed in While You Were Sleeping, Sleepless in Seattle, and other films that seemingly threaten the established order of patriarchal cinematic discourse.