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This article proposes to assess to what extent James Stewart’s acting and star image participate in the politics of five Westerns, Destry Rides Again (Marshall, 1939), Broken Arrow (Daves, 1950), The Naked Spur (Mann, 1953), The Man Who Shot Liberty Valance (Ford, 1962) and Cheyenne Autumn (Ford, 1964). Attention to posture, voice and looks reveals that the critique is increasingly directed at the figures Stewart embodies, be it the Man of the West or the East, rather than those he confronts. The study suggests that, in the case of a star, acting is as much an engagement with a specific role as with the star’s image.

Eduards Pāvuls (1929-2006) is one of the most beloved Latvian theatre and cinema actors, a charismatic player of common people. Starting with the 1950s, Pāvuls becomes a messenger of a new age in the art of acting. In his characters he rejects the histrionically encoded style of acting that is characterised by theatrical signs canonised over centuries. Instead, he uses expression codes taken from real life. Pāvuls succeeds in conveying, what can be called Zeitgeist in the art of acting. In the cinema it is represented by the influence of Method Theatre in Hollywood and by acting based in improvisation in the forms of New Wave films at the turning of the 1950s and the 1960s in the world. However, the essential changes do not so much proceed from acting techniques, but from change in public opinion about what a character should be like in a work of art. [ABSTRACT FROM AUTHOR]

This interview covers the long career of veteran actress Lisa Lu Yan in American media and Chinese cinema. Lisa Lu began acting a decade after she relocated to America following the change of government in china. Thanks to Frank Borzage, she began her prolific career in American television and became the second Chinese actress in post-war cinema to co-star in The Mountain Road (1960) with James Stewart. Among the many well-known American television series she appeared in during the 1960s were Bonanza, Cimarron City, Checkmate, and Yancy Derringer. She also appeared alongside Richard Boone in the opening segements of Have Gun Will Travel for one season in the role of 'Hey Girl', one she made her own. She returned to Hong Kong to star in The Arch (1969), the first film directed by female director Tan Shu-shuan in 1969 and later appeared in The Shaw Brothers' 14 Amazons (1971). Run Run Shaw then offered her the title role in Li Han-hsiang's The Empress Dowager and its sequel. She later played the same role in the opening sequences of Bertolucci's The Last Emperor. Since then, she has continued her prolific career working in film, screen, and stage in America, China, and Taiwan. [ABSTRACT FROM AUTHOR]

Author(s): Marija Ivanovska | Марија Ивановска Title (Macedonian): Кон Knut H. Sørensen and James Stewart (Eds.), Digital Divide and Inclusion Measures: A Review of Literature and Statistical Trends on Gender and ICT Title (Albanian): Për Knut H. Sørensen and James Stewart (Eds.), Digital Divide and Inclusion Measures: A Review of Literature and Statistical Trends on Gender and ICT Translated by (Macedonian to Albanian): Lindita Ahmeti Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 3, No. 1 (Summer 2004) Publisher: Research Center in Gender Studies - Skopje and Euro-Balkan Institute Page Range: 241-243 Page Count: 3 Citation (Macedonian): Марија Ивановска, „Кон Knut H. Sørensen and James Stewart (Eds.), Digital Divide and Inclusion Measures: A Review of Literature and Statistical Trends on Gender and ICT“, Идентитети: списание за политика, род и култура, т. 3, бр. 1 (лето 2004): 241-243. Citation (Albanian): Marija Ivanovska, „Për Knut H. Sørensen and James Stewart (Eds.), Digital Divide and Inclusion Measures: A Review of Literature and Statistical Trends on Gender and ICT“, përkthim nga Maqedonishtja Lindita Ahmeti, Identities: Journal for Politics, Gender and Culture, Vol. 3, No. 1 (Summer 2004): 241-243.