Look at me, I'm Sandra Dee: Beyond a white, teen icon

Frontiers

Volumn 22, Issue 2, 2001, Pages 87-106

  Scheiner, Georganne ^a  

^a NONE

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EID: 0035649727     PISSN: 01609009     EISSN: None     Source Type: Journal    
DOI: 10.2307/3347056     Document Type: Review

References (112)

1. Grease, 110 min. Paramount, Hollywood, Calif., 1978.
2. Sandra Dee, "Learning to Live Again," People, March 18, 1991, 87-94.
3. For a discussion of conservatives and the myth of a golden age see Stephanie Coontz, The Way We Never Were: American Families and the Nostalgia Trap (New York: Basic Books, 1992), 1-7.
4. Betty Friedan, The Feminine Mystique (New York: Dell Publishing, 1963); and Joanne Meyerowitz, "Beyond the Feminine Mystique: A Reassessment of Postwar Mass Culture, 1946-1958," in Not June Cleaver: Women and Gender in Postwar America, 1945-1960, ed. Joanne Meyerowitz (Philadelphia: Temple University Press, 1994), 251.
5. Betty Friedan, The Feminine Mystique (New York: Dell Publishing, 1963); and Joanne Meyerowitz, "Beyond the Feminine Mystique: A Reassessment of Postwar Mass Culture, 1946-1958," in Not June Cleaver: Women and Gender in Postwar America, 1945-1960, ed. Joanne Meyerowitz (Philadelphia: Temple University Press, 1994), 251.
6. See Meyerowitz, "Beyond the Feminine Mystique"; Coontz, The Way We Never Were; Wini Breines, Young, White, and Miserable: Growing Up Female in the Fifties (Boston: Beacon Press, 1992); Rickie Solinger, Wake Up Little Susie: Single Pregnancy and Race before Roe v. Wade (New York: Routledge, 1992); Benita Eisler, Private Lives: Men and Women of the Fifties (New York: Franklin Watts, 1986); Elaine Tyler May, Homeward Bound: American Families in the Cold War Era (New York: Basic Books, 1988); Brett Harvey, The Fifties: A Women's Oral History (New York: Harper Collins, 1993); Brandon French, On the Verge of Revolt: Women in American Films of the Fifties (New York: Ungar, 1978); and Marty Jezer, The Dark Ages: Life in the United States, 1945-1960 (Boston: South End Press, 1982).
7. See Meyerowitz, "Beyond the Feminine Mystique"; Coontz, The Way We Never Were; Wini Breines, Young, White, and Miserable: Growing Up Female in the Fifties (Boston: Beacon Press, 1992); Rickie Solinger, Wake Up Little Susie: Single Pregnancy and Race before Roe v. Wade (New York: Routledge, 1992); Benita Eisler, Private Lives: Men and Women of the Fifties (New York: Franklin Watts, 1986); Elaine Tyler May, Homeward Bound: American Families in the Cold War Era (New York: Basic Books, 1988); Brett Harvey, The Fifties: A Women's Oral History (New York: Harper Collins, 1993); Brandon French, On the Verge of Revolt: Women in American Films of the Fifties (New York: Ungar, 1978); and Marty Jezer, The Dark Ages: Life in the United States, 1945-1960 (Boston: South End Press, 1982).
8. See Meyerowitz, "Beyond the Feminine Mystique"; Coontz, The Way We Never Were; Wini Breines, Young, White, and Miserable: Growing Up Female in the Fifties (Boston: Beacon Press, 1992); Rickie Solinger, Wake Up Little Susie: Single Pregnancy and Race before Roe v. Wade (New York: Routledge, 1992); Benita Eisler, Private Lives: Men and Women of the Fifties (New York: Franklin Watts, 1986); Elaine Tyler May, Homeward Bound: American Families in the Cold War Era (New York: Basic Books, 1988); Brett Harvey, The Fifties: A Women's Oral History (New York: Harper Collins, 1993); Brandon French, On the Verge of Revolt: Women in American Films of the Fifties (New York: Ungar, 1978); and Marty Jezer, The Dark Ages: Life in the United States, 1945-1960 (Boston: South End Press, 1982).
9. See Meyerowitz, "Beyond the Feminine Mystique"; Coontz, The Way We Never Were; Wini Breines, Young, White, and Miserable: Growing Up Female in the Fifties (Boston: Beacon Press, 1992); Rickie Solinger, Wake Up Little Susie: Single Pregnancy and Race before Roe v. Wade (New York: Routledge, 1992); Benita Eisler, Private Lives: Men and Women of the Fifties (New York: Franklin Watts, 1986); Elaine Tyler May, Homeward Bound: American Families in the Cold War Era (New York: Basic Books, 1988); Brett Harvey, The Fifties: A Women's Oral History (New York: Harper Collins, 1993); Brandon French, On the Verge of Revolt: Women in American Films of the Fifties (New York: Ungar, 1978); and Marty Jezer, The Dark Ages: Life in the United States, 1945-1960 (Boston: South End Press, 1982).
10. See Meyerowitz, "Beyond the Feminine Mystique"; Coontz, The Way We Never Were; Wini Breines, Young, White, and Miserable: Growing Up Female in the Fifties (Boston: Beacon Press, 1992); Rickie Solinger, Wake Up Little Susie: Single Pregnancy and Race before Roe v. Wade (New York: Routledge, 1992); Benita Eisler, Private Lives: Men and Women of the Fifties (New York: Franklin Watts, 1986); Elaine Tyler May, Homeward Bound: American Families in the Cold War Era (New York: Basic Books, 1988); Brett Harvey, The Fifties: A Women's Oral History (New York: Harper Collins, 1993); Brandon French, On the Verge of Revolt: Women in American Films of the Fifties (New York: Ungar, 1978); and Marty Jezer, The Dark Ages: Life in the United States, 1945-1960 (Boston: South End Press, 1982).
11. See Meyerowitz, "Beyond the Feminine Mystique"; Coontz, The Way We Never Were; Wini Breines, Young, White, and Miserable: Growing Up Female in the Fifties (Boston: Beacon Press, 1992); Rickie Solinger, Wake Up Little Susie: Single Pregnancy and Race before Roe v. Wade (New York: Routledge, 1992); Benita Eisler, Private Lives: Men and Women of the Fifties (New York: Franklin Watts, 1986); Elaine Tyler May, Homeward Bound: American Families in the Cold War Era (New York: Basic Books, 1988); Brett Harvey, The Fifties: A Women's Oral History (New York: Harper Collins, 1993); Brandon French, On the Verge of Revolt: Women in American Films of the Fifties (New York: Ungar, 1978); and Marty Jezer, The Dark Ages: Life in the United States, 1945-1960 (Boston: South End Press, 1982).
12. See Meyerowitz, "Beyond the Feminine Mystique"; Coontz, The Way We Never Were; Wini Breines, Young, White, and Miserable: Growing Up Female in the Fifties (Boston: Beacon Press, 1992); Rickie Solinger, Wake Up Little Susie: Single Pregnancy and Race before Roe v. Wade (New York: Routledge, 1992); Benita Eisler, Private Lives: Men and Women of the Fifties (New York: Franklin Watts, 1986); Elaine Tyler May, Homeward Bound: American Families in the Cold War Era (New York: Basic Books, 1988); Brett Harvey, The Fifties: A Women's Oral History (New York: Harper Collins, 1993); Brandon French, On the Verge of Revolt: Women in American Films of the Fifties (New York: Ungar, 1978); and Marty Jezer, The Dark Ages: Life in the United States, 1945-1960 (Boston: South End Press, 1982).
13. See Meyerowitz, "Beyond the Feminine Mystique"; Coontz, The Way We Never Were; Wini Breines, Young, White, and Miserable: Growing Up Female in the Fifties (Boston: Beacon Press, 1992); Rickie Solinger, Wake Up Little Susie: Single Pregnancy and Race before Roe v. Wade (New York: Routledge, 1992); Benita Eisler, Private Lives: Men and Women of the Fifties (New York: Franklin Watts, 1986); Elaine Tyler May, Homeward Bound: American Families in the Cold War Era (New York: Basic Books, 1988); Brett Harvey, The Fifties: A Women's Oral History (New York: Harper Collins, 1993); Brandon French, On the Verge of Revolt: Women in American Films of the Fifties (New York: Ungar, 1978); and Marty Jezer, The Dark Ages: Life in the United States, 1945-1960 (Boston: South End Press, 1982).
14. See Meyerowitz, "Beyond the Feminine Mystique"; Coontz, The Way We Never Were; Wini Breines, Young, White, and Miserable: Growing Up Female in the Fifties (Boston: Beacon Press, 1992); Rickie Solinger, Wake Up Little Susie: Single Pregnancy and Race before Roe v. Wade (New York: Routledge, 1992); Benita Eisler, Private Lives: Men and Women of the Fifties (New York: Franklin Watts, 1986); Elaine Tyler May, Homeward Bound: American Families in the Cold War Era (New York: Basic Books, 1988); Brett Harvey, The Fifties: A Women's Oral History (New York: Harper Collins, 1993); Brandon French, On the Verge of Revolt: Women in American Films of the Fifties (New York: Ungar, 1978); and Marty Jezer, The Dark Ages: Life in the United States, 1945-1960 (Boston: South End Press, 1982).
15. Richard Dyer, Stars (London: British Filrr Institute, 1979), 68-70.
16. Cited by Thomas P. Doherty, Teenagers and Teenpics: The Juvenilization of American Movies in the 1950s (Boston: Unwin Hyman, 1988), 196.
17. See Susan Bordo, "Anorexia Nervosa: Psychopathology and the Crystallization of Culture," and "The Body and the Reproduction of Femininity: A Feminist Appropriation of Foucault," in Susan Bordo. Unbearable Weight: Femininism, Western Culture, and the Body (Berkeley: University of California Press, 1993), 139-64 and 165-184; and Sandra Lee Bartky, "Foucault, Femininity, and the Modernization of Patriarchal Power," in The Politics of Women's Bodies: Sexuality, Appearance, and Behavior, ed. Rose Weitz (New York: Oxford University Press, 1998), 25-46.
18. See Susan Bordo, "Anorexia Nervosa: Psychopathology and the Crystallization of Culture," and "The Body and the Reproduction of Femininity: A Feminist Appropriation of Foucault," in Susan Bordo. Unbearable Weight: Femininism, Western Culture, and the Body (Berkeley: University of California Press, 1993), 139-64 and 165-184; and Sandra Lee Bartky, "Foucault, Femininity, and the Modernization of Patriarchal Power," in The Politics of Women's Bodies: Sexuality, Appearance, and Behavior, ed. Rose Weitz (New York: Oxford University Press, 1998), 25-46.
19. The term "mammary madness" comes from Marjorie Rosen, Popcorn Venus: Women, Movies and the American Dream (New York: Coward, McCann and Geoghegan, 1973), 182.
20. The Seven Year Itch, 105 min. Twentieth Century Fox, Hollywood, Calif., 1955; All About Eve, 138 min. Twentieth Century Fox, Hollywood, Calif., 1950; There's No Business Like Show Business, 117 min. Twentieth Century Fox, Hollywood, Calif., 1954; How to Marry a Millionaire, 96 min. Twentieth Century Fox, Hollywood, Calif., 1953; and Gentlemen Prefer Blondes, 91 min. Twentieth Century Fox, Hollywood, Calif., 1953.
21. The Seven Year Itch, 105 min. Twentieth Century Fox, Hollywood, Calif., 1955; All About Eve, 138 min. Twentieth Century Fox, Hollywood, Calif., 1950; There's No Business Like Show Business, 117 min. Twentieth Century Fox, Hollywood, Calif., 1954; How to Marry a Millionaire, 96 min. Twentieth Century Fox, Hollywood, Calif., 1953; and Gentlemen Prefer Blondes, 91 min. Twentieth Century Fox, Hollywood, Calif., 1953.
22. The Seven Year Itch, 105 min. Twentieth Century Fox, Hollywood, Calif., 1955; All About Eve, 138 min. Twentieth Century Fox, Hollywood, Calif., 1950; There's No Business Like Show Business, 117 min. Twentieth Century Fox, Hollywood, Calif., 1954; How to Marry a Millionaire, 96 min. Twentieth Century Fox, Hollywood, Calif., 1953; and Gentlemen Prefer Blondes, 91 min. Twentieth Century Fox, Hollywood, Calif., 1953.
23. The Seven Year Itch, 105 min. Twentieth Century Fox, Hollywood, Calif., 1955; All About Eve, 138 min. Twentieth Century Fox, Hollywood, Calif., 1950; There's No Business Like Show Business, 117 min. Twentieth Century Fox, Hollywood, Calif., 1954; How to Marry a Millionaire, 96 min. Twentieth Century Fox, Hollywood, Calif., 1953; and Gentlemen Prefer Blondes, 91 min. Twentieth Century Fox, Hollywood, Calif., 1953.
24. The Seven Year Itch, 105 min. Twentieth Century Fox, Hollywood, Calif., 1955; All About Eve, 138 min. Twentieth Century Fox, Hollywood, Calif., 1950; There's No Business Like Show Business, 117 min. Twentieth Century Fox, Hollywood, Calif., 1954; How to Marry a Millionaire, 96 min. Twentieth Century Fox, Hollywood, Calif., 1953; and Gentlemen Prefer Blondes, 91 min. Twentieth Century Fox, Hollywood, Calif., 1953.
25. Molly Haskell, From Reverence to Rape: The Treatment of Women in the Movies (New York: Penguin, 1986), 255; and Rosen, Popcorn Venus, 286-93. For interpretations of Monroe that reject the notion that she was a "victim" of Hollywood, see Barbara Learning, Marilyn Monroe (New York: Crown Publishers, 1998); Norman Mailer, Marilyn: A Biography (New York: Grosset and Dunlap, 1973); and Donald Spoto, Marilyn Monroe: the Biography (New York: Harper Collins, 1993), and American Monroe: The Making of a Body (Berkeley: University of California Press, 1995).
26. Molly Haskell, From Reverence to Rape: The Treatment of Women in the Movies (New York: Penguin, 1986), 255; and Rosen, Popcorn Venus, 286-93. For interpretations of Monroe that reject the notion that she was a "victim" of Hollywood, see Barbara Learning, Marilyn Monroe (New York: Crown Publishers, 1998); Norman Mailer, Marilyn: A Biography (New York: Grosset and Dunlap, 1973); and Donald Spoto, Marilyn Monroe: the Biography (New York: Harper Collins, 1993), and American Monroe: The Making of a Body (Berkeley: University of California Press, 1995).
27. Molly Haskell, From Reverence to Rape: The Treatment of Women in the Movies (New York: Penguin, 1986), 255; and Rosen, Popcorn Venus, 286-93. For interpretations of Monroe that reject the notion that she was a "victim" of Hollywood, see Barbara Learning, Marilyn Monroe (New York: Crown Publishers, 1998); Norman Mailer, Marilyn: A Biography (New York: Grosset and Dunlap, 1973); and Donald Spoto, Marilyn Monroe: the Biography (New York: Harper Collins, 1993), and American Monroe: The Making of a Body (Berkeley: University of California Press, 1995).
28. Molly Haskell, From Reverence to Rape: The Treatment of Women in the Movies (New York: Penguin, 1986), 255; and Rosen, Popcorn Venus, 286-93. For interpretations of Monroe that reject the notion that she was a "victim" of Hollywood, see Barbara Learning, Marilyn Monroe (New York: Crown Publishers, 1998); Norman Mailer, Marilyn: A Biography (New York: Grosset and Dunlap, 1973); and Donald Spoto, Marilyn Monroe: the Biography (New York: Harper Collins, 1993), and American Monroe: The Making of a Body (Berkeley: University of California Press, 1995).
29. Molly Haskell, From Reverence to Rape: The Treatment of Women in the Movies (New York: Penguin, 1986), 255; and Rosen, Popcorn Venus, 286-93. For interpretations of Monroe that reject the notion that she was a "victim" of Hollywood, see Barbara Learning, Marilyn Monroe (New York: Crown Publishers, 1998); Norman Mailer, Marilyn: A Biography (New York: Grosset and Dunlap, 1973); and Donald Spoto, Marilyn Monroe: the Biography (New York: Harper Collins, 1993), and American Monroe: The Making of a Body (Berkeley: University of California Press, 1995).
30. Molly Haskell, From Reverence to Rape: The Treatment of Women in the Movies (New York: Penguin, 1986), 255; and Rosen, Popcorn Venus, 286-93. For interpretations of Monroe that reject the notion that she was a "victim" of Hollywood, see Barbara Learning, Marilyn Monroe (New York: Crown Publishers, 1998); Norman Mailer, Marilyn: A Biography (New York: Grosset and Dunlap, 1973); and Donald Spoto, Marilyn Monroe: the Biography (New York: Harper Collins, 1993), and American Monroe: The Making of a Body (Berkeley: University of California Press, 1995).
31. The Girl Can't Help It, 97 min. Twentieth Century Fox, Hollywood, Calif., 1967.
32. "Sandra Dee Ends Long Hitch with Universal," Variety, June 21, 1968, 5.
33. John Ellis, "Stars as Cinematic Phenomena," in Star Texts: Images and Performance in Film and Television, ed. Jeremy Butler (Detroit: Wayne State University Press, 1991), 311.
34. Dyer, Stars, 71. For a revisionist reading of Doris Day, see Haskell, From Reverence to Rape, 262-67.
35. Dyer, Stars, 71. For a revisionist reading of Doris Day, see Haskell, From Reverence to Rape, 262-67.
36. Take Her She's Mine, 98 min. Twentieth Century Fox, Hollywood, Calif., 1963; If a Man Answers, 102 min. Universal, Hollywood, Calif., 1962; Tammy Tell Me True, 97 min. Universal-International, Hollywood, Calif., 1961; and Tammy and the Doctor, 88 min. Universal-International, Hollywood, Calif., 1963.
37. Take Her She's Mine, 98 min. Twentieth Century Fox, Hollywood, Calif., 1963; If a Man Answers, 102 min. Universal, Hollywood, Calif., 1962; Tammy Tell Me True, 97 min. Universal-International, Hollywood, Calif., 1961; and Tammy and the Doctor, 88 min. Universal-International, Hollywood, Calif., 1963.
38. Take Her She's Mine, 98 min. Twentieth Century Fox, Hollywood, Calif., 1963; If a Man Answers, 102 min. Universal, Hollywood, Calif., 1962; Tammy Tell Me True, 97 min. Universal-International, Hollywood, Calif., 1961; and Tammy and the Doctor, 88 min. Universal-International, Hollywood, Calif., 1963.
39. Take Her She's Mine, 98 min. Twentieth Century Fox, Hollywood, Calif., 1963; If a Man Answers, 102 min. Universal, Hollywood, Calif., 1962; Tammy Tell Me True, 97 min. Universal-International, Hollywood, Calif., 1961; and Tammy and the Doctor, 88 min. Universal-International, Hollywood, Calif., 1963.
40. Breines, Young, White, and Miserable, 87.
41. Eisler, Private Lives, 129. For a discussion of collective memory and popular culture, see George Lipsitz, Time Passages: Collective Memory and American Popular Culture (Minneapolis: University of Minnesota Press, 1990).
42. Eisler, Private Lives, 129. For a discussion of collective memory and popular culture, see George Lipsitz, Time Passages: Collective Memory and American Popular Culture (Minneapolis: University of Minnesota Press, 1990).
43. Susan Douglas, Where the Girls Are: Growing Up Female with the Mass Media (New York: Times Books, 1994), 13.
44. The biographical information on Dee was compiled from a number of sources including Dodd Darin and Maxine Paetro, Dream Lovers: The Magnificent Shattered Life of Bobby Darin and Sandra Dee (New York: Warner Books, 1994); and Dee, "Learning to Live Again."
45. The biographical information on Dee was compiled from a number of sources including Dodd Darin and Maxine Paetro, Dream Lovers: The Magnificent Shattered Life of Bobby Darin and Sandra Dee (New York: Warner Books, 1994); and Dee, "Learning to Live Again."
46. Until They Sail, 95 min. Metro Goldwyn Mayer, Hollywood, Calif., 1967; The Reluctant Debutante, 96 min. Metro Goldwyn Mayer, Hollywood, Calif., 1958; Stranger in My Arms, 88 min. Universal-International, Hollywood, Calif., 1958; The Restless Years, 86 min. Universal-International, Hollywood, Calif., 1959; Gidget, 95 min. Columbia, Hollywood, Calif., 1959; A Summer Place, 130 min. Warner, Hollywood, Calif., 1959; and Imitation of Life, 124 min. Universal-International, Hollywood, Calif., 1959.
47. Until They Sail, 95 min. Metro Goldwyn Mayer, Hollywood, Calif., 1967; The Reluctant Debutante, 96 min. Metro Goldwyn Mayer, Hollywood, Calif., 1958; Stranger in My Arms, 88 min. Universal-International, Hollywood, Calif., 1958; The Restless Years, 86 min. Universal-International, Hollywood, Calif., 1959; Gidget, 95 min. Columbia, Hollywood, Calif., 1959; A Summer Place, 130 min. Warner, Hollywood, Calif., 1959; and Imitation of Life, 124 min. Universal-International, Hollywood, Calif., 1959.
48. Until They Sail, 95 min. Metro Goldwyn Mayer, Hollywood, Calif., 1967; The Reluctant Debutante, 96 min. Metro Goldwyn Mayer, Hollywood, Calif., 1958; Stranger in My Arms, 88 min. Universal-International, Hollywood, Calif., 1958; The Restless Years, 86 min. Universal-International, Hollywood, Calif., 1959; Gidget, 95 min. Columbia, Hollywood, Calif., 1959; A Summer Place, 130 min. Warner, Hollywood, Calif., 1959; and Imitation of Life, 124 min. Universal-International, Hollywood, Calif., 1959.
49. Until They Sail, 95 min. Metro Goldwyn Mayer, Hollywood, Calif., 1967; The Reluctant Debutante, 96 min. Metro Goldwyn Mayer, Hollywood, Calif., 1958; Stranger in My Arms, 88 min. Universal-International, Hollywood, Calif., 1958; The Restless Years, 86 min. Universal-International, Hollywood, Calif., 1959; Gidget, 95 min. Columbia, Hollywood, Calif., 1959; A Summer Place, 130 min. Warner, Hollywood, Calif., 1959; and Imitation of Life, 124 min. Universal-International, Hollywood, Calif., 1959.
50. Until They Sail, 95 min. Metro Goldwyn Mayer, Hollywood, Calif., 1967; The Reluctant Debutante, 96 min. Metro Goldwyn Mayer, Hollywood, Calif., 1958; Stranger in My Arms, 88 min. Universal-International, Hollywood, Calif., 1958; The Restless Years, 86 min. Universal-International, Hollywood, Calif., 1959; Gidget, 95 min. Columbia, Hollywood, Calif., 1959; A Summer Place, 130 min. Warner, Hollywood, Calif., 1959; and Imitation of Life, 124 min. Universal-International, Hollywood, Calif., 1959.
51. Until They Sail, 95 min. Metro Goldwyn Mayer, Hollywood, Calif., 1967; The Reluctant Debutante, 96 min. Metro Goldwyn Mayer, Hollywood, Calif., 1958; Stranger in My Arms, 88 min. Universal-International, Hollywood, Calif., 1958; The Restless Years, 86 min. Universal-International, Hollywood, Calif., 1959; Gidget, 95 min. Columbia, Hollywood, Calif., 1959; A Summer Place, 130 min. Warner, Hollywood, Calif., 1959; and Imitation of Life, 124 min. Universal-International, Hollywood, Calif., 1959.
52. Until They Sail, 95 min. Metro Goldwyn Mayer, Hollywood, Calif., 1967; The Reluctant Debutante, 96 min. Metro Goldwyn Mayer, Hollywood, Calif., 1958; Stranger in My Arms, 88 min. Universal-International, Hollywood, Calif., 1958; The Restless Years, 86 min. Universal-International, Hollywood, Calif., 1959; Gidget, 95 min. Columbia, Hollywood, Calif., 1959; A Summer Place, 130 min. Warner, Hollywood, Calif., 1959; and Imitation of Life, 124 min. Universal-International, Hollywood, Calif., 1959.
53. Come September, 112 min. Universal, Hollywood, Calif., 1961.
54. Quoted by Orrin E. Klapp, Collective Search for Identity (New York: Holt, Rinehart, and Winston, 1969), 215.
55. The clipping files on Dee at the Academy of Motion Picture Arts and Sciences in Los Angeles contain virtually every article written on Dee between 1958 and 1964.
56. Sandra Dee, "Hi, I'm Sandra Dee," Modern Screen, April 5, 1958, 54.
57. Linda Gordon, Heroes of Their Own Lives: The Politics and History of Family Violence: Boston, 1880-1960 (New York: Viking, 1988), 207.
58. Gordon, Heroes of Their Own Lives, 208.
59. Diane Redfield, "Sandra Dee - The Men Who Excite Me," Movie Life, April 1958, 30.
60. Betsy Harris, "She's Darling, She's Different, She's Delightful," Motion Picture, October 1958, 58.
61. Gordon, Heroes of Their Own Lives, 233.
62. Eisler, Private Lives, 170.
63. See Mary Douvan, "Sandy," Modern Teen, February 1958, 7; Mary Douvan, "My Daughter Sandra," Movieland and TV Times, November 1958, 45-48; and Mary Douvan, "I'm for Real - Honest," Movieland and TV Times, October 1959, 24-28.
64. See Mary Douvan, "Sandy," Modern Teen, February 1958, 7; Mary Douvan, "My Daughter Sandra," Movieland and TV Times, November 1958, 45-48; and Mary Douvan, "I'm for Real - Honest," Movieland and TV Times, October 1959, 24-28.
65. See Mary Douvan, "Sandy," Modern Teen, February 1958, 7; Mary Douvan, "My Daughter Sandra," Movieland and TV Times, November 1958, 45-48; and Mary Douvan, "I'm for Real - Honest," Movieland and TV Times, October 1959, 24-28.
66. Darin and Paetro, Dream Lovers, 38. In 1991, People magazine featured a cover story on another incest survivor of the fifties, Marilyn Van Derber, Miss America 1958. See "The Darkest Secret," People, June 10, 1991, 88-94.
67. Darin and Paetro, Dream Lovers, 38. In 1991, People magazine featured a cover story on another incest survivor of the fifties, Marilyn Van Derber, Miss America 1958. See "The Darkest Secret," People, June 10, 1991, 88-94.
68. Darin and Paetro, Dream Lovers, 39.
69. Maxine Block, "Enduring Young Charmer," Screenland, April 1958, 39.
70. Darin and Paetro, Dream Lovers, 80.
71. Susan Kohner, "Is Sandra Dee Stuck Up?" Screen, December 1959, 32.
72. Joan Jacobs Brumberg, Fasting Girls: The Emergence of Anorexia Nervosa as a Modern Disease ( Cambridge, Mass.: Harvard University Press, 1988), 229. Brumberg also discusses the preoccupation with food intake in The Body Project: An Intimate History of American Girls (New York: Random House, 1997), 119-24.
73. Joan Jacobs Brumberg, Fasting Girls: The Emergence of Anorexia Nervosa as a Modern Disease ( Cambridge, Mass.: Harvard University Press, 1988), 229. Brumberg also discusses the preoccupation with food intake in The Body Project: An Intimate History of American Girls (New York: Random House, 1997), 119-24.
74. Brumberg, Fasting Girls, 10-11.
75. Mary Douvan, "My Daughter, Sandra Dee," Family Weekly, November 3, 1958, 18-19.
76. "I Have No Friends," Modern Screen, July 1959, 79.
77. "How She Almost Killed Herself," Modern Screen Yearbook, No. 3 (1960), 54.
78. Louella Parsons, "Let Sandra Dee Be a Warning," Modern Screen, February 1960, 20-22.
79. "Is Childbirth Safe for Sandra Dee?" Movie Stars, November 1961, 27-28.
80. Brumberg, Fasting Girls, 251; and Lois Banner, American Beauty (New York: Alfred A. Knopf, 1983), 283-84.
81. Brumberg, Fasting Girls, 251; and Lois Banner, American Beauty (New York: Alfred A. Knopf, 1983), 283-84.
82. Deborah Lupnitz, The Family Interpreted: Psychoanalysis, Feminism, and Family Therapy (New York: Basic Books, 1988), 225.
83. "Nobody Wants Me," Screen Stars, October 1959, 35; Karen Foster, "I'm Ready for a Real Romance," Screen Stars, November 1959, 18-20; "It Can Be Lonely," Photoplay, November 1959, 54-56; "Nobody Ever Carries My Books to School," Photoplay, June 1959, 23-25; and Lou Larkin, "My Problem is Love," Movie World, March 1959, 18-21.
84. "Nobody Wants Me," Screen Stars, October 1959, 35; Karen Foster, "I'm Ready for a Real Romance," Screen Stars, November 1959, 18-20; "It Can Be Lonely," Photoplay, November 1959, 54-56; "Nobody Ever Carries My Books to School," Photoplay, June 1959, 23-25; and Lou Larkin, "My Problem is Love," Movie World, March 1959, 18-21.
85. "Nobody Wants Me," Screen Stars, October 1959, 35; Karen Foster, "I'm Ready for a Real Romance," Screen Stars, November 1959, 18-20; "It Can Be Lonely," Photoplay, November 1959, 54-56; "Nobody Ever Carries My Books to School," Photoplay, June 1959, 23-25; and Lou Larkin, "My Problem is Love," Movie World, March 1959, 18-21.
86. "Nobody Wants Me," Screen Stars, October 1959, 35; Karen Foster, "I'm Ready for a Real Romance," Screen Stars, November 1959, 18-20; "It Can Be Lonely," Photoplay, November 1959, 54-56; "Nobody Ever Carries My Books to School," Photoplay, June 1959, 23-25; and Lou Larkin, "My Problem is Love," Movie World, March 1959, 18-21.
87. "Nobody Wants Me," Screen Stars, October 1959, 35; Karen Foster, "I'm Ready for a Real Romance," Screen Stars, November 1959, 18-20; "It Can Be Lonely," Photoplay, November 1959, 54-56; "Nobody Ever Carries My Books to School," Photoplay, June 1959, 23-25; and Lou Larkin, "My Problem is Love," Movie World, March 1959, 18-21.
88. Quoted in Darin and Paetro, Dream Lovers, 80.
89. Louella Parsons, "Sandra Dee: Everything Is the Most," Los Angeles Examiner Pictorial, December 1957, 44.
90. Darin and Paetro, Dream Lover, 79.
91. Dee Spencer, "Sandra Dee Didn't Break Up My Marriage," Movie Life, May 1959, 35-36; "Maybe It's Love," Modern Screen, September 1959, 22-24; "The Hottest Gal in Town," Screen Parade, July 1959, 40-42; Jean Roberts, "Sweet or Sexy: The Gossip about Sandra Dee," TV Life, November 1960, 17-18; and Mark Anderson, "Sandra Dee: Saint or Sinner?" Screen Stars, July 1960, 25-27.
92. Dee Spencer, "Sandra Dee Didn't Break Up My Marriage," Movie Life, May 1959, 35-36; "Maybe It's Love," Modern Screen, September 1959, 22-24; "The Hottest Gal in Town," Screen Parade, July 1959, 40-42; Jean Roberts, "Sweet or Sexy: The Gossip about Sandra Dee," TV Life, November 1960, 17-18; and Mark Anderson, "Sandra Dee: Saint or Sinner?" Screen Stars, July 1960, 25-27.
93. Dee Spencer, "Sandra Dee Didn't Break Up My Marriage," Movie Life, May 1959, 35-36; "Maybe It's Love," Modern Screen, September 1959, 22-24; "The Hottest Gal in Town," Screen Parade, July 1959, 40-42; Jean Roberts, "Sweet or Sexy: The Gossip about Sandra Dee," TV Life, November 1960, 17-18; and Mark Anderson, "Sandra Dee: Saint or Sinner?" Screen Stars, July 1960, 25-27.
94. Dee Spencer, "Sandra Dee Didn't Break Up My Marriage," Movie Life, May 1959, 35-36; "Maybe It's Love," Modern Screen, September 1959, 22-24; "The Hottest Gal in Town," Screen Parade, July 1959, 40-42; Jean Roberts, "Sweet or Sexy: The Gossip about Sandra Dee," TV Life, November 1960, 17-18; and Mark Anderson, "Sandra Dee: Saint or Sinner?" Screen Stars, July 1960, 25-27.
95. Dee Spencer, "Sandra Dee Didn't Break Up My Marriage," Movie Life, May 1959, 35-36; "Maybe It's Love," Modern Screen, September 1959, 22-24; "The Hottest Gal in Town," Screen Parade, July 1959, 40-42; Jean Roberts, "Sweet or Sexy: The Gossip about Sandra Dee," TV Life, November 1960, 17-18; and Mark Anderson, "Sandra Dee: Saint or Sinner?" Screen Stars, July 1960, 25-27.
96. "It Can Be Lonely," 91.
97. Mike Connally, "Mike Connally Blasts Those Lies about Sandra Dee," Screen Stories, June 1960, 50-52.
98. Charles Champlin, "It's D-Day for Sandra's Image," Los Angeles Times, October 15, 1966, 12.
99. When I was discussing this paper with a colleague at a professional conference a few years ago, she described herself as "the horniest eight year old on earth." She said that seeing A Summer Place gave her "permission to be sexual."
100. See Betty Friedan, "The Sexual Sell," in The Feminine Mystique, 201-27. See also Breines, "Sexual Puzzles," in Young, White, and Miserable, 84-126; and Douglas, "Sex and the Single Teenager," in Where the Girls Are, 61-81.
101. See Betty Friedan, "The Sexual Sell," in The Feminine Mystique, 201-27. See also Breines, "Sexual Puzzles," in Young, White, and Miserable, 84-126; and Douglas, "Sex and the Single Teenager," in Where the Girls Are, 61-81.
102. See Betty Friedan, "The Sexual Sell," in The Feminine Mystique, 201-27. See also Breines, "Sexual Puzzles," in Young, White, and Miserable, 84-126; and Douglas, "Sex and the Single Teenager," in Where the Girls Are, 61-81.
103. Janie, 106 min. Warner, Hollywood, Calif., 1944; Kiss and Tell, 92 min. Columbia, Hollywood, Calif., 1945; and Father Was a Fullback, 84 min. Twentieth Century Fox, Hollywood, Calif., 1949. For a discussion of screen comedies of the 1940s see Georganne Scheiner, Signifying Female Adolescence: Film Representations and Fans 1920s-1950s (Greenwich, Conn.: Praeger, 2000), 103-111.
104. Janie, 106 min. Warner, Hollywood, Calif., 1944; Kiss and Tell, 92 min. Columbia, Hollywood, Calif., 1945; and Father Was a Fullback, 84 min. Twentieth Century Fox, Hollywood, Calif., 1949. For a discussion of screen comedies of the 1940s see Georganne Scheiner, Signifying Female Adolescence: Film Representations and Fans 1920s-1950s (Greenwich, Conn.: Praeger, 2000), 103-111.
105. Janie, 106 min. Warner, Hollywood, Calif., 1944; Kiss and Tell, 92 min. Columbia, Hollywood, Calif., 1945; and Father Was a Fullback, 84 min. Twentieth Century Fox, Hollywood, Calif., 1949. For a discussion of screen comedies of the 1940s see Georganne Scheiner, Signifying Female Adolescence: Film Representations and Fans 1920s-1950s (Greenwich, Conn.: Praeger, 2000), 103-111.
106. Janie, 106 min. Warner, Hollywood, Calif., 1944; Kiss and Tell, 92 min. Columbia, Hollywood, Calif., 1945; and Father Was a Fullback, 84 min. Twentieth Century Fox, Hollywood, Calif., 1949. For a discussion of screen comedies of the 1940s see Georganne Scheiner, Signifying Female Adolescence: Film Representations and Fans 1920s-1950s (Greenwich, Conn.: Praeger, 2000), 103-111.
107. Rosen, Popcorn Venus, 311.
108. For a discussion of "sexual containment," see May, Homeward Bound, 13-14.
109. Lipsitz, Time Passages, 165.
110. For a discussion of the market power of teens, see James Gilbert, A Cycle of Outrage: America's Reaction to the Juvenile Delinquent in the 1950s (New York: Oxford University Press, 1986), 174-75; and Grace Palladino, Teenagers: An American History (New York: Basic Books, 1996), 97-115.
111. For a discussion of the market power of teens, see James Gilbert, A Cycle of Outrage: America's Reaction to the Juvenile Delinquent in the 1950s (New York: Oxford University Press, 1986), 174-75; and Grace Palladino, Teenagers: An American History (New York: Basic Books, 1996), 97-115.
112. Breines, Young, White, and Miserable, 105.