{"title":"米奇","authors":"C. Rice","doi":"10.13110/antipodes.29.2.0340","DOIUrl":null,"url":null,"abstract":"This chapter details His Kind of Woman and Macao, the two films Jane made with Robert Mitchum. Included in this discussion are the difficulties with the productions and delays caused by Howard Hughes’ eccentricities. Hughes’ exploitative publicity of Jane is further explored along with her relationship with Mitchum. Jane’s position at the RKO studio is also discussed along with the personal crew she developed and used on multiple pictures, including make-up man Shotgun Britton, stand-in Carmen Nesbitt, and designer Michael Woulfe.","PeriodicalId":112665,"journal":{"name":"Mean...Moody...Magnificent!","volume":"21 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"2","resultStr":"{\"title\":\"Mitch\",\"authors\":\"C. Rice\",\"doi\":\"10.13110/antipodes.29.2.0340\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This chapter details His Kind of Woman and Macao, the two films Jane made with Robert Mitchum. Included in this discussion are the difficulties with the productions and delays caused by Howard Hughes’ eccentricities. Hughes’ exploitative publicity of Jane is further explored along with her relationship with Mitchum. Jane’s position at the RKO studio is also discussed along with the personal crew she developed and used on multiple pictures, including make-up man Shotgun Britton, stand-in Carmen Nesbitt, and designer Michael Woulfe.\",\"PeriodicalId\":112665,\"journal\":{\"name\":\"Mean...Moody...Magnificent!\",\"volume\":\"21 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-06-15\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"2\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Mean...Moody...Magnificent!\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.13110/antipodes.29.2.0340\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Mean...Moody...Magnificent!","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.13110/antipodes.29.2.0340","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
This chapter details His Kind of Woman and Macao, the two films Jane made with Robert Mitchum. Included in this discussion are the difficulties with the productions and delays caused by Howard Hughes’ eccentricities. Hughes’ exploitative publicity of Jane is further explored along with her relationship with Mitchum. Jane’s position at the RKO studio is also discussed along with the personal crew she developed and used on multiple pictures, including make-up man Shotgun Britton, stand-in Carmen Nesbitt, and designer Michael Woulfe.