About that same time, U.S. motion picture production began to relocate from the East Coast to the Los Angeles area. Movies were shot constantly in and around Wong's neighborhood. She began going to Nickelodeon movie theaters and quickly became obsessed with the "flickers", missing school and using lunch money to attend the cinema. Her father was not happy with her interest in films, feeling that it interfered with her studies, but Wong decided to pursue a film career regardless. At the age of nine, she constantly begged filmmakers to give her roles, earning herself the nickname "C.C.C." or "Curious Chinese Child". By the age of 11, Wong had come up with her stage name of Anna May Wong, formed by joining both her English and family names.
Wong was working at Hollywood's Ville de Paris department store when Metro Pictures needed 300 female extras to appear in Alla Nazimova's film The Red Lantern (1919). Without her father's knowledge, a friend of his with movie connections helped her land an uncredited role as an extra carrying a lantern.
Wong worked steadily for the next two years as an extra in various movies, including Priscilla Dean and Colleen Moore pictures. While still a student, Wong came down with an illness identified as St. Vitus's Dance which caused her to miss months of school. She was on the verge of emotional collapse when her father took her to a practitioner of traditional Chinese medicine. The treatments proved successful, though Wong later claimed this had more to do with her dislike of the methods. Other Chinese thought such as Confucianism and particularly Taoism and the teachings of Laozi had a strong influence on Wong's personal philosophy throughout her life. The family's religious life also included Christian thought, in the form of Presbyterianism, and as an adult she was a Christian Scientist for some time.
At the age of 17, Wong played her first leading role, in the early Metro two-color Technicolor movie The Toll of the Sea. Written by Frances Marion, the story was based loosely on Madama Butterfly. Variety magazine singled Wong out for praise, noting her "extraordinarily fine" acting. The New York Times commented, "Miss Wong stirs in the spectator all the sympathy her part calls for and she never repels one by an excess of theatrical 'feeling'. She has a difficult role, a role that is botched nine times out of ten, but hers is the tenth performance. Completely unconscious of the camera, with a fine sense of proportion and remarkable pantomimic accuracy ... She should be seen again and often on the screen."
Nevertheless, the studio apparently never seriously considered Wong for the role. The Chinese government also advised the studio against casting Wong in the role. The Chinese advisor to MGM commented: "whenever she appears in a movie, the newspapers print her picture with the caption 'Anna May again loses face for China' ".
To complete her contract with Paramount Pictures, Wong made a string of B movies in the late 1930s. Often dismissed by critics, the films gave Wong non-stereotypical roles that were publicized in the Chinese-American press for their positive images. These smaller-budgeted films could be bolder than the higher-profile releases and Wong used this to her advantage to portray successful, professional, Chinese-American characters.
In 1938, after she auctioned off her movie costumes and donated the money to Chinese aid, the Chinese Benevolent Association of California honored Wong for her work in support of Chinese refugees. The proceeds from the preface that she wrote in 1942 to a cookbook entitled New Chinese Recipes, one of the first Chinese cookbooks, were also dedicated to United China Relief. Between 1939 and 1942, she made few films, instead engaging in events and appearances in support of the Chinese struggle against Japan.
In 1949, Wong's father died in Los Angeles at the age of 91. After a six-year absence, Wong returned to film the same year with a small role in a B movie called Impact. From August 27 to November 21, 1951, Wong starred in a detective series that was written specifically for her, the DuMont Television Network series The Gallery of Madame Liu-Tsong, in which she played the title role that used her birth name. Wong's character was a dealer in Chinese art whose career involved her in detective work and international intrigue. The ten half-hour episodes aired during prime time, from 9:00 to 9:30 pm. Although there were plans for a second season, DuMont canceled the show in 1952. No copies of the show or its scripts are known to exist. After the completion of the series, Wong's health began to deteriorate. In late 1953 she suffered an internal hemorrhage, which her brother attributed to the onset of menopause, her continued heavy drinking, and financial worries.
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Top 10 Week of Feb 14: Anna Delvey and 'The Tinder Swindler' Continue to Steal #1It seems we all love a fraud. On the TV side, Inventing Anna, Shonda Rhimes' limited series stole the show, taking the #1 spot for the second week in a row. With 195.97M hours viewed, the Julia Garner led series was in the Top 10 in 94 countries. The Tinder Swindler topped the film list for the third week in a row with 34.45M hours viewed. From dating disasters to chainsaw massacres, Texas Chainsaw Massacre - a sequel to one of horror's most iconic and terrifying films - came in at #2 this week with 29.18M hours viewed. And documentary Downfall: The Case Against Boeing debuted at #8 in its first week with 7.42M hours viewed. Elsewhere on the English TV list, Love is Blind Season 2 climbed to the number two slot with 58.96M hours viewed. With the weddings just a few days away, don't forget to watch this week to see which of the couples make it to the altar. Meanwhile, on the non-English TV list, the zombies are still clinging to power. For the fourth week, All of Us Are Dead held onto the lead spot with 62.13M hours viewed. And the Korean series continues to reach audiences all around the world, appearing in the Top 10 in 89 countries. Love Tactics, a Turkish romantic comedy, took #1 on the non-English film list with 16.86M hours viewed. The film resonated with audiences all over the world, appearing in the Top 10 in 50 countries. Coming in second with 13.3M hours viewed was Spanish romance film Through My Window, which has also now hit the Most Popular List - clinching the #3 spot with 81.25M hours viewed since its premiere two weeks ago. Fans are screaming from their windows that there are not one, but two more sequels to come. To download Top 10 assets, visit Top10.netflix.com.
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The phrase is actually from the John Milton poem Paradise Lost. You may have also heard it on The X-Files back in 1996 as well as in the first three Scream films (and the fifth film) and the movie Dumb and Dumber.
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This chapter reports the results of perceptual emotional experiments involving American subjects in the assessment of emotional stimuli extracted from Italian (as a country-specific language) and American English (as a global spread language) live recording movie scenes. The stimuli concern some of the basic emotions of happiness, fear, anger, surprise, sadness, as well as a language specific emotion such as sarcasm/irony, and are portrayed through the mute video, the audio alone, and the combined audio/video mode. The main goal was to investigate whether, for American subjects, the visual channel is more effective than the auditory one to infer emotional information and whether this effectiveness is affected by the cultural context and in particular by the language. Results show that American subjects are facilitated by the visual mode in the identification of emotional information, independently from the cultural context and language of the stimuli. Furthermore, the bimodal presentation (the audio/video combined modality) of emotional information did not improve significantly the recognition accuracy with respect to the mute video modality. The familiarity with the Italian culture and language seem to play a role in the recognition performance. Among the basic emotions considered, anger is perceptually privileged because received the highest percentage of recognition accuracy. 2b1af7f3a8