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Genre ( /ˈʒɒnrə/ or /ˈdʒɒnrə/; from French, genre French pronunciation: [ʒɑ̃ʁ], "kind" or "sort", from Latin: genus (stem gener-), Greek: genos, γένος) is the term for any category of literature or other forms of art or entertainment, e.g. music, whether written or spoken, audial or visual, based on some set of stylistic criteria. Genres are formed by conventions that change over time as new genres are invented and the use of old ones are discontinued. Often, works fit into multiple genres by way of borrowing and recombining these conventions.

History[link]

The concept of genre originated from the classification systems created by Aristotle and Plato. Plato divided literature into the three classic genres accepted in Ancient Greece: poetry, drama, and prose. Poetry is further subdivided into epic, lyric, and drama. The divisions are recognized as being set by Aristotle and Plato; however, they were not alone. Many genre theorists contributed to these universally accepted forms of poetry. Similarly many theorists continued to philosophize about genre and its uses, which caused genre as Plato and Aristotle knew it to evolve and further expand.

Classical and Romance genre theory[link]

The earliest recorded systems of genre in Western history can be traced back to Plato and Aristotle. Gérard Genette explains his interpretation of the history of genre in "The Architext". He described Plato as the creator of three imitational, mimetic genres distinguished by mode of imitation rather than content. These three imitational genres include dramatic dialogue, the drama; pure narrative, the dithyramb; and a mixture of the two, the epic. Plato excluded lyric poetry as a non-mimetic, imitational mode. Genette further discussed how Aristotle revised Plato's system by first eliminating the pure narrative as a viable mode. He then uses two additional criteria to distinguish the system. The first of the criteria is the object to be imitated, whether superior or inferior. The second criterion is the medium of presentation: words, gestures, or verse. Essentially, the three categories of mode, object, and medium can be visualized along an XYZ axis. Excluding the criteria of medium, Aristotle's system distinguished four types of classical genres: tragedy, epic, comedy, and parody. Genette explained the integration of lyric poetry into the classical system by replacing the removed pure narrative mode. Lyric poetry, once considered non-mimetic, was deemed to imitate feelings, becoming the third "Architext," a term coined by Gennette, of a new long-enduring tripartite system: lyrical; epical, the mixed narrative; and dramatic, the dialogue. This new system that came to "dominate all the literary theory of German romanticism" (Genette 38) has seen numerous attempts at expansion and revision. Such attempts include Friedrich Schlegel's triad of subjective form, the lyric; objective form, the dramatic; and subjective-objective form, the epic. However, more ambitious efforts to expand the tripartite system resulted in new taxonomic systems of increasing complexity. Gennette reflected upon these various systems, comparing them to the original tripartite arrangement: "its structure is somewhat superior to most of those that have come after, fundamentally flawed as they are by their inclusive and hierarchical taxonomy, which each time immediately brings the whole game to a standstill and produces an impasse"

Rhetorical situation[link]

J. M. Barrie's works were notoriously hard to place in any single genre.

In 1968, Lloyd Bitzer claimed that discourse is determined by rhetorical situations in his article titled, "The Rhetorical Situation". A rhetorical situation refers to the fact that every situation has the potential for a rhetorical response. He looks to understand the nature behind the context that determines discourse. Bitzer states, "it is the situation which calls discourse into existence" (Bitzer 2). Thus, the situation controls what type of rhetorical response takes place. Each situation has an appropriate response in which the rhetor can either act upon or not act upon (Bitzer). He expresses the imperative nature of the situation in creating discourse, because discourse only comes into being as a response to a particular situation. Discourse varies depending upon the meaning-context that is created due to the situation, and because of this, it is "embedded in the situation" (Bitzer 4).

According to Bitzer, rhetorical situations come into existence, at which point, they can either mature and go away, or mature and continue to exist. Bitzer describes rhetorical situations as containing three components: exigence, audience, and constraints. Bitzer highlights six characteristics needed from a rhetorical situation that are detrimental to creating discourse. A situation calls a rhetor to create discourse, it invites a response to fit the situation, the response meets the necessary requirements of the situation, the exigence which creates the discourse is located in reality, rhetorical situations exhibit simple or complex structures, rhetorical situations after coming into creation either decline or persist. Bitzer's main argument is the concept that rhetoric is used to "effect valuable changes in reality" (Bitzer 14).

In 1984, Carolyn Miller examined genre in terms of rhetorical situations. She claimed that "situations are social constructs that are the result, not of 'perception,' but of 'definition'" (Miller 156). In other words, we essentially define our situations. Miller seems to build from Bitzer's argument regarding what makes something rhetorical, which is the ability of change to occur. Opposite of Bitzer's predestined and limited view of the creation of genres, Miller believes genres are created through social constructs. She agreed with Bitzer that past responses can indicate what is an appropriate response to the current situation, but Miller holds that, rhetorically, genre should be "centered not on the substance or the form of discourse but on the action it is used to accomplish" (Miller 151). Since her view focuses on action, it cannot ignore that humans depend on the "context of the situation" as well as "motives" that drive them to this action (Miller 152). Essentially, "we create recurrence," or similar responses, through our "construal" of types (Miller 157). Miller defines "types" as "recognition of relevant similarities" (Miller 156-7). Types come about only after we have attempted to interpret the situation by way of social context, which causes us to stick to "tradition" (Miller 152). Miller does not want to deem recurrence as a constraint, but rather she views it as insight into the "human condition" (Miller 156). The way to bring about a new "type" (Miller 157), is to allow for past routines to evolve into new routines, thereby maintaining a cycle that is always open for change. Either way, Miller's view is in accordance with the fact that as humans, we are creatures of habit that tightly hold on to a certain "stock of knowledge" (Miller 157). However, change is considered innovation, and by creating new "types" (Miller 157) we can still keep "tradition" (Miller 152) and innovation at the same time.

Ecology of genre[link]

In 2001, Anis Bawarshi's "Ecology of Genre" argues for the teaching of genre as an ecosystem. He compares genre to an ecosystem in order to demonstrate how writing recreates genres as well as genre recreates writing. The genre itself serves as an ecosystem, defining our interpretation and creation of genre. Bawarshi uses the idea of a doctor's office as an ecosystem in order to demonstrate his point more clearly. He does this by defining the Patient Medical History Form as a genre. We recognize this genre; thus, expectations are set. Judging the pre-imposed expectations, we react accordingly within this genre. This genre consists of microenvironments, each consisting of the doctor, patient, and nurse, which form the ecosystem as a whole. As a result, Bawarshi states we are rhetorical beings that act within these ecosystems. We are shaped by the rhetoric surrounding us and we act accordingly. We gather our impressions from rhetoric presented to us, which shapes our actions and perceptions. He also introduces exigence, motive, and intention. Motive operates on the conceptual level and exigence shapes our actions. (Bawarshi)

Reciprocity of genre[link]

People often recognize genre based on the characteristics that the situation offers. Amy Devitt states this when she says, "A genre is named because of its formal markers" (Devitt 10). However she also says, "the formal markers can be defined because a genre has been named" (Devitt 10). When we label something as a certain genre, we also flag these same characteristics as contributing to what we already believe the genre to be. These two quotes show how reciprocity functions within genre. Devitt displays the reciprocal nature of genre and situation according to the individual by using an example of a grocery store list. A question posed by this example is, is something a grocery list because it lists groceries or is it a grocery list because one person says it is a grocery list and we thus recognize all the items on the list as groceries? Though each possible answer to this raised question contradict one another, they are both correct. Similarly, individuals recognize the characteristics of the recurring rhetorical situations in the same way as they see them as affirmation of what they already know about the preexisting genre. The rhetorical attributes of the genre act as both objects which define and are defined by genre. In other words, genre and rhetorical situations are reciprocals of one another. Devitt focused on activity system of genre and that the participants situation, contexts and text are all mutually created "no one aspect fully determines the other." (Devitt)

Antecedent genres[link]

Written in 1975, Kathleen Hall Jamieson's "Antecedent Genre as Rhetorical Constraint" declares that discourse is determined by the Rhetorical Situation, as well as antecedent genres. Antecedent genres are genres of the past that are used as a basis to shape and form current rhetorical responses. When placed in an unprecedented situation, a rhetor can draw on antecedent genres of similar situations in order to guide their response. However, caution should be taken when drawing on antecedent genres because sometimes antecedent genres are capable of imposing powerful constraints (Jamieson 414). The intent of antecedent genres are to guide the rhetor toward a response consistent with situational demands, and if the situational demands are not the same as when the antecedent genre was created, the response to the situation might be inappropriate (Jamieson 414).

Through three examples of discourse, the papal encyclical, the early State of the Union Address, and congressional replies, she demonstrates how traces of antecedent genres can be found within each. These examples clarify how a rhetor will tend to draw from past experiences that are similar to the present situation in order to guide them how to act or respond when they are placed in an unprecedented situation. Jamieson explains, by use of these three examples, that choices of antecedent genre may not always be appropriate to the present situation. She discusses how antecedent genres place powerful constraints on the rhetor and may cause them to become "bound by the manacles of the antecedent genre" (Jamieson 414). These "manacles," she says, may range in level of difficultly to escape. Jamieson urges one to be careful when drawing on the past to respond to the present, because of the consequences that may follow ones choice of antecedent genre. She reiterates the intended outcome through her statement of "choice of an appropriate antecedent genre guides the rhetor toward a response consonant with situational demands" (Jamieson 414).

Social construct[link]

Bitzer's definition of exigence as "an imperfection marked by urgency... something waiting to be done" (Bitzer 6) ties in with Miller's idea of social action as the next step after an exigency is realized. Miller also points towards the theory that genres recur, based on Jamieson's observation that antecedent genres finding their way into new genres. More importantly, Miller takes on the bigger picture of a rhetorical situation in which all of these steps happen. "Situations are social constructs that are the result, not of 'perception,' but of definition" (Miller 156). From this, it is understood that social constructs define situations and, therefore, exigence is also socially situated.

Genre, also, understood in terms of social contexts provides greater meaning to each recurring situation; it essentially allows for differentiation, though past genres have a role in present and new genres. Through this differentiation, genre is allowed to continue evolving, just as social contexts continue to change with time. Bawarshi describes the way in which this happens as "communicants and their social environments are constantly in the process of reproducing one another" (Bawarshi 69). Rhetoric essentially works the same way, as seen in the example of writing Bawarshi provides, "writing is not a social act simply because it takes place in some social context; it is social because it is at work in shaping the very context within which it functions" (Bawarshi 70). Therefore, through social constructs, one can shape rhetorical works, and in turn, the works can shape the social context: "we create our contexts as we create our texts" (Bawarshi 70).

Genre as social action[link]

The concept of genre is not limited to classifications and lists. People interact within genres daily. Genre is determined based "on the action it is used to accomplish" by the individuals using that particular genre (Miller 152). The distance between the text or action of genre and its users does not have to be vast. People respond to exigencies provided by genre every day. Exigence is "a set of particular social patterns and expectations that provides a socially objectified motive for addressing" the recurring situation of a particular genre (Miller 158). Seeing genre as a social action provides the "keys to understanding how to participate in the actions of a community" (Miller 165). Carolyn Miller argues that, "a rhetorical sound definition of genre must be centered not on the substance or the form of discourse, but on the action it is used to accomplish" (Miller 151).

The idea that rhetorical situations define genre means that participants in genre make decisions based on commonalities and repeat those instances. Genre is not only about the form of but also the mere repetitiveness of similarities. The classroom setting exemplifies this. When students wish to speak, they raise their hands to signify that desire. Raising a hand is the correct response to speaking in turn in that particular social setting. A person at lunch with a group of friends would not raise their hand to speak because the social situation is different. Miller concludes that social actions are the response to "understanding how to participate in the actions of a community" (Miller 156).

Carolyn Miller builds on arguments made by other scholars while also contradicting Bitzer's argument by giving her readers five features to understand genre (Miller 163). She believes that if something is rhetorical, then there will be action. Not only will there be action, but this action will also be repeated. The repetition of action creates a regularized form of discourse. Miller would add that the result has more to do with the action accomplished by the situation. Miller recognizes that a person chooses to take a certain social action within a defined set of rules - rules set in place by that user. Lastly, a situation cannot dictate a response. Miller ends her article with the thought that genres are partly rhetorical education through her statement, "as a recurrent, significant action, a genre embodies an aspect of cultural rationality" (Miller 165). Here, Miller unknowingly encapsulates a future ideology about genre: that genres are created by culture. According to Mnotho Dlamini genre is basically a deep information in a particular context.

Tyranny of genre[link]

The phrase "tyranny of genre" comes from genre theorist Richard Coe, who wrote that "the 'tyranny of genre' is normally taken to signify how generic structures constrain individual creativity" (Coe 188). If genre functions as a taxonomic classification system, it could constrain individual creativity, since "the presence of many of the conventional features of a genre will allow a strong genre identification; the presence of fewer features, or the presence of features of other genres, will result in a weak or ambiguous genre identification" (Schauber 403). Under the classification-system concept of genre, placing a text into a genre is vital, since "every text is read according to a genre which governs its interpretation" (Schauber 401). The classification-system concept results in a polarization of responses to texts that do not fit neatly into a genre or exhibit features of multiple genres: "The status of genres as discursive institutions does create constraints that may make a text that combines or mixes genres appear to be a cultural monstrosity. Such a text may be attacked or even made a scapegoat by some as well as be defended by others" (LaCapra 220).

Under the more modern understanding of the concept of genre as "social action" à la Miller (Miller 152), a more situational approach to genre is enabled. This situational approach frees genre from the classification system, genre's "tyranny of genre". Relying on the importance of the rhetorical situation in the concept of genre results in an exponential expansion of genre study, which benefits literary analysis. One literature professor writes, "The use of the contemporary, revised genre idea [as social action] is a breath of fresh air, and it has opened important doors in language and literature pedagogy" (Bleich 130). Instead of a codified classification as the pragmatic application of genre, the new genre idea insists that "human agents not only have the creative capacities to reproduce past action, such as action embedded in genres, but also can respond to changes in their environment, and in turn change that environment, to produce under-determined and possibly unprecedented action, such as by modifying genres" (Killoran 72).

Stabilization, homogenization and fixity[link]

Never is there total stabilization in a recognized genre, nor are there instances that indicate a complete lack of homogenization. However, because of the relative similarities between the terms "stabilization" and "homogenization", the amount of stabilization or homogenization a certain genre maintains is based on opinion. Necessary discourse is, obviously, always needed and is thus considered perfectly stabilized. In rhetorical situation or antecedent genres, that which is unprecedented mostly leads to stable and predictable responses. Outside the natural setting of a given form of discourse, one may respond inappropriately due to an unrecognized alternate. The unrecognized alternate is created by the lack of homogenization or differing expectations in the presented rhetorical situation. (Jamieson)

Fixity is uncontrolled by a given situation and is deliberately utilized by the affected before the rhetorical situation occurs. Fixity almost always directly effects stabilization, and has little to no bearing on homogenization. The choice of discourse will provide a certain value of fixity, dependent on the specific choice. If a situation calls for more mediated responses, the fixity of the situation is more prevalent, and therefore is attributed with a stable demand of expectations. Stability nor fixity can be directly affected by the subject at hand. The only option is affecting homogenization which in turn, can positively or negatively affect stability. Directly choosing a fixed arena within genre inversely alters the homogenization of said chooser constituting as a new genre accompanied with modified genre subsets and a newly desired urgency. The same ideological theory can be applied to how one serves different purposes, creating either separate genres or modernized micro-genres. (Fairclough)

Culture[link]

Genre is embedded in culture, but may clash with it at times. There are occasions in which a cultural group may not be inclined to keep within the set structures of a genre. Anthony Pare’s studied Inuit social workers in "Genre and Identity: Individuals, Institutions and Ideology". In this study, Pare described the conflict between the genre of Inuit social workers’ record keeping forms and the cultural values that prohibited them from fully being able to fulfill the expectations of this genre. Amy Devitt further expands on the concept of culture in her 2004 essay, "A Theory of Genre" by adding “culture defines what situations and genres are likely or possible” (Devitt 24).

Genre not only coexists with culture, but also defines its very components. Genres abound in daily life and people often work within them unconsciously; people often take for granted their prominence and ever present residence in society. Devitt touches on Miller’s idea of situation, but expands on it and adds that the relationship with genre and situation is reciprocal. An individual may find him- or herself shaping the rhetorical situations, which in turn affects the rhetorical responses that arise out of the situation. Because the social workers worked closely with different families, they did not want to disclose many of the details that are standard in the genre of record keeping related to this field. Giving out such information would violate close cultural ties with the members of their community.

Popular culture[link]

This unreferenced section requires citations to ensure verifiability.

Outside of the academic field, genre regularly affects societal popular culture. The mass media uses genre to classify forms of art such as music, film, television, books, etc. Favoritism plays an important part of distinguishing one genre from another; fans of Horror look differently upon comedy than fans of romance do. Genre has also been used to shape differences in cultural aspects of these popular subjects. American comedies are distinctly different from French ones, as country music is noticeably unlike Irish folk music. Genres sort media efficiently, especially when following trends set by society. From walking in to the nearest movie rental store to searching for music via iTunes, genres are applicable in everyday life as organized classification systems. Even in places such as grocery stores or clothing stores, genres are utilized to form an ordered flow to determine the differences between smaller classes within one particular subject, pointing out the differences between fruit and dairy, and punk to mod. In modern culture, sub-genres often arise to prevent a feeling of homogenization and loss of identity. As the rate of global communication continues to increase, the creation of new pop-culture sub-genres per year does in near perfect tandem.

Audiences[link]

Although genres are not always precisely definable, genre considerations are one of the most important factors in determining what a person will see or read. The classification properties of genre can attract or repel potential users depending on the individual's understanding of a genre.

Genre creates an expectation in that expectation is met or not. Many genres have built-in audiences and corresponding publications that support them, such as magazines and websites. Inversely, audiences may call out for change in a antecedent genre and create an entirely new genre.

The term may be used in categorizing web pages, like "newspage" and "fanpage", with both very different layout, audience, and intention (Rosso, 2008). Some search engines like Vivísimo try to group found web pages into automated categories in an attempt to show various genres the search hits might fit.

Visual arts[link]

Genre Painting

The term "genre" is much used in the history and criticism of visual art, but in art history has meanings that overlap rather confusingly. Genre painting is a term for paintings where the main subject features human figures to whom no specific identity attaches - in other words, figures are not portraits, characters from a story, or allegorical personifications. These are distinguished from staffage: incidental figures in what is primarily a landscape or architectural painting. Genre painting may also be used as a wider term covering genre painting proper, and other specialized types of paintings such as still-life, landscapes, marine paintings and animal paintings.

The concept of the "hierarchy of genres" was a powerful one in artistic theory, especially between the 17th and 19th centuries. It was strongest in France, where it was associated with the Académie française which held a central role in academic art. The genres in hierarchical order are:

• History painting, including narrative religious mythological and allegorical subjects
• Portrait painting
• Genre painting or scenes of everyday life
• Landscape (landscapists were the "common footmen in the Army of Art" according to the Dutch theorist Samuel van Hoogstraten) and cityscape
• Animal painting
• Still life

Linguistics[link]

In philosophy of language, figuring very prominently in the works of philosopher and literary scholar Mikhail Bakhtin. Bakhtin's basic observations were of "speech genres" (the idea of heteroglossia), modes of speaking or writing that people learn to mimic, weave together, and manipulate (such as "formal letter" and "grocery list", or "university lecture" and "personal anecdote"). In this sense genres are socially specified: recognized and defined (often informally) by a particular culture or community. The work of Georg Lukács also touches on the nature of literary genres, appearing separately but around the same time (1920s–1930s) as Bakhtin. Norman Fairclough has a similar concept of genre that emphasizes the social context of the text: Genres are "different ways of (inter)acting discoursally" (Fairclough, 2003: 26).

However, this is just one way of conceiving genre. Charaudeau & Maingueneau determine four different analytic conceptualizations of genre.
A text's genre may be determined by its:

1. Linguistic function.
2. Formal traits.
3. Textual organization.
4. Relation of communicative situation to formal and organizational traits of the text (Charaudeau & Maingueneau, 2002:278-280).

Literature[link]

In literature, genre has been known as an intangible taxonomy. This taxonomy implies a concept of containment or that an idea will be stable forever.The earliest recorded systems of genre in Western history can be traced back to Plato and Aristotle. Gérard Genette, a French literary theorist and author of The Architext, describes Plato as creating three imitational genres: dramatic dialogue, pure narrative and epic (a mixture of dialogue and narrative). Lyric poetry, the fourth and final type of Greek literature, was excluded by Plato as a non-mimetic mode. Aristotle later revised Plato's system by eliminating the pure narrative as a viable mode and distinguishing by two additional criteria: the object to be imitated, as objects could be either superior or inferior, and the medium of presentation such as words, gestures or verse. Essentially, the three categories of mode, object, and medium can be visualized along an XYZ axis. Excluding the criteria of medium, Aristotle's system distinguished four types of classical genres: tragedy (superior-dramatic dialogue), epic (superior-mixed narrative), comedy (inferior-dramatic dialogue), and parody (inferior-mixed narrative). Genette continues by explaining the later integration of lyric poetry into the classical system during the romantic period, replacing the now removed pure narrative mode. Lyric poetry, once considered non-mimetic, was deemed to imitate feelings, becoming the third leg of a new tripartite system: lyrical, epical, and dramatic dialogue. This system, which came to "dominate all the literary theory of German romanticism (and therefore well beyond)…" (38), has seen numerous attempts at expansion or revision. However, more ambitious efforts to expand the tripartite system resulted in new taxonomic systems of increasing scope and complexity. Genette reflects upon these various systems, comparing them to the original tripartite arrangement: "its structure is somewhat superior to…those that have come after, fundamentally flawed as they are by their inclusive and hierarchical taxonomy, which each time immediately brings the whole game to a standstill and produces an impasse" (74). Taxonomy allows for a structured classification system of genre, as opposed to a more contemporary rhetorical model of genre.

References[link]

• Bawarshi, Anis. "The Ecology of Genre." Ecocomposition: Theoretical and Pedagogical Approaches. Eds. Christian R. Weisser and Sydney I. Dobrin. Albany: SUNY Press, 2001. 69-80.
• Bitzer, Lloyd F. "The Rhetorical Situation." Philosophy and Rhetoric 1:1 (1968): 1-14.
• Bleich, David. "The of Language and the Pedagogy of Exchange." Pedagogy 1.1 (2001): 117-141.
• Charaudeau, P.; Maingueneau, D. & Adam, J. Dictionnaire d'analyse du discours Seuil, 2002.
• Coe, Richard. "'An Arousing and Fulfillment of Desires': The Rhetoric of Genre in the Process Era - and Beyond." Genre and the New Rhetoric. Ed. Aviva Freedman and Peter Medway. London: Taylor & Francis, 1994. 181-190.
• Devitt, Amy J. "A Theory of Genre." Writing Genres. Carbondale: Southern Illinois University Press, 2004. 1-32.
• Fairclough, Norman. Analysing Discourse: Textual Analysis for Social Research Routledge, 2003.
• Genette, Gérard. The Architext: An Introduction. 1979. Berkeley: University of California Press, 1992.
• Jamieson, Kathleen M. "Antecedent Genre as Rhetorical Constraint." Quarterly Journal of Speech 61 (1975): 406‐415.
• Killoran, John B. "The Gnome In The Front Yard and Other Public Figurations: Genres of Self-Presentation on Personal Home Pages." Biography 26.1 (2003): 66-83.
• Коробова А.Г. Теория жанров в музыкальной науке: история и современность. Москва: Московская гос. консерватория, 2007
• LaCapra, Dominick. "History and Genre: Comment." New Literary History 17.2 (1986): 219-221.
• Miller, Carolyn. "Genre as Social Action." Quarterly Journal of Speech. 70 (1984): 151-67.
• Rosso, Mark. "User-based Identification of Web Genres." Journal of the American Society for Information Science and Technology 59 (2008): 1053-1072.
• Schauber, Ellen, and Ellen Spolsky. "Stalking a Generative Poetics." New Literary History 12.3 (1981): 397-413.

Further reading[link]

• Pare, Anthony. "Genre and Identity." The Rhetoric and Ideology of Genre: Strategies for Stability and Change. Eds. Richard M. Coe, Lorelei Lingard, and Tatiana Teslenko. Creskill, N.J. Hampton Press, 2002.
• Sullivan, Ceri (2007) 'Disposable elements? Indications of genre in early modern titles', Modern Language Review 102.3, pp. 641–53
• Swirski, Peter (2005). From Lowbrow to Nobrow. Montreal, London: McGill-Queen's University Press.

External links[link]

Look up genre in Wiktionary, the free dictionary.

• Development of the Genre Concept
• Genres of film at the Internet Movie Database
• Helping Children Understand Literary Genres
• Rhetorica Genre
• Museum of Broadcast Communications
• Dictionary.com

Caroline Fourest (born September 19, 1975 in Aix-en-Provence) is a French feminist writer, journalist, columnist (every Saturday in Le Monde and every Friday on France culture), editor of the magazine "ProChoix" (antiracist and secularist), and author of Frère Tariq (Brother Tariq), a critical look at the works of the Muslim intellectual Tariq Ramadan.

A graduate in sociology and political science, as a journalist she has written many books on such topics as the conservative right, the pro-life movement (France and USA), and on current fundamentalist trends in Abrahamic religions (Jewish, Christian, and Muslim). She served as President of the Gay and Lesbian Center ("Centre Gay et Lesbien"), beginning in 1999.^[1]

In March 2006, she signed MANIFESTO: Together facing the new totalitarianism, a manifesto against Islamist Totalitarianism that gained wide publicity. The other 11 signatories include Salman Rushdie, Ibn Warraq, Maryam Namazie, Taslima Nasreen, and Ayaan Hirsi Ali.

She has received several political awards for her work, including the National award of "Laïcité" in 2005, and the "Award of the political book" in 2006.^[2]

She is member of the advisory board of the Anna Lindh foundation, for dialogue between cultures.

Caroline Fourest has also faced some criticism, most notably from Didier Lestrade^[3] and best-selling author in France Pascal Boniface^[4] who accuse her of constantly pointing the finger at the muslim population.

Books[link]

• Fourest, Caroline (2000). Faith against choice : the religious right and the prolife movement. Paris: Golias. 
• Fourest, Caroline (2003). Crossefire : jewish, christian and muslim fanaticism against secularism. Paris: Calmann-Lévy. 
• Fourest, Caroline (2008). Brother Tariq: The Doublespeak of Tariq Ramadan. New York: Encounter Books. p. 262 pages. ISBN 978-1-59403-215-8. 
• Fourest, Caroline (2009). The last utopia : threats again universalism. Paris: Grasset. 
• Fourest, Caroline; Taslima Nasrin (2010). Libres de le dire : Free to say it. Paris: Flammarion Lettres. p. 320 pages. ISBN 978-2-08-123300-3. 

References[link]

1. ^ McCaffrey, Enda (2005), The gay republic: sexuality, citizenship and subversion in France, Ashgate Publishing, Ltd., p. 207, ISBN 0-7546-4502-9 
2. ^ Scott, Joan Wallach (2007), The politics of the veil, Princeton University Press, p. 175, ISBN 0-691-12543-0 
3. ^ Les minarets ou la Dernière Utopie
4. ^ Pascal Boniface, Les Intellectuels Faussaires, Jean-Claude Gawsewitch editeur, Paris, 2011. (ISBN : 978-2-35013-277-8)

External links[link]

• Caroline Fourest's blog (in French)
• The blog of her review, ProChoix, in english
• Brother Tariq on Amazon
• Columns on Alliance of Civilizations's web site
• The two faces of Tariq Ramadan (by Caroline Fourest)

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Angelina Jolie
Jolie at the Cannes premiere of The Tree of Life in 2011
Born	Angelina Jolie Voight (1975-06-04) June 4, 1975 (age 37) Los Angeles, California, U.S.
Citizenship	United States, Cambodia, Sarajevo (honorary)
Occupation	Actress, director, writer, producer, humanitarian
Years active	1982; 1991–present
Spouse	Jonny Lee Miller (1996–1999) Billy Bob Thornton (2000–2003)
Partner	Brad Pitt (2005–present)
Children	6
Parents	Jon Voight Marcheline Bertrand
Relatives	James Haven (brother) Chip Taylor (uncle)

Angelina Jolie ( /dʒoʊˈliː/ joh-LEE, born Angelina Jolie Voight; June 4, 1975) is an American actress and director. She has received an Academy Award, two Screen Actors Guild Awards, and three Golden Globe Awards, and was named Hollywood's highest-paid actress by Forbes in 2009 and 2011.^[1][2] Jolie promotes humanitarian causes, and is noted for her work with refugees as a Special Envoy and former Goodwill Ambassador for the United Nations High Commissioner for Refugees (UNHCR). She has been cited as the world's "most beautiful" woman, a title for which she has received substantial media attention.^[3][4][5][6]

Jolie made her screen debut as a child alongside her father Jon Voight in Lookin' to Get Out (1982), but her film career began in earnest a decade later with the low-budget production Cyborg 2 (1993). Her first leading role in a major film was in the cyber-thriller Hackers (1995). She starred in the critically acclaimed biographical television films George Wallace (1997) and Gia (1998), and won an Academy Award for Best Supporting Actress for her performance in the drama Girl, Interrupted (1999).

Jolie achieved wide fame after her portrayal of video game heroine Lara Croft in Lara Croft: Tomb Raider (2001), and established herself among the highest-paid actresses in Hollywood with the sequel The Cradle of Life (2003).^[7] She reinforced her reputation as a leading action star with Mr. & Mrs. Smith (2005) and Wanted (2008)—her biggest non-animated commercial successes to date^[8]—and received further critical acclaim for her performances in the dramas A Mighty Heart (2007) and Changeling (2008), which earned her a nomination for an Academy Award for Best Actress. Jolie made her directorial debut with the wartime drama In the Land of Blood and Honey (2011).

Divorced from actors Jonny Lee Miller and Billy Bob Thornton, Jolie now lives with actor Brad Pitt, in a relationship notable for fervent media attention. Jolie and Pitt have three adopted children, Maddox, Pax, and Zahara, and three biological children, Shiloh, Knox, and Vivienne.

Early life and family[link]

Born in Los Angeles, California, Jolie is the daughter of actors Jon Voight and Marcheline Bertrand. She is the sister of actor James Haven, niece of singer-songwriter Chip Taylor, and goddaughter of actors Jacqueline Bisset and Maximilian Schell. On her father's side, Jolie is of German and Slovak descent,^[9][10] and on her mother's side, she is of primarily French Canadian, Dutch, and German ancestry.^[9] Like her mother, Jolie has stated that she is part Iroquois;^[11] her only known Native ancestor was a Huron woman born in 1649.^[9]

Jon Voight at the Academy Awards in 1988; Jolie can be seen behind his right shoulder

After her parents' separation in 1976, Jolie and her brother lived with their mother, who abandoned her acting ambitions to focus on raising her children.^[12] As a child, Jolie regularly saw movies with her mother and later explained that this had inspired her interest in acting; she had not been influenced by her father.^[13] When she was six years old, her mother and stepfather, filmmaker Bill Day, moved the family to Palisades, New York;^[14] they returned to Los Angeles five years later. She then decided she wanted to act and enrolled at the Lee Strasberg Theatre Institute, where she trained for two years and appeared in several stage productions.

At the age of 14, Jolie dropped out of her acting classes and aspired to become a funeral director.^[15] She began working as a fashion model, modeling mainly in Los Angeles, New York, and London. During this period, she wore black clothing, experimented with knife play, and went out moshing with her live-in boyfriend.^[13] Two years later, after the relationship had ended, she rented an apartment above a garage a few blocks from her mother's home.^[12] She graduated from high school and returned to theater studies, though in recent times she has referred to this period with the observation, "I am still at heart—and always will be—just a punk kid with tattoos."^[16]

Jolie suffered episodes of suicidal depression throughout her teens and early twenties.^[15] She felt isolated at Beverly Hills High School among the children of some of the area's affluent families, as her mother survived on a more modest income, and she was teased by other students, who targeted her for being extremely thin and for wearing glasses and braces.^[13] She found it difficult to emotionally connect with other people, and as a result she started to self-harm;^[17] later commenting, "I collected knives and always had certain things around. For some reason, the ritual of having cut myself and feeling the pain, maybe feeling alive, feeling some kind of release, it was somehow therapeutic to me."^[18] She also began experimenting with drugs; by the age of 20, she had tried "just about every drug possible," including heroin.^[19]

Jolie has had a difficult relationship with her father. Due to Voight's marital infidelity and the resulting breakup of her parents' marriage, she was estranged from her father for many years.^[20] They reconciled and he appeared with her in Lara Croft: Tomb Raider (2001), but their relationship again deteriorated.^[12] In July 2002, Jolie—who had long used her middle name as a stage name to establish her own identity as an actress—filed a request to legally drop Voight as her surname, which was granted on September 12, 2002.^[21] In August of that year, Voight claimed his daughter had "serious mental problems" on Access Hollywood.^[20] In response, Jolie released a statement in which she indicated that she no longer wished to pursue a relationship with her father.^[20] She explained that because she had adopted her son Maddox, she did not think it was healthy for her to associate with Voight.^[22] In the wake of her beloved mother's death from ovarian cancer on January 27, 2007,^[23] Jolie again reconciled with her father after a six-year estrangement.^[24]

Career[link]

Early work: 1982; 1991–1997[link]

When she was seven years old, Jolie had a small part in Lookin' to Get Out (1982), a movie co-written by and starring her father, Jon Voight. She committed to acting at the age of 16, but initially found it difficult to pass auditions, often being told that she was "too dark."^[15] She appeared in five of her brother's student films, made while he attended the USC School of Cinema-Television, as well as in several music videos, namely Lenny Kravitz's "Stand by My Woman" (1991), Antonello Venditti's "Alta Marea" (1991), The Lemonheads's "It's About Time" (1993), and Meat Loaf's "Rock and Roll Dreams Come Through" (1993). She began to learn from her father, as she noticed his method of observing people to become like them. Their relationship during this time was less strained, with Jolie realizing that they were both "drama queens."^[13]

Jolie began her professional film career in 1993, when she played her first leading role in the low-budget, straight-to-video science-fiction sequel Cyborg 2, as Casella "Cash" Reese, a near-human robot, designed to seduce her way into a rival manufacturer's headquarters and then self-detonate. Jolie was so disappointed with the film that she did not audition again for a year.^[15] Following a supporting role in the independent film Without Evidence (1995), Jolie starred as Kate "Acid Burn" Libby in her first Hollywood picture, Hackers (1995). The New York Times wrote, "Kate (Angelina Jolie) stands out. That's because she scowls even more sourly than [her co-stars] and is that rare female hacker who sits intently at her keyboard in a see-through top. Despite her sullen posturing, which is all this role requires, Ms. Jolie has the sweetly cherubic looks of her father, Jon Voight."^[25] The movie failed to make a profit at the box office, but developed a cult following after its video release.^[26]

She next appeared in the 1996 comedy Love Is All There Is, a modern-day loose adaptation of Romeo and Juliet set among two rival Italian family restaurant owners in The Bronx, New York. In the road movie Mojave Moon (1996) she played a young woman who falls for Danny Aiello's middle-aged character, while he develops feelings for her mother, played by Anne Archer. That same year, Jolie also portrayed Margret "Legs" Sadovsky, one of five teenage girls who form an unlikely bond in the film Foxfire after they beat up a teacher who has sexually harassed them. The Los Angeles Times wrote about her performance, "It took a lot of hogwash to develop this character, but Jolie, Jon Voight's knockout daughter, has the presence to overcome the stereotype. Though the story is narrated by Maddy, Legs is the subject and the catalyst."^[27]

In 1997, Jolie starred with David Duchovny in the thriller Playing God, set in the Los Angeles underworld. The movie was not well-received by critics; Roger Ebert noted that "Angelina Jolie finds a certain warmth in a kind of role that is usually hard and aggressive; she seems too nice to be [a criminal's] girlfriend, and maybe she is."^[28] She then appeared in the television film True Women (1997), a historical romantic drama set in the American West and based on the book by Janice Woods Windle. That year, she also appeared as a stripper in the music video for "Anybody Seen My Baby?" by the Rolling Stones.

Breakthrough: 1998–2000[link]

Jolie's career prospects began to improve after she won a Golden Globe Award for her performance in TNT's George Wallace (1997). She portrayed Cornelia Wallace, the second wife of Alabama Governor George Wallace, played by Gary Sinise. The film was very well received by critics and won, among other awards, the Golden Globe Award for Best Miniseries or Television Film. Jolie also received an Emmy Award nomination for her performance.

In 1998, Jolie starred in HBO's Gia, portraying supermodel Gia Carangi. The film chronicled the destruction of Carangi's life and career as a result of her addiction to heroin, and her decline and death from AIDS in the mid-1980s. Vanessa Vance from Reel.com noted, "Angelina Jolie gained wide recognition for her role as the titular Gia, and it's easy to see why. Jolie is fierce in her portrayal—filling the part with nerve, charm, and desperation—and her role in this film is quite possibly the most beautiful train wreck ever filmed."^[29] For the second consecutive year, Jolie won a Golden Globe Award and was nominated for an Emmy Award. She also won her first Screen Actors Guild Award.

In accordance with Lee Strasberg's method acting, Jolie preferred to stay in character in between scenes during many of her early films, and as a result had gained a reputation for being difficult to deal with. While shooting Gia, she told her then-husband Jonny Lee Miller that she would not be able to phone him: "I'd tell him: 'I'm alone; I'm dying; I'm gay; I'm not going to see you for weeks.'"^[30] After Gia wrapped in 1997, Jolie announced that she had given up acting for good, because she felt that she had "nothing else to give."^[31] She separated from Miller and moved to New York, where she enrolled at New York University to study filmmaking and attend writing classes; she later described it as "just good for me to collect myself."^[31] Encouraged by her Golden Globe Award win for George Wallace and the positive critical reception of Gia, she resumed her career.^[15]

Jolie returned to film in the 1998 gangster movie Hell's Kitchen. Later that year, she appeared in Playing by Heart, part of an ensemble cast that included Sean Connery, Gillian Anderson, Ryan Phillippe, and Jon Stewart. The film received predominantly positive reviews, and Jolie was praised in particular. The San Francisco Chronicle wrote, "Jolie, working through an overwritten part, is a sensation as the desperate club crawler learning truths about what she's willing to gamble."^[32] Jolie won the Breakthrough Performance Award from the National Board of Review of Motion Pictures.

In 1999, she starred in the comedy-drama Pushing Tin, alongside John Cusack, Billy Bob Thornton, and Cate Blanchett. The film received a mixed reception from critics, and Jolie's character—Thornton's seductive wife—was particularly criticized. The Washington Post wrote, "Mary (Angelina Jolie) [is] a completely ludicrous writer's creation of a free-spirited woman who weeps over hibiscus plants that die, wears lots of turquoise rings and gets real lonely when Russell spends entire nights away from home."^[33] She then co-starred with Denzel Washington in The Bone Collector (1999), an adaptation of a crime novel by Jeffery Deaver. Jolie played a police officer haunted by her cop father's suicide, who reluctantly helps Washington track down a serial killer. The movie grossed $151 million worldwide,^[8] but was a critical failure. The Detroit Free Press concluded, "Jolie, while always delicious to look at, is simply and woefully miscast."^[34]

Jolie next took the supporting role of the sociopathic mental patient Lisa Rowe in Girl, Interrupted (1999), an adaptation of author Susanna Kaysen's memoir of the same name. While Winona Ryder played the main character in what was hoped to be a comeback for her, the film instead marked Jolie's final breakthrough in Hollywood.^[36] She won her third Golden Globe Award, her second Screen Actors Guild Award, and an Academy Award for Best Supporting Actress. Variety noted, "Jolie is excellent as the flamboyant, irresponsible girl who turns out to be far more instrumental than the doctors in Susanna's rehabilitation."^[37]

In 2000, Jolie appeared in her first summer blockbuster, Gone In 60 Seconds, in which she played Sarah "Sway" Wayland, the ex-girlfriend of car thief Nicolas Cage. The role was small, and The Washington Post criticized that "all she does in this movie is stand around, cooling down, modeling those fleshy, pulsating muscle-tubes that nest so provocatively around her teeth."^[38] She later explained that the film had been a welcome relief after the emotionally heavy role of Lisa Rowe. It became her highest grossing movie up until then, earning $237 million internationally.^[8]

International success: 2001–present[link]

Although highly regarded for her acting abilities, Jolie's films to date had often not appealed to a wide audience, but Lara Croft: Tomb Raider (2001) made her an international superstar. An adaptation of the popular Tomb Raider videogame, Jolie was required to learn an English accent and undergo extensive martial arts training to play the title role of Lara Croft. She was generally praised for her physical performance, but the movie generated mostly negative reviews. Slant commented, "Angelina Jolie was born to play Lara Croft but [director] Simon West makes her journey into a game of Frogger."^[39] The movie was an international success nonetheless, earning $275 million worldwide,^[8] and launched her global reputation as a female action star.

Jolie then starred opposite Antonio Banderas as his mail-order bride in Original Sin (2001), a thriller based on the novel Waltz into Darkness by Cornell Woolrich. The film was a major critical failure, with The New York Times noting, "The story plunges more precipitously than Ms. Jolie's neckline."^[40] In 2002, she starred in Life or Something Like It as an ambitious television reporter who is told that she will die in a week. The film was poorly received by critics, though Jolie's performance received positive reviews. CNN's Paul Clinton wrote, "Jolie is excellent in her role. Despite some of the ludicrous plot points in the middle of the film, this Academy Award-winning actress is exceedingly believable in her journey towards self-discovery and the true meaning of fulfilling life."^[41]

Jolie at the Cologne premiere of Alexander in 2004

Jolie reprised her role as Lara Croft in Lara Croft Tomb Raider: The Cradle of Life (2003), which established her among Hollywood's highest-paid actresses.^[7] The sequel was not as lucrative as the original, earning $156 million at the international box office.^[8] She appeared in the music video for Korn's "Did My Time", which was used to promote the film. She next starred in Beyond Borders (2003), as a socialite who joins aid workers in Africa and Asia. The film reflected Jolie's real-life interest in promoting humanitarian relief, but it was critically and financially unsuccessful. The Los Angeles Times wrote, "Jolie, as she did in her Oscar-winning role in Girl, Interrupted, can bring electricity and believability to roles that have a reality she can understand. She can also, witness the Lara Croft films, do acknowledged cartoons. But the limbo of a hybrid character, a badly written cardboard person in a fly-infested, blood-and-guts world, completely defeats her."^[42]

In 2004, Jolie starred alongside Ethan Hawke in the thriller Taking Lives. She portrayed an FBI profiler summoned to help Montreal law enforcement hunt down a serial killer. The movie received mixed reviews and The Hollywood Reporter concluded, "Angelina Jolie plays a role that definitely feels like something she has already done, but she does add an unmistakable dash of excitement and glamour."^[43] She also provided the voice of the angelfish Lola in the DreamWorks animated movie Shark Tale (2004), and had a brief appearance in Sky Captain and the World of Tomorrow (2004), a science fiction adventure film shot entirely with actors in front of a bluescreen. That same year, Jolie played Olympias in Alexander, about the life of Alexander the Great. The film failed domestically, which director Oliver Stone attributed to disapproval of the depiction of Alexander's bisexuality,^[44] but it succeeded internationally, with revenue of $139 million outside the United States.^[8]

Jolie then starred opposite Brad Pitt in the 2005 action-comedy Mr. & Mrs. Smith, which tells the story of a bored married couple, John and Jane Smith, who find out that they are both secret assassins. The film received mixed reviews, but was generally lauded for the chemistry between the two leads. The Star Tribune noted, "While the story feels haphazard, the movie gets by on gregarious charm, galloping energy and the stars' thermonuclear screen chemistry."^[45] The movie earned $478 million worldwide, making it the seventh-highest grossing film of 2005.^[46]

Jolie as Christine Collins on the set of Changeling in 2007

Jolie next appeared in Robert De Niro's The Good Shepherd (2006), a film about the early history of the CIA, as seen through the eyes of Edward Wilson, an officer based on James Jesus Angleton and played by Matt Damon. Jolie played the supporting role of Margaret "Clover" Russell, Wilson's neglected wife. According to the Chicago Tribune, "Jolie ages convincingly throughout, and is blithely unconcerned with how her brittle character is coming off in terms of audience sympathy."^[47]

In 2007, Jolie made her directorial debut with the documentary A Place in Time, which captures daily life in 27 locations around the world during a single week. The film was screened at the Tribeca Film Festival and was intended for distribution to high schools through the National Education Association.^[48] Jolie then starred as Mariane Pearl in the documentary-style drama A Mighty Heart (2007). Based on Pearl's memoir of the same name, the film chronicles the kidnapping and murder of her husband, The Wall Street Journal reporter Daniel Pearl, in Pakistan. The Hollywood Reporter described Jolie's performance as "well-measured and moving," played "with respect and a firm grasp on a difficult accent."^[49] Jolie was nominated for a Golden Globe Award and a Screen Actors Guild Award for her performance. She also played Grendel's mother in the animated epic Beowulf (2007), which was created through the motion capture technique.

Jolie co-starred alongside James McAvoy and Morgan Freeman in the 2008 action movie Wanted, an adaptation of Mark Millar's graphic novel of the same name. The film received predominately favorable reviews and proved an international success, earning $342 million worldwide.^[8] She also provided the voice of Master Tigress in the DreamWorks animated movie Kung Fu Panda (2008). With revenue of $632 million internationally, it became the third-highest grossing film of 2008.^[50] That same year, Jolie took on the lead role in Clint Eastwood's drama Changeling.^[51] Based in part on the Wineville Chicken Coop Murders, the film stars Jolie as Christine Collins, who is reunited with her kidnapped son in 1928 Los Angeles—only to realize the boy is an impostor. The Chicago Tribune noted, "Jolie really shines in the calm before the storm, the scenes [...] when one patronizing male authority figure after another belittles her at their peril."^[52] Jolie received nominations for an Academy Award, a Golden Globe Award, a Screen Actors Guild Award, and a BAFTA Award.

Jolie on the Salt panel at the San Diego Comic-Con in 2010

Jolie next starred in the 2010 thriller Salt, her first film in two years. She starred alongside Liev Schreiber as CIA agent Evelyn Salt, who goes on the run after she is accused of being a KGB sleeper agent. Originally written as male, the character Salt underwent a gender change after a Colombia Pictures executive suggested Jolie for the role to director Phillip Noyce. The film was an international success with revenue of $294 million.^[8] It received mixed to positive reviews, with Jolie's performance earning praise; Empire remarked, "When it comes to selling incredible, crazy, death-defying antics, Jolie has few peers in the action business."^[53] She also starred opposite Johnny Depp in The Tourist (2010), which was a major critical failure. Peter Travers wrote, "Depp and Jolie hit career lows, producing the chemistry of high-fashion zombies."^[54] After a slow start at the domestic box office, the film went on to gross $278 million worldwide.^[8] Jolie received a controversial Golden Globe Award nomination, which was speculated to have been given merely to ensure her high-profile presence at the awards ceremony.^[55][56]

In 2011, Jolie reprised her voice role as Master Tigress in the animated DreamWorks sequel Kung Fu Panda 2. It became the fourth-highest grossing film of 2011 and Jolie's highest grossing film to date, earning $666 million at the international box office.^[8][57] She also made her directorial feature debut with In the Land of Blood and Honey (2011), a love story between a Serb soldier and a Bosniak prisoner of war, set during the 1992–95 Bosnian War. Jolie, who had twice visited Bosnia-Herzegovina in her capacity as a UNHCR Goodwill Ambassador, explained that she made the film to rekindle attention for the survivors of a war that took place in recent history.^[58] The film, which Jolie also scripted and co-produced, aroused both praise and criticism in the Balkans; the response from Bosniak war-victims advocacy organizations was "overwhelmingly positive,"^[59] while a Serb war prisoners group decried the film for its alleged anti-Serb bias.^[60] Sarajevo's regional government named Jolie an honorary citizen of the capital for raising awareness of the war.^[61] In the Land of Blood and Honey won the Stanley Kramer Award from the Producers Guild of America, which honors films that highlight provocative social issues.^[62] It also received a nomination for a Golden Globe Award for Best Foreign Language Film.

Jolie will play the Disney villain Maleficent in the upcoming film of the same name, where the character's background story will be revealed.^[63]

Humanitarian work[link]

Jolie stated that she first became personally aware of worldwide humanitarian crises while filming Lara Croft: Tomb Raider (2001) in Cambodia.^[65] She contacted the United Nations High Commissioner for Refugees (UNHCR) for information on international trouble spots.^[64] To learn more about the conditions in these areas, Jolie began visiting refugee camps around the world. In February 2001, she went on her first field visit, an 18-day mission to Sierra Leone and Tanzania; she later expressed her shock at what she had witnessed.^[64] In the following months, she returned to Cambodia for two weeks and met with Afghan refugees in Pakistan.^[66][67] She covered all costs related to her missions and shared the same rudimentary working and living conditions as UNHCR field staff on all of her visits.^[64] Jolie was named a UNHCR Goodwill Ambassador at UNHCR headquarters in Geneva on August 27, 2001.^[68]

Since then, Jolie has been on field missions around the world and met with refugees and internally displaced persons in more than 30 countries.^[69] Asked what she hoped to accomplish, she stated, "Awareness of the plight of these people. I think they should be commended for what they have survived, not looked down upon."^[66] Jolie aims to visit what she terms "forgotten emergencies," crises that media attention has shifted away from.^[70] She is noted for not shying away from traveling to areas that are at war:^[71] she visited the Darfur region of Sudan during the Darfur conflict in 2004;^[72] Chad during its civil war in 2007;^[73] Iraq during the Second Gulf War in 2007 and 2009;^[74][75] Afghanistan during the ongoing war in 2008 and 2011;^[76] and Libya during the Libyan revolution in 2011.^[77]

After more than a decade of service as Goodwill Ambassador, Jolie was promoted to the rank of Special Envoy of High Commissioner António Guterres on April 17, 2012. As Special Envoy, she represents the UNHCR and High Commissioner António Guterres at the diplomatic level and works to facilitate long-term solutions for people displaced by large-scale crises, such as Afghanistan and Somalia. "This is an exceptional position reflecting an exceptional role she has played for us," said a UNHCR spokesman.^[78]

Secretary of State Condoleezza Rice and Jolie at World Refugee Day in 2005

In addition to her work with the UNHCR, Jolie uses her public profile to promote humanitarian causes through the mass media. Her early field visits were chronicled in her book Notes from My Travels, which was published in conjunction with the release of her film Beyond Borders (2003). She filmed a 2005 MTV special, The Diary of Angelina Jolie & Dr. Jeffrey Sachs in Africa, portraying her and noted economist Dr. Jeffrey Sachs on a trip to a remote group of villages in Western Kenya. Jolie has also regularly released public service announcements promoting World Refugee Day and other causes.

Over time, Jolie became more involved in promoting humanitarian causes on a political level. She has regularly attended World Refugee Day in Washington, D.C., and she was an invited speaker at the World Economic Forum in Davos in 2005 and 2006. She also began lobbying humanitarian interests in the U.S. capital, where she met with members of Congress at least 20 times between 2003 and 2006, during which she pushed for several bills to aid refugees and vulnerable children in the Third World and the United States.^[68] She explained in 2006, "As much as I would love to never have to visit Washington, that's the way to move the ball."^[68] In 2007, she became a member of the Council on Foreign Relations.^[79]

Jolie has established several charitable organizations. In 2003, she founded the Maddox Jolie-Pitt Foundation—named the Maddox Jolie Project until 2007—which is dedicated to community development and environmental conservation in Cambodia's northwestern province Battambang.^[80] In 2006, she partnered with the Global Health Committee to establish the Maddox Chivan Children's Center, a daycare facility for children afflicted and affected by HIV in the Cambodian capital Phnom Penh.^[81] That same year, she and her partner Brad Pitt founded the Jolie-Pitt Foundation, to aid humanitarian causes worldwide.^[82] In 2007, Jolie and noted economist Dr. Gene Sperling founded the Education Partnership for Children of Conflict, which funds education programs for children affected by man-made or natural disasters.^[83] In 2008, she collaborated with the Microsoft Corporation to establish Kids in Need of Defense, a pro bono movement of law firms, corporate law departments, NGOs and volunteers committed to providing legal counsel to unaccompanied immigrant children in the U.S.^[84] In 2010, she established the Jolie Legal Fellows Programme, which recruits lawyers to support governmental child protection efforts in Haiti.^[85]

Jolie has received wide recognition for her humanitarian work. In 2002, she received the inaugural Humanitarian Award by the Church World Service's Immigration and Refugee Program.^[86] In 2003, she was the first recipient of the Citizen of the World Award by the United Nations Correspondents Association. In 2005, she was awarded the Global Humanitarian Award by the UNA-USA.^[87] On July 31, 2005, King Norodom Sihamoni awarded Jolie Cambodian citizenship for her conservation work in the country.^[88] In 2007, Jolie received the Freedom Award by the International Rescue Committee.^[89] In 2011, United Nations High Commissioner for Refugees António Guterres presented Jolie with a gold pin reserved for the most long-serving staff, in recognition of her decade as a UNHCR Goodwill Ambassador.^[90]

Personal life[link]

Relationships[link]

Jolie had a serious boyfriend for two years from the age of 14. Her mother allowed them to live together in her home, of which Jolie later said, "I was either going to be reckless on the streets with my boyfriend or he was going to be with me in my bedroom with my mom in the next room. She made the choice, and because of it, I continued to go to school every morning and explored my first relationship in a safe way."^[91] She has compared the relationship to a marriage in its emotional intensity, and said that the breakup compelled her to dedicate herself to her acting career at the age of 16.^[92]

During filming of Hackers (1995), Jolie had a romance with British actor Jonny Lee Miller, her first lover since the relationship in her early teens.^[15] They were not in touch for many months after production ended, but eventually reconnected and married soon after on March 28, 1996. She attended her wedding in black rubber pants and a white T-shirt, upon which she had written the groom's name in her blood.^[93] Jolie and Miller separated in September 1997 and divorced on February 3, 1999. They remained on good terms, and Jolie later explained, "It comes down to timing. I think he's the greatest husband a girl could ask for. I'll always love him, we were simply too young."^[94]

Jolie and her partner Brad Pitt at the Deauville premiere of The Assassination of Jesse James in 2007

Jolie had a brief relationship with model-actress Jenny Shimizu on the set of Foxfire (1996). She later said, "I would probably have married Jenny if I hadn't married my husband. I fell in love with her the first second I saw her."^[95] Shimizu claimed in 2005 that her relationship with Jolie had lasted many years and continued even while Jolie was romantically involved with other people.^[96] In 2003, asked if she was bisexual, Jolie responded, "Of course. If I fell in love with a woman tomorrow, would I feel that it's okay to want to kiss and touch her? If I fell in love with her? Absolutely! Yes!"^[97]

After a two-month courtship, Jolie married actor Billy Bob Thornton on May 5, 2000, in Las Vegas. They met on the set of Pushing Tin (1999), but did not pursue a relationship at that time as Thornton was engaged to actress Laura Dern.^[98] As a result of their frequent public declarations of passion and gestures of love—most famously wearing one another's blood in vials around their necks—their marriage became a favorite topic of the entertainment media.^[99] Jolie and Thornton announced the adoption of a son from Cambodia in March 2002, but abruptly separated three months later. Their divorce was finalized on May 27, 2003. Asked about the sudden dissolution of their marriage, Jolie stated, "It took me by surprise, too, because overnight, we totally changed. I think one day we had just nothing in common. And it's scary but... I think it can happen when you get involved and you don't know yourself yet."^[100]

In early 2005, Jolie was involved in a well-publicized Hollywood scandal when she was accused of being the reason for the divorce of actors Brad Pitt and Jennifer Aniston. She and Pitt were alleged to have started an affair during filming of Mr. & Mrs. Smith (2005). She denied this on several occasions, but later admitted that they "fell in love" on the set.^[101] She explained in 2005, "To be intimate with a married man, when my own father cheated on my mother, is not something I could forgive. I could not look at myself in the morning if I did that. I wouldn't be attracted to a man who would cheat on his wife."^[97] Jolie and Pitt did not publicly comment on the nature of their relationship until January 2006, when Jolie confirmed to People that she was pregnant with Pitt's child.^[102] Pitt and Jolie announced their engagement in April 2012, after seven years together.^[103] The couple—dubbed "Brangelina" by the entertainment media—are the subject of worldwide media coverage.

Children[link]

On March 10, 2002, Jolie adopted her first child, seven-month-old Maddox Chivan, from an orphanage in Phnom Penh, Cambodia.^[104] He was born as Rath Vibol on August 5, 2001, in a local village.^[105] Jolie applied for adoption after she had visited Cambodia twice, while filming Lara Croft: Tomb Raider (2001) and on a UNHCR field mission. The adoption process was halted in December 2001 when the U.S. government banned adoptions from Cambodia amid allegations of child trafficking.^[106] Once the adoption was finalized, she took custody of Maddox in Namibia, where she was filming Beyond Borders (2003).^[106] Although Jolie and her then-husband Billy Bob Thornton announced the adoption together, she in fact adopted Maddox as a single parent.^[107][108]

Jolie adopted a daughter, six-month-old Zahara Marley, from an orphanage in Addis Ababa, Ethiopia, on July 6, 2005. Zahara was born as Yemsrach on January 8, 2005, in Awasa.^[109] At the time of the adoption, Zahara was wrongly believed to be an AIDS orphan and it was unknown whether she herself had contracted HIV, but she later tested negative.^[110] Shortly after they returned to the United States, Zahara was hospitalized for dehydration and malnutrition.^[110] In November 2007, media outlets reported that Zahara's biological mother wanted her daughter back, but she denied these reports, saying she thought Zahara was "very fortunate" to have been adopted by Jolie.^[109]

A pregnant Jolie with director Clint Eastwood at the Cannes premiere of Changeling in 2008

Jolie was accompanied by her partner Brad Pitt when she traveled to Ethiopia to take custody of Zahara.^[111] She later indicated that she and Pitt had made the decision to adopt from Ethiopia together.^[112] In December 2005, Pitt's publicist announced that Pitt was seeking to adopt Maddox and Zahara.^[113] To reflect this, Jolie filed a request to legally change her children's surnames from Jolie to Jolie-Pitt, which was granted on January 19, 2006.^[114] The adoptions were finalized soon after.^[115]

In an attempt to avoid the media frenzy surrounding their relationship, Jolie and Pitt went to Namibia for the birth of their first biological child. On May 27, 2006, Jolie gave birth to a daughter, Shiloh Nouvel, in Swakopmund. Pitt confirmed that their newborn daughter would have a Namibian passport.^[116] The couple decided to sell the first pictures of Shiloh through the distributor Getty Images themselves, rather than allowing paparazzi to make these valuable photographs. People paid a reported $4.1 million for the North American rights, while Hello! obtained the British rights for a reported $3.5 million.^[117] All profits were donated to charities serving African children.^[117]

On March 15, 2007, Jolie adopted a son, three-year-old Pax Thien, from an orphanage in Ho Chi Minh City, Vietnam.^[118] He was born as Pham Quang Sang on November 29, 2003, in HCMC, where he was abandoned soon after birth.^[119] Jolie adopted Pax as a single parent, because Vietnam's adoption regulations do not allow unmarried couples to co-adopt.^[118] The rights for the first post-adoption images of Pax were sold to People for a reported $2 million, as well as to Hello! for an undisclosed amount.^[120] In April, Jolie filed a request to legally change her son's surname from Jolie to Jolie-Pitt, which was approved on May 31, 2007.^[121] Pitt's adoption of Pax was finalized in the United States on February 21, 2008.^[122]

At the Cannes Film Festival in May 2008, Jolie confirmed that she was expecting twins. For the two weeks she spent in a seaside hospital in Nice, France, reporters and photographers camped outside on the promenade.^[123] She gave birth to a son, Knox Léon, and a daughter, Vivienne Marcheline, on July 12, 2008.^[124] The rights for the first images of Knox and Vivienne were jointly sold to People and Hello! for a reported $14 million—the most expensive celebrity pictures ever taken. The proceeds were donated to the Jolie-Pitt Foundation.^[124]

In the media[link]

Jolie at the New York premiere of A Mighty Heart in 2007; several of her tattoos are visible

During the first decade of her career, Jolie—who does not employ a publicist or an agent^[125]—maintained a "wild child" persona in her communication with the media. She openly discussed her love life, including her bisexuality and her interest in BDSM.^[17] After she kissed her brother during the Academy Awards in 2000, their close relationship became the subject of tabloid media speculation, which she dismissed.^[126] She spoke about her experiences with drugs and depression, and recalled the time, in 1997, when she almost hired a hitman to kill her, as well as the three days, just before her marriage to Billy Bob Thornton, that she was sectioned at UCLA's psychiatric ward.^[15] By the mid-2000s, Jolie's involvement with the UNHCR and the adoption of her son Maddox had transformed her public image from Hollywood eccentric into humanitarian and devoted mother.^[105][125]

Jolie has attracted notable media attention for her physical appearance—particularly her full lips and her many tattoos, being her most distinctive features. She has been named the world's "most beautiful" or "sexiest" woman by various media outlets, including Vogue in 2002,^[3] Esquire in 2004,^[127] American FHM and British Harper's Bazaar in 2005,^[4][128] People and Hello! in 2006,^[5][129] Empire in 2007,^[130] and Vanity Fair in 2009.^[6] Jolie's extensive collection of tattoos has often been addressed by interviewers. She has fourteen known tattoos, among which the Latin proverb "quod me nutrit me destruit" (what nourishes me destroys me), the Tennessee Williams quote "A prayer for the wild at heart, kept in cages," two sak yant designs featuring a prayer of protection and a twelve-inch-by-eight-inch tiger, and six sets of geographical coordinates indicating the origins of her children.^[131] Over time, she has covered or lasered several of her tattoos, including the name of her second husband, "Billy Bob", and the Chinese characters "死" (death) and "勇" (courage).^[131]

Today, Jolie is one of the best-known celebrities around the world. According to the Q Score, in 2000, subsequent to her Oscar win, 31% of respondents in the United States said Jolie was familiar to them; by 2006 she was familiar to 81% of Americans.^[68] In a 2006 global industry survey by ACNielsen in 42 international markets, Jolie, together with her partner Brad Pitt, was found to be the favorite celebrity endorser for brands and products worldwide.^[132] She was the face of St. John and Shiseido from 2006 to 2008, and in 2011 had an endorsement deal with Louis Vuitton reportedly worth $10 million—a record for a single advertising campaign.^[133] She was among the Time 100, a list of the most influential people in the world as assembled by Time, in 2006 and 2008.^[134][135] Forbes named her Hollywood's highest-paid actress in 2009 and 2011, with estimated annual earnings of $27 million and $30 million respectively,^[1][2] and she topped the magazine's Celebrity 100, a ranking of the world's most powerful celebrities, in 2009.^[136] People named her one of 2012 Most Beautiful at Every Age.^[137]

Filmography[link]

Bibliography[link]

• Notes from My Travels. Pocket Books. 2003. ISBN 0-7434-7023-0.
• "Justice for Darfur". The Washington Post. February 28, 2007.
• "A Year for Accountability". The Economist. November 15, 2007.
• "The 2009 TIME 100: Somaly Mam". Time. April 30, 2009.
• "The Case Against Omar al-Bashir". Time. June 5, 2009.
• "Justice Delayed Is Not Justice Denied". Newsweek. December 10, 2009

References[link]