- published: 10 Sep 2015
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The Gibson Girl was the personification of the feminine ideal of beauty portrayed by the satirical pen-and-ink illustrations of illustrator Charles Dana Gibson during a 20-year period that spanned the late nineteenth and early twentieth century in the United States.
Some people argue that the Gibson Girl was the first national beauty standard for American women. Gibson's fictional images of her published in newspapers and magazines during the Belle Époque were extremely popular. Merchandise bearing her image included saucers, ashtrays, tablecloths, pillow covers, chair covers, souvenir spoons, screens, fans, umbrella stands. The artist saw his creation as representing the composite of "thousands of American girls."[citation needed]
The Gibson Girl was tall and slender, yet with ample bosom, hips and bottom. She had an exaggerated S-curve torso shape achieved by wearing a swan-bill corset. Images of her epitomized the late 19th- and early 20th-century Western preoccupation with youthful features and ephemeral beauty. Her neck was thin and her hair piled high upon her head in the contemporary bouffant, pompadour, and chignon ("waterfall of curls") fashions. The statuesque, narrow-waisted ideal feminine figure was portrayed as being at ease and stylish. She was a member of upper class society, always perfectly dressed in the latest fashionable attire appropriate for the place and time of day. Gibson depicted her as an equal and sometimes teasing companion to men.
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Actors: Emma Thompson (actress), Paul Trijbits (producer), Rachel Griffiths (actress), John H. Tobin (actor), Christine Langan (producer), Maria Olsen (actress), Bradley Whitford (actor), Kathy Baker (actress), Jason Schwartzman (actor), Andy McPhee (actor), Colin Farrell (actor), Paul Giamatti (actor), Tom Hanks (actor), Lori A. Balton (miscellaneous crew), Thomas Newman (composer),
Plot: When Walt Disney's daughters begged him to make a movie of their favorite book, P.L. Travers' "Mary Poppins," he made them a promise - one that he didn't realize would take 20 years to keep. In his quest to obtain the rights, Walt comes up against a curmudgeonly, uncompromising writer who has absolutely no intention of letting her beloved magical nanny get mauled by the Hollywood machine. But, as the books stop selling and money grows short, Travers reluctantly agrees to go to Los Angeles to hear Disney's plans for the adaptation. For those two short weeks in 1961, Walt Disney pulls out all the stops. Armed with imaginative storyboards and chirpy songs from the talented Sherman brothers, Walt launches an all-out onslaught on P.L. Travers, but the prickly author doesn't budge. He soon begins to watch helplessly as Travers becomes increasingly immovable and the rights begin to move further away from his grasp. It is only when he reaches into his own childhood that Walt discovers the truth about the ghosts that haunt her, and together they set Mary Poppins free to ultimately make one of the most endearing films in cinematic history.
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