The glamour of everyday: Hollywood designers and the endorsement of ‘ordinary’ products in the studio system

Costume design is a pivotal visual element in a cinematic narrative. It serves as a visual language that communicates character traits, thematic concerns, and cultural nuances to the audience. Thus, costume represents the artistic and visual interpretation of a film. As one of the most noticeable elements on screen, it offers the audience a direct connection to the characters role in a film. To this end, this paper critically examines the costume designs of Yolanda Okereke in Blood Sisters in order to uncover the creative and technical techniques that she used to shape the visual identities of the characters and the themes in the film. This paper adopts a qualitative research method, supported by descriptive and analytical tools. Primary data are drawn from interview with the highlighted costume designer in order to reveal her creative and conceptual techniques in costume design of the aforementioned film. In addition, secondary data are derived from scholarly journals, articles, books and online resources. The theoretical lens of Affective Materialism by Giuliana Burno is also employed to foreground the paper. This findings reveal that, the costume designer of Blood Sisters creatively designed the costumes to reflect the characterisation and cultural heritage of characters to the audience. The costume designer uses her creative inventiveness to manipulate the elements and principles of design to add depth and meaning to the characterisation of the film. It is also discovers that the costume designer used costumes to convey social status and power dynamics among the characters to the audience. This study therefore concludes that the costume designer does not only enhance visual storytelling but also contributes significantly to character development, cultural authenticity and audience engagement in the film. This paper then recommends that costume designers should keep in mind the elements and principles of costume designs in their design concepts in line with global best practices. Also, that, Nollywood film industry, and tertiary institutions where costume designs are taught should organise trainings and workshops for students, costume designers among others, so that they can be properly trained in the art of costume design.

Costume is an essential element of the overall design of a film. Working within the director’s vision for the film, costume designers try to replicate clothing by investigating the dress and fashion of the time, or historical period, and essentially dress actors to look (or more fully become) their characters. A costume can be tailor made, purchased, or rented. In the earliest days of cinema, actors wore their own clothing, but this would change with the advent of feature-length narrative films. The costume designer soon became an important part of the production design team. During the studio era in Hollywood, the costume designer helped to establish a symbiotic relationship with the fashion world, and helped to galvanize cinema’s influence on fashion trends and interest around the world. Costume design research can be challenging. During the silent era, there were no screen credits. In the United States, by the 1950s, the studios disposed of many of the records related to costume design. Preservation of film and related documents was not much better elsewhere in the world. Beginning in the 1970s, several interesting histories of Hollywood helped to define the work of the costume designer and the importance of costume to the film. Much less has been written on costume design in the international film world. In the last several decades, scholarly discussion of costume and fashion in relation to film has emerged from multiple disciplines, including the study of costume, fashion and dress, gender and feminist theories, cultural studies, and the longer history of the study of clothing and material culture.

The Archives Center of the National Museum of American History collects, preserves, and provides access to archival documents that support the museum's mission, exhibitions, research, and collecting programs. The Archives Center holds more than 1,350 collections that document the history of technology, innovation, business, consumer culture, American music, and popular culture as well as many other topics. In addition, it supports the Smithsonian's digital initiatives by digitizing collections and making them available online, which in many ways is a challenge. This article outlines the Archives Center's involvement with the Smithsonian Transcription Center, the creation and evaluation of a pilot project, and the construction of an effective digital workflow.

F. Gaynor Evans—A short biography

This costume design project aims to present an imaginative visual interpretation of the Seven Seas characters from The Little Mermaid, while highlighting the potential of fantasy narratives as a source of inspiration in costume design development. The primary inspiration is drawn from the book The Little Mermaid: Guide to Merfolk, which details the unique characteristics of each character and the seas they originate from. Carnival costumes were chosen as the medium of expression due to their fusion of aesthetic, cultural, and imaginative elements. The main issue addressed in this study is how to interpret the Seven Seas characters into costume designs that can effectively represent both the visual identity and narrative value of each character through the adaptation of diverse elements such as color, texture, and silhouette. The creative method refers to the concept by S.P. Gustami, which comprises three stages: (1) exploration, involving literature review and character analysis; (2) design development, which includes ideation and sketch creation; and (3) realization, presented in the form of visual costume design renderings. The outcome of this design process consists of seven carnival costume designs that visually and narratively represent the Seven Seas characters. This work is expected to contribute to the development of fantasy-based costume design and serve as a reference for future conceptual fashion design projects.

Thomas Schatz The Genius of System: Hollywood Filmmaking in Studio Era University of Minnesota Press, 2010; $24.95 This attractive paperback edition of Thomas Schatz's study of classical Hollywood studio era, originally published in 1989, assures that this essential piece of film scholarship remains readily available for academics as well as film fans seeking to better understand contributions of Hollywood to cinema from 1920s through 1950s. Schatz, a professor of communications at University of Texas, challenges auteur theory of film authorship, which celebrates film director as an artist whose personal often negated dehumanizing and profit-driven studio factory system. Instead, Schatz argues that greater attention and credit should be awarded to producers and executives who drafted unique studio styles, and, accordingly, that any individual's was no more than an inflection of an established studio style (6). Asserting that a history of entire studio would be unwieldy, Schatz focuses his book upon four representative examples: Warner Brothers, Metro-GoIdwyn-Mayer(MGM), Universal, and independent producer David 0. Selznick-whose Selznick International Pictures constituted a personal studio while introducing concept of independent producer and eventually undermining studio system. MGM and Warner Brothers were integrated major studios whose ownership of theater chains allowed them to dominate market, while independents such as Selznick relied heavily upon majors for performers, technicians, production facilities, and distribution. Universal, on other hand, was a major-minor, lacking in capital and resources, which forced studio to emphasize lower grade and more systematic production. Schatz incorporates these four companies into a narrative that examines studio chronologically from its inception in 1920s to breakdown of that in post World War Il period. Schatz credits IrvingThaIbergwith pioneering producer-dominated mode of operation that came to characterize studio system. Thalberg, often referred to as boy wonder, was appointed general manager in charge of production at Universal Studio when he was only twenty-one years of age. A salary dispute in 1923 led young film executive to depart Universal for MGM, where Thalberg assumed charge of production and suffered through a somewhat strained working relationship with Louis B. Mayer. Schatz maintains that Thalberg, in occupying a critical position between capitalization and production, carved out role of production chief, which became the single most important role in Hollywood studio system (47). The sound revolution, pioneered by Warner Brothers in 1927, was expensive and creased need for a well-supervised process in which shooting script assumed an essential function. In addition, Schatz insists that in response to economic challenge of Great Depression, studio executives created holy trinity of studio system, emphasizing interplay among budget, star, and genre. Thus, studio house systems were developed in which Universal featured horror film, while Warner Brothers, under production chief Darryl F. Zanuck, concentrated upon social realism and gangster picture. MGM, however, continued to focus upon such major productions as Grand Hotel (1932) in which grace, glamour, and beauty often took precedence over substance. The 1930s also witnessed formation of Selznick International Pictures (SIP) following producer's career at Paramount, RKO, and MGM. With an emphasis on prestige pictures and detailed supervision, SIP captured Best Picture Oscars for Gone With Wind (1939) and Rebecca (1940). The latter production was result of an independent arrangement, which Selznick negotiated to bring Alfred Hitchcock to Hollywood and foreshadowed disintegration of studio system. …

Costume design is one of the most valuable visual elements of film making considering its significance to the overall film outlook, authenticity, cultural reflection and documentation. However, one aspect that has often been criticised in Nollywood films is the historical accuracy of the costumes in them. This alteration from a strict historical continuum diminishes verisimilitude in film due to costumes misrepresentation. This paper therefore, addressed this gap by examining the historical authenticity of the costume designs in Elesin Oba by Biyi Bamidele in order to determine the extent to which the costume designer realistically reflected the clothing styles and cultural norms of Nigerian’s colonial era and old Oyo Empire in the film. The theoretical frameworks that foreground this paper are New Historicism by Stephen Greenblatt and Symbolic interactionism by John Dewey. This paper employed qualitative research method through analytical, descriptive and interview tools to gather the primary data in order to discover the creative techniques used by the costumier in the selected film; while the secondary data was sourced from relevant journals, articles, books and other internet materials in order to ensure a robust submission on the discourse. The Findings revealed that intensive research on the historical background of Elesin Oba by the costumier added depth to the historical narratives, character portrayal and enriched audience engagement. While, the key elements that contributed to historical authenticity of the costume designs in the film include: period-specific styles, appropriate colour, and meticulous attention to period fabric and accessories. However, the paper also observed that there are few costume accessories that the costumier improvised with instead of the real material in her costume designs. The paper concluded that, the challenges of costume misrepresentation in the production of historical films in Nigeria stemmed from the lack of proper research into the historical period of films by costume designers. The paper therefore recommend that, budding costume designers should research into the historical events and use them as a guide for their creative designs in order to avoid costume misrepresentation in their costume designs.

Participating students were randomly assigned to one of three conditions (single product endorsement, multiple product endorsement, and multiple celebrity endorsement). This study was designed to measure the effects of respective types of celebrity endorsement. This initial attempt to compare the effects of celebrity endorsement could be conducive in understanding current phenomenon of celebrity endorsement campaigns. This study found that multiple product endorsements increased higher level of attitude toward ad, attitude toward brand, and purchase intention than a single celebrity (product) endorsement while a single celebrity (product) endorsement increased higher level of attitude toward ad, attitude toward brand, and purchase intention than multiple celebrity endorsements. However, the finding of this study had a conflicting result.

Similar to many creative (and other) industries, the film and television industries have for long been permeated by male norms, and by the male worker as the norm. In this context, women workers have always been considered "oddities" – unless they have acted in front of the camera. To a large extent, women have been (and still are) image (Fischer, 1976; Mulvey, 1975). Women's work behind the camera have been counteracted, not least through efforts to exclude them from positions characterized as "creative" or "above-the-line" such as director, producer, and script writer. Further, women have been met with pervading difficulties in allocating finances for their projects and with circumscribed possibilities to have their work screened in the cinema. And although (a few) women are key through their function as "image," films with a woman protagonist are usually provided with a lesser budget than films with a male lead, and women actors get distinctly less paid than their male counterparts (SFI, 2018, https://www.forbes.com/sites/natalierobehmed/2017/08/22/full-list-the-worlds-highest-paid-actors-and-actresses-2017/?sh=2e1c961f3751). Let us give an example of the former: in the Swedish film industry, recently hailed worldwide of being one of the most gender equal screening industries, feature films made between 2013 and 2016 differed in terms of budget depending on the whether the protagonist in a film was male or female. Films with a male lead had on average a 33% higher budget than films with a woman lead. In that same period, women feature film directors had on average a budget ranging between 66% and 86% of the budget of films with a man as director (SFI, 2018). The report published in 2018, by the Swedish Film Institute, concluded that: "[films with women in] key functions generally have overall lower budgets than men" (SFI, 2018, p. 17). Following the international impact that the #Metoo-movement has had and still has, and the recent demands for a 50/50 dispersion between men and women on above-the-line positions in the film industry, gender issues have advanced to the forefront in discussions dealing with the working situation in the film and screen industries. These discussions have appeared in various national contexts in print and social media, as well as in academic work (see, e.g., Jansson et al., 2020; Liddy, 2020; Marghitu, 2018; Meziani & Cabantous, 2020; O'Brien, 2019). It has become obvious that gender inequality pervades all screen industries, large and small, and that women screen workers in different national screen contexts share similar experiences. As film and television production is becoming more and more globalized, with single productions often being the outcome a variety of regional and national industries, finances and competences, working and gendered experiences of being in the industry are also becoming increasingly globalized. Still, there are regional and local differences in how women screen workers experience their work and career situation and these need to be addressed. There are also various aspects of screen work that remain to be tended to academically. Hence, this special section offers a sample of national and local studies that all investigate how gender and equality work is done in four different contexts. It is our hope that this small sample may inspire not only more studies of national contexts, but also inspire to future cross-national studies. Before discussing how various academic fields have engaged with the screening industries in terms of work experience and representation, we wish to point out that film and television, as two available media formats reaching large and heterogeneous audiences, constitute two of the most central expressions of our time, and that both contribute to reflect and mold our understanding of society, of others – and of ourselves (de Lauretis, 1987; Dyer, 1993). Questions about who is allowed to make film and TV and what messages and images are presented and conveyed are thus politically important and imperative. The long-standing male dominance in the industry, together with the realization that images do matter, has sparked an interest in studying gender in the screen industries. The gender conditions in the film industry have attracted scholarly attention across the variety of disciplines in the social sciences and the humanities, and this special section is a vivid example of this cross-disciplinary scholarship. Three specific, but interrelated fields stand out when it comes to the study of gendered work and inequalities in these industries: production studies, management and life work studies, and studies of women's presence and conditions in screen work. In management studies and work life research, the early 2000s saw an increased interest in focusing and exploring the working conditions in the screening industries, alongside the growing interest for working experiences in what often referred to as the creative industries (see, e.g., Blair, 2001; Delmestri et al., 2005; Ebbers & Wijnberg, 2009; French, 2020; Jones & Pringle, 2015; Meziani & Cabantous, 2020; Soila-Wadman, 2003; Sörensen & Villadsen, 2014). This strand has also included a certain focus on how film can be used as a tool for instruction on how to exert leadership (see, e.g., Bell & Sinclair, 2016). Parallel to this development is the emergence of production studies, emanating from film and television studies. This field explores film and media as cultural practices of media production, and it does so from a variety of perspectives and with various methods. Of particular pertinence here is the sub-field of feminist production studies. This field engages in studying how "routines and rituals […], the economic and political forces […] shape roles, technologies, and the distribution of resources according to cultural and demographic differences" (Mayer et al., 2009, p. 4) in order to understand how "power operates locally through media production to reproduce social hierarchies and inequalities at the level of daily interaction" (Mayer, 2009, p. 15). One of the field's most important contributions here is the critique of the "auteurist" view that films are the "voice" of one single artist, most often the director. Instead, they argue that films are the result of collective work. Departing from this insight, production studies scholars have noted the importance of studying the work that is carried out in the margins, to question the differentiation between "creative" and "craft" professions in film making, and to pay attention to the work done "below-the-line" by workers in the film industry who are seldom credited, but without whose work films would not be produced (see, e.g., Banks, 2009, 2018; Banks et al., 2016; Mayer, 2009, 2011; Mayer et al., 2009). Alongside these two areas of research, there is a third, and more recent, strand that is dedicated to studying women's presence, analyzing policy measures targeting gender (in)equality along with studying impediments to gender equality in the film industry and women's conditions in a male dominated screening industry. This strand of research comes out of feminist media studies as a rather broad field, encompassing both the humanities and the social sciences. While research in both management studies and productions studies constitute important foundations for any research conducted on gender and screen work, for this special section, it is this third strand that is of most relevance, taken that it embraces and explores both local and the global aspects of women's conditions in the male dominated screening industries. Let us therefore shortly present this strand a bit more – and the issues it has raised – in order to give a contextualization of this special section and its four articles. Studies of women's presence in the film industry have mapped the number of women behind the camera, sometimes also including an intersectional analysis and identified gendered budget-gaps and other impediments to gender equality (Cobb, 2020; Lauzen, 2019; Liddy, 2020; Smith et al., 2013). Much of this research is conducted in the United States, discussing the conditions in a film industry that is exclusively driven by private, and most often commercial, stakeholders. In other commercially focused film centers such as Bollywood in India and Nollywood in Nigeria, women behind the screen are reported to be few and the representation of women on screen stereotypical (Mukherjee, 2018; Prakash, 2020; Ukata, 2020). In other contexts, such as Europe, Australia, New Zealand, and Canada, where there is public support for film production, gender equality is often proclaimed to be a goal. For instance, the Council of Europe (2017) declared its dedication to gender equality in film production in the so-called Sarajevo-declaration, and according to a mapping carried out by the European Audiovisual Observatory in 2019, 15 EU countries have introduced gender equality measures (EAO, 2019, p. 16). In a recent anthology collecting evidence from a number of countries, media scholar Susan Liddy concludes that while demands for gender equality has been voiced by women in all contexts, public funding institutions range from those being "gender blind… to those who theoretically commit to equality but prevaricate on the best measures to implement change to others who have introduced formal gender policies and intervention strategies" (Liddy, 2020, p. 2). Scholars have pointed to several problems with gender equality policies and reforms in the film sector: they are often vague and without a plan for implementation (Thorsen, 2020), they only reach those who are involved in projects actually funded by public means (Cobb & Williams, 2020), and they lack intersectional intention and reach (Cobb & Williams, 2020; Thorsen, 2020). Further, when reforms are implemented, problems arise because making films include a range of different stakeholders and parties, which are out of reach of government policies (Jansson, 2016), and because the film industry is entrenched with institutionalized norms and values that is difficult to change and which tend to reduce the effects of policies (Jansson, 2017; Jansson & Wallenberg, 2020). Scholars investigating women's conditions in the film industry have for a long time indicated that the way the industry is organized both formally and informally benefits white men. The sexual division of labor in the organization is manifested in women being found on positions such as script supervisors, costume designers, and make-up artists, as well as in various below-the-line positions. Many below-the-line professions are dominated by men, and the female dominated positions such as the ones mentioned above, tend to have lower status (Banks, 2009). Scholars have also noted differences in status among above-the-line professions. For instance, while male directors and scriptwriters are considered to be able to "carry" a movie, women directors and scriptwriters are not considered to do so (Bielby & Bielby, 1996, Eikhof and Cole in this issue). The trope of the male genius has been discussed as a hindrance to gender equality in several studies (see, e.g., Lantz, 2007; Marghitu, 2018; Regev, 2016; Schatz, 1988; and by Jansson et al. in this special section). Studies have also looked into how other features of the way the film industry is organized affects gender and concluded that the outcome of networking differs substantially to the favor of men (Grugulis & Stoyanova, 2012). Moreover, mothering duties limits women's possibilities in an industry where long days and extremely intense periods of work away from home are considered to be the normal procedure (Liddy, 2017; Liddy & O'Brien, 2021; O'Brien, 2015, 2019; Wing-Fai et al., 2015; Wreyford, 2013). Considering all these past (and recent) studies, there is no doubt that the screening industries – as production sites and as workplaces – are of definite interest to scholars within different disciplines. This special section aims at addressing some of the issues that recent scholarship has touched upon and tried to tackle, and it does so from four different national and cultural contexts. At the center of all four articles included in the section is the analysis of women's conditions in the screening industries, including their experiences of working and trying to get by – and of how these industries continue to foster the notion of women film workers as "oddities" in an industry that continues to uphold the idea of the genius as male. Let us now turn to the four articles included in this special section. In our first article, "The price of motherhood in the Irish film and television industries," media scholars Susan Liddy and Anne O'Brien discuss the continuous problems that surround motherhood and screen work, finding in their material evidence that there is a systemic bias against mothers, not only as women, but also as women and mothers, and that mothers have internalized the marginalization that comes from their maternal status. They have also found that many mothers adapted ways that would help them to sustain their working lives, but they were rarely supported in those adaptations by the screen production industry. In "'Almost a European, but not quite': Experiences of Female Employees in the Lithuanian Film Industry from the Postcolonial Point of View," authors Lina Kaminskaite and Jelena Salaj discuss how the women filmmakers experience their conditions in a film industry that is still marked by the transformation of Lithuania from being part of the Soviet union to becoming a country which is a member of the EU. They argue that the Lithuanian film industry is characterized by being in a postcolonial state. While the opening up of Lithuania has meant new possibilities for women film workers, it has also presented difficulties and the negotiation of new identities and new mode of film production. Doris Ruth Eikhof and Amanda Cole focus on how women are considered a risk in film production and how this leads to precarious conditions for women in the industry. In their article named, "On the basis of risk: Screen directors and gender inequality," they use the intersectional risk theory to understand how gender inequality is related to risk management practices in the screen industry. Studying two specific gender equality initiatives in the Canadian film industry, they show how risk management is gendered, and they argue that risk plays an important part in decision making in the industry. By understanding how risk is gendered, they argue, it is possible to change the processes that decides how risk is understood. The last article included in this special section departs from the much-debated aspect of film production, namely the final saying over a film's final format. In "The Final Cut," authors Maria Jansson, Frantzeska Papadopoulou, Ingrid Stigsdotter, and Louise Wallenberg discuss how the relationship between film director and producer serve to reproduce gendered relations that position the male creator and producer as norm – even in contexts where both director and producer are women. Departing from a series of interviews made with mostly women working in these two professions, the authors show how these two above-the-line professions are still governed by the malestream and that they tend to be constructed in relation to masculinity. Clearly, even in a country like Sweden, often hailed for its equality work, the gender equality measures that are undertaken are not sufficient to come to grips with gender inequalities and the male norm. Taken together the four articles shed light on different aspects of the film industry. The evidence provided from the different countries indicate that there are many similarities in the challenges that women in the film industry face. However, there are also differences depending on context. The article about Lithuania shows the importance of situating the film industry in a historical and political context. O'Brian and Liddy show in their article, the importance of understanding the specific context of how child care and the welfare state play out in order to capture women's conditions in film and television work. Eikhof and Cole's article demonstrates the necessity of applying an intersectional approach in order to also see differences in conditions between women, even if they work in the same industry and the same country. The article on Sweden, finally, looks deeper into how specific gender equality policies targeting the film industry plays out, and what problems remain, after having been implemented for almost 20 years. We believe that this special section is one step toward a deeper understanding of how gender shapes the working conditions in the film industry, and hope that it will inspire further research that takes a wider, more inclusive and possibly also more comparative grip on women screen worker's experiences and work conditions. This work was supported by the Riksbankens Jubileumsfond under Grant no. P17-0079:1. No conflict of interest has been declared by the authors. The authors confirm that the data supporting the findings of this study are available within the article and/or its supplementary materials.

ABSTRACT: Edith Head, possibly Hollywood's most iconic costume designer, won a record eight Oscar statuettes for Best Costume Design. Despite her popularity, Head has also sparked controversy; many detractors question her talent as a designer by arguing that her success rested merely on her self-promotional efforts rather than her work inside the wardrobe department. This article explores Head's career vis-à-vis the discourses surrounding her public persona to understand how she constructed her image as Hollywood's most famous costume designer, surviving for over five decades in an industry fraught with constant economic and political turmoil. In doing so, this article will shed light on the activities assigned to her as head of costume during and after the studio era.

A performance of Tibetan music and dance by the nuns of Khachoe Ghakyil Ling nunnery at the American Museum of Natural History invites a comparison between this event and a theatrical production about Tibet by the French theatre company Theatre du Soleil. Although the political plight of the Tibetan people shapes the daily lives of the nuns, it is not overtly addressed in their performance, which sets the viewer up as a removed observer of Tibetan culture. The Theatre du Soleil's production, by contrast, foregrounds the political issues and involves the audience on every level in a cultural exchange that is, nonetheless, fictional. The comparison addresses questions of cultural authenticity, the ability of performance to bring the spectator to political engagement, and the relative contributions of cultural performance on the one hand and theatre on the other.

Dioramas are devices on the frontier of different disciplines: art, anthropology, and the natural sciences, to name a few. Their use developed during the nineteenth century, following reforms aimed at reinforcing the educational dimension of museums. While dioramas with human figures are now the subject of healthy criticism and are gradually being dismantled, a thorough study of the work of artists and scientists who made them helps shed light on their genesis. Among other displays, this book examines anthropological dioramas of two North American museums in the early twentieth century: the American Museum of Natural History in New York, and the New York State Museum. Sites of creation and mediation of knowledge, combining painting, sculpture, photography, and material culture, dioramas tell a story that is always political.

ALFRED L. ROSENBERGER,* GREGG F. GUNNELL, AND RUSSELL L. CIOCHON Department of Anthropology and Archaeology, Brooklyn College, City University of New York, Brooklyn, New York Department of Anthropology, City University of New York Graduate Center, New York Consortium in Evolutionary Primatology (NYCEP), New York, New York Department of Mammalogy, American Museum of Natural History, New York, New York Division of Fossil Primates, Duke Lemur Center, Duke University, Durham, North Carolina Department of Anthropology, University of Iowa, Iowa City, Iowa Department of Pediatric Dentistry, University of Iowa, Iowa City, Iowa

The study of the early anthropoids or anthropoideans from the Oligocene badlands of the Fayum Province, Egypt, covers the greater part of this century. This review discusses the successive stages of our knowledge of these animals, which have become the oldest well understood kinds of higher primates or anthropoideans. The study of the first finds, made early in the century, is reviewed and the various interpretations of these scanty remains are discussed. All initial discussions were based on only four specimens. Essentially all of the early rankings made by authors who, in many cases, had not seen the actual specimens were incorrect. Nevertheless it was realized that these Fayum primates were somehow the earliest relatives of apes and monkeys then known. Prominent scholars questioned whether one of these,Apidium, was even a primate. At the end of the 1950s two specimens, found at the beginning of the century, were located at the American Museum of Natural History. Their description kindled new interest in the Fayum primates and established that they showed cranial characters of higher primates. Beginning in 1961 a sequence of four periods of development in the study of these important ancient pri-mates began. The first was a series of eight expeditions from Yale Univer-sity conducted from 1961 to 1968. These cooperative projects conducted with the Geological Survey and Mining Authority of Egypt (EGSMA) increased the number of primate specimens from six or eight to over 500. These dis-coveries led to the description of new species as well as reports on the first limb elements and cranial remains. After this phase came a period when the desert Fayum was closed to exploration and publications were concerned mainly with continued description of the new finds. The third major period of research that is outlined here, between 1977 and 1989, came with re-newed field work in Egypt now carried out cooperatively between Duke University and EGSMA. The research on Fayum primates in this period was greatly expanded, as is explained in this paper, because: 1) new tech-niques enabled the recovery of extensive collections of postcranial elements as well as skulls and facial crania, which made possible revisions of both anatomy of the propliopithecids and parapithecids; 2) an international in-terdisciplinary team published extensively on the background context for the primates including studies on environment, dating, and geological set-ting; and 3) prosimians in addition to the basal Anthropoidea were found. Since 1990 research on Fayum primates has been expanded even more to include a larger number of researchers, many trained through field work at the various Fayum localities, and although important Oligocene finds continue to be made, a whole new world of Eocene anthropoidean and prosimian primates has been discovered there. © Wiley-Liss, Inc.

Research Article| August 01 2020 A COVID-19 Relief Kitchen Created by an Unexpected Advocate Ashley Rose Young Ashley Rose Young Ashley Rose Young is the Historian of the American Food History Project at the Smithsonian's National Museum of American History. Young is a cultural and social historian of the United States who earned her BA in History from Yale University and her MA and PhD in History from Duke University. Search for other works by this author on: This Site PubMed Google Scholar Gastronomica (2020) 20 (3): 55–56. https://doi.org/10.1525/gfc.2020.20.3.55 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Ashley Rose Young; A COVID-19 Relief Kitchen Created by an Unexpected Advocate. Gastronomica 1 August 2020; 20 (3): 55–56. doi: https://doi.org/10.1525/gfc.2020.20.3.55 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentGastronomica Search This content is only available via PDF. © 2020 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, https://www.ucpress.edu/journals/reprints-permissions.2020The Regents of the University of California Article PDF first page preview Close Modal You do not currently have access to this content.