• [50] 1944–1948: Modeling and first film roles A photo of Monroe taken by David Conover in mid-1944 at the Radioplane Company In April 1944, Dougherty was shipped out to the
  Pacific, and he would remain there for most of the next two years.

• [93] Three of Monroe’s films —Clash by Night, Don’t Bother to Knock and We’re Not Married!— were released soon after to capitalize on the public interest.

• [91] The studio had learned about the photos and that she was publicly rumored to be the model some weeks prior, and together with Monroe decided that to prevent damaging
  her career it was best to admit to them while stressing that she had been broke at the time.

• [130] Crowther of The New York Times and William Brogdon of Variety both commented favorably on Monroe, especially noting her performance of “Diamonds Are a Girl’s Best Friend”;
  according to the latter, she demonstrated the “ability to sex a song as well as point up the eye values of a scene by her presence”.

• [165] The first film she made after the suspension was the musical There’s No Business Like Show Business, which she strongly disliked but the studio required her to do for
  dropping The Girl in Pink Tights.

• [39] It was Monroe’s childhood experiences that first made her want to become an actress: “I didn’t like the world around me because it was kind of grim …

• She was working in a factory during World War II when she met a photographer from the First Motion Picture Unit and began a successful pin-up modeling career, which led to
  short-lived film contracts with 20th Century Fox and Columbia Pictures.

• Over the next two years, she became a popular actress with roles in several comedies, including As Young as You Feel and Monkey Business, and in the dramas Clash by Night
  and Don’t Bother to Knock.

• [171] After filming for The Seven Year Itch wrapped up in November 1954, Monroe left Hollywood for the East Coast, where she and photographer Milton Greene founded their own
  production company, Marilyn Monroe Productions (MMP)—an action that has later been called “instrumental” in the collapse of the studio system.

• [183] By the end of the year, Monroe and Fox signed a new seven-year contract, as MMP would not be able to finance films alone, and the studio was eager to have Monroe working
  for them again.

• [63] Monroe spent her first six months at Fox learning acting, singing, and dancing, and observing the film-making process.

• Over the next four years, Monroe’s living situation changed often.

• [87] In February 1952, the Hollywood Foreign Press Association named Monroe the “best young box office personality”.

• [64] Her contract was renewed in February 1947, and she was given her first film roles, bit parts in Dangerous Years (1947) and Scudda Hoo!

• [56] According to Emmeline Snively, the agency’s owner, Monroe quickly became one of its most ambitious and hard-working models; by early 1946, she had appeared on 33 magazine
  covers for publications such as Pageant, U.S.

• [122] While Variety deemed it “clichéd” and “morbid”, The New York Times commented that “the falls and Miss Monroe are something to see”, as although Monroe may not be “the
  perfect actress at this point … she can be seductive—even when she walks”.

• She was briefly suspended in early 1954 for refusing a film project but returned to star in The Seven Year Itch (1955), one of the biggest box office successes of her career.

• [137] 1954–1955: Conflicts with 20th Century-Fox and marriage to Joe DiMaggio Monroe had become one of 20th Century-Fox’s biggest stars, but her contract had not changed since
  1950, meaning that she was paid far less than other stars of her stature and could not choose her projects.

• [80] Despite her screen time being only a few minutes in the latter, she gained a mention in Photoplay and according to biographer Donald Spoto “moved effectively from movie
  model to serious actress”.

• [140] In January 1954, he suspended Monroe when she refused to begin shooting yet another musical comedy, The Girl in Pink Tights.

• [85] According to Spoto all three films featured her “essentially [as] a sexy ornament”, but she received some praise from critics: Bosley Crowther of The New York Times described
  her as “superb” in As Young As You Feel and Ezra Goodman of the Los Angeles Daily News called her “one of the brightest up-and-coming [actresses]” for Love Nest.

• [167] The “subway grate scene” became one of Monroe’s most famous and The Seven Year Itch became one of the biggest commercial successes of the year after its release in June
  1955.

• [68] Monroe in a publicity photo taken in 1948 Monroe was determined to make it as an actress, and continued studying at the Actors’ Lab.

• [166] Monroe posing for photographers in The Seven Year Itch (1955) In September 1954, Monroe began filming Billy Wilder’s comedy The Seven Year Itch, starring opposite Tom
  Ewell as a woman who becomes the object of her married neighbor’s sexual fantasies.

• [141] Monroe and Joe DiMaggio after getting married at San Francisco City Hall in January 1954 This was front-page news, and Monroe immediately took action to counter negative
  publicity.

• “[188] In March, Monroe began filming the drama Bus Stop, her first film under the new contract.

• [84] In 1951, Monroe had supporting roles in three moderately successful Fox comedies: As Young as You Feel, Love Nest, and Let’s Make It Legal.

• [65][e] The studio also enrolled her in the Actors’ Laboratory Theatre, an acting school teaching the techniques of the Group Theatre; she later stated that it was “my first
  taste of what real acting in a real drama could be, and I was hooked”.

• [186] In contrast, Monroe’s relationship with Miller prompted some negative comments, such as Walter Winchell’s statement that “America’s best-known blonde moving picture
  star is now the darling of the left-wing intelligentsia.

• [163] Monroe settled with Fox in March, with the promise of a new contract, a bonus of $100,000, and a starring role in the film adaptation of the Broadway success The Seven
  Year Itch.

• She had a small role in the play Glamour Preferred at the Bliss-Hayden Theater, but it ended after a couple of performances.

• [114] According to Sarah Churchwell, some of Monroe’s behavior, especially later in her career, was also in response to the condescension and sexism of her male co-stars and
  directors.

• She was often late or did not show up at all, did not remember her lines, and would demand several re-takes before she was satisfied with her performance.

• [116] 1953: Rising star Monroe in Niagara (1953), which dwelt on her sex appeal Monroe performing the song “Diamonds Are a Girl’s Best Friend” in Gentlemen Prefer Blondes
  (1953) Monroe, Betty Grable, and Lauren Bacall in How to Marry a Millionaire, her biggest box office success of 1953 Monroe starred in three movies that were released in 1953 and emerged as a major sex symbol and one of Hollywood’s most bankable
  performers.

• [186] The press now wrote favorably about her decision to fight the studio; Time called her a “shrewd businesswoman”[187] and Look predicted that the win would be “an example
  of the individual against the herd for years to come”.

• [135] Monroe was listed in the annual Top Ten Money Making Stars Poll in both 1953 and 1954,[118] and according to Fox historian Aubrey Solomon became the studio’s “greatest
  asset” alongside CinemaScope.

• [129] Gentlemen Prefer Blondes was released shortly after and became one of the biggest box office successes of the year.

• [68] She returned to modeling while also doing occasional odd jobs at film studios, such as working as a dancing “pacer” behind the scenes to keep the leads on point at musical
  sets.

• [177] She grew close to Strasberg and his wife Paula, receiving private lessons at their home due to her shyness, and soon became a family member.

• On June 29, Monroe and Miller were married at the Westchester County Court in White Plains, New York; two days later they had a Jewish ceremony at the home of Kay Brown, Miller’s
  literary agent, in Waccabuc, New York.

• [72] She began working with the studio’s head drama coach, Natasha Lytess, who would remain her mentor until 1955.

• [185] She would also be free to make one film with MMP per each completed film for Fox.

• [75] 1949–1952: Breakthrough years Monroe in The Asphalt Jungle (1950), one of her earliest performances to gain attention from film critics.

• She also lived there for the first six months, until she was forced to move back to the city for employment.

• [168] The publicity stunt placed Monroe on international front pages, and it also marked the end of her marriage to DiMaggio, who was infuriated by it.

• [138] Her attempts to appear in films that would not focus on her as a pin-up had been thwarted by the studio head executive, Darryll F. Zanuck, who had a strong personal
  dislike of her and did not think she would earn the studio as much revenue in other types of roles.

• [36] Encouraged by the orphanage staff who thought that Monroe would be happier living in a family, Grace became her legal guardian in 1936, but did not take her out of the
  orphanage until the summer of 1937.

• [134] Despite mixed reviews, the film was Monroe’s biggest box office success at that point in her career.

• [112] She disliked her lack of control on film sets and never experienced similar problems during photo shoots, in which she had more say over her performance and could be
  more spontaneous instead of following a script.

• She faced a scandal when it was revealed that she had posed for nude photographs prior to becoming a star, but the story did not damage her career and instead resulted in
  increased interest in her films.

• When the studio was still reluctant to change Monroe’s contract, she founded her own film production company in 1954.

• [51] Although none of her pictures were used, she quit working at the factory in January 1945 and began modeling for Conover and his friends.

• [190] Broadway director Joshua Logan agreed to direct, despite initially doubting Monroe’s acting abilities and knowing of her difficult reputation.

• She had begun taking acting classes with Michael Chekhov and mime Lotte Goslar soon after beginning the Fox contract,[95] and Clash by Night and Don’t Bother to Knock showed
  her in different roles.

• Monroe’s troubled private life received much attention.

• [121] Niagara’s most famous scene is a 30-second long shot behind Monroe where she is seen walking with her hips swaying, which was used heavily in the film’s marketing.

• [66] She also screen-tested for the lead role in Born Yesterday (1950), but her contract was not renewed in September 1948.

• After a series of minor film roles, she signed a new contract with Fox in late 1950.

• [131][132] In September, Monroe made her television debut in the Jack Benny Show, playing Jack’s fantasy woman in the episode “Honolulu Trip”.

• Monroe’s role was originally intended for Betty Grable, who had been 20th Century-Fox’s most popular “blonde bombshell” in the 1940s; Monroe was fast eclipsing her as a star
  who could appeal to both male and female audiences.

• [164] It was unsuccessful upon its release in late 1954, with Monroe’s performance considered vulgar by many critics.

• [185] 1956–1959: Critical acclaim and marriage to Arthur Miller Monroe and Arthur Miller at their wedding in June 1956 Monroe began 1956 by announcing her win over 20th Century-Fox.

• [88] In her private life, Monroe had a short relationship with director Elia Kazan and also briefly dated several other men, including director Nicholas Ray and actors Yul
  Brynner and Peter Lawford.

• [106] Monroe added to her reputation as a new sex symbol with publicity stunts that year: she wore a revealing dress when acting as Grand Marshal at the Miss America Pageant
  parade, and told gossip columnist Earl Wilson that she usually wore no underwear.

• [73] Her only film at the studio was the low-budget musical Ladies of the Chorus (1948), in which she had her first starring role as a chorus girl who is courted by a wealthy
  man.

• [178] She replaced her old acting coach, Natasha Lytess, with Paula; the Strasbergs remained an important influence for the rest of her career.

• [70] She also became a friend and occasional sex partner of Fox executive Joseph M. Schenck, who persuaded his friend Harry Cohn, the head executive of Columbia Pictures,
  to sign her in March 1948.

• In We’re Not Married!, her role as a beauty pageant contestant was created solely to “present Marilyn in two bathing suits”, according to its writer Nunnally Johnson.

• [155][156] From Tokyo, she traveled with Jean O’Doul,[155] Lefty’s wife, to Korea,[157][158] where she participated in a USO show,[159] singing songs from her films for over
  60,000 U.S. Marines over a four-day period.

• [11] Monroe was not told that she had a sister until she was 12, and they met for the first time when Monroe was 17 or 18.

• [58] After an unsuccessful interview at Paramount Pictures, she was given a screen-test by Ben Lyon, a 20th Century-Fox executive.

• She played a significant role in the creation and management of her public image throughout her career, but she was disappointed when she was typecast and underpaid by the
  studio.

• [192] The experience changed Logan’s opinion of Monroe, and he later compared her to Charlie Chaplin in her ability to blend comedy and tragedy.

 

Works Cited

[‘o Monroe had her screen name made into her legal name in early 1956.[1][2]
o ^ Gladys named Mortensen as Monroe’s father in the birth certificate (although the name was misspelled),[14] but it is unlikely that he was the father as their separation
had taken place well before she became pregnant.[15] Biographers Fred Guiles and Lois Banner stated that her father was likely Charles Stanley Gifford, Gladys’ superior at RKO Studios who she had an affair with,[16] in 1925, whereas Donald Spoto
thought that another co-worker was probably the father.[17]
o ^ Monroe spoke about being sexually abused by a lodger when she was eight years old to her biographers Ben Hecht in 1953–1954 and Maurice Zolotow in 1960, and in interviews for Paris
Match and Cosmopolitan.[28] Although she refused to name the abuser, Banner believes he was George Atkinson, as he was a lodger and fostered Monroe when she was eight; Banner also states that Monroe’s description of the abuser fits other descriptions
of Atkinson.[29] Banner has argued that the abuse may have been a major causative factor in Monroe’s mental health problems, and has also written that as the subject was taboo in mid-century United States, Monroe was unusual in daring to speak about
it publicly.[30] Spoto does not mention the incident but states that Monroe was sexually abused by Grace’s husband in 1937 and by a cousin while living with a relative in 1938.[31] Barbara Leaming repeats Monroe’s account of the abuse, but earlier
biographers Fred Guiles, Anthony Summers and Carl Rollyson have doubted the incident owing to lack of evidence beyond Monroe’s statements.[32]
o ^ RKO’s owner Howard Hughes had expressed an interest in Monroe after seeing her on a magazine cover.[60]
o ^
It has sometimes been claimed that Monroe appeared as an extra in other Fox films during this period, including Green Grass of Wyoming, The Shocking Miss Pilgrim, and You Were Meant For Me, but there is no evidence to support this.[66]
o ^ Baumgarth
was initially not happy with the photos, but published one of them in 1950; Monroe was not publicly identified as the model until 1952. Although she then contained the resulting scandal by claiming she had reluctantly posed nude due to an urgent need
for cash, biographers Spoto and Banner have stated that she was not pressured (although according to Banner, she was initially hesitant due to her aspirations of movie stardom) and regarded the shoot as simply another work assignment.[78]
o ^ In
addition to All About Eve and The Asphalt Jungle, Monroe’s 1950 films were Love Happy, A Ticket to Tomahawk, Right Cross and The Fireball. Monroe also had a role in Home Town Story, released in 1951.
o ^ Monroe and Greene had first met and had
a brief affair in 1949, and met again in 1953, when he photographed her for Look. She told him about her grievances with the studio, and Greene suggested that they start their own production company.[173]
o ^ Monroe underwent psychoanalysis regularly
from 1955 until her death. Her analysts were psychiatrists Margaret Hohenberg (1955–57), Anna Freud (1957), Marianne Kris (1957–61), and Ralph Greenson (1960–62).[181]
o ^ Monroe identified with the Jewish people as a “dispossessed group” and wanted
to convert to make herself part of Miller’s family.[197] She was instructed by Rabbi Robert Goldberg and converted on July 1, 1956.[196] Monroe’s interest in Judaism as a religion was limited: she called herself a “Jewish atheist” and did not practice
the faith after divorcing Miller aside from retaining some religious items.[196] Egypt also lifted her ban after the divorce was finalized in 1961.[196]
o ^ Endometriosis also caused her to experience severe menstrual pain throughout her life, necessitating
a clause in her contract allowing her to be absent from work during her period; her endometriosis also required several surgeries.[211] It has sometimes been alleged that Monroe underwent several abortions, and that unsafe abortions made by persons
without proper medical training would have contributed to her inability to maintain a pregnancy.[212] The abortion rumors began from statements made by Amy Greene, the wife of Milton Greene, but have not been confirmed by any concrete evidence.[213]
Furthermore, Monroe’s autopsy report did not note any evidence of abortions.[213]
o ^ Monroe first admitted herself to the Payne Whitney Psychiatric Clinic in New York, at the suggestion of her psychiatrist Marianne Kris.[249] Kris later stated
that her choice of hospital was a mistake: Monroe was placed on a ward meant for severely mentally ill people with psychosis, where she was locked in a padded cell and not allowed to move to a more suitable ward or leave the hospital.[249] Monroe
was finally able to leave the hospital after three days with the help of Joe DiMaggio, and moved to the Columbia University Medical Center, spending a further 23 days there.[249]
o ^ Monroe and Kennedy had mutual friends and were familiar with each
other. Although they sometimes had casual sexual encounters, there is no evidence that their relationship was serious.[256]
o ^ The actors and actresses posing with her include the following, from left to right: Ofelia Montesco, Xavier Loyá, Monroe,
unknown person in the back, Patricia Morán, Bertha Moss, Nadia Haro Oliva, and José Baviera.
o “How Did Marilyn Monroe Get Her Name? This Photo Reveals the Story”. Time.
o ^ “Monroe divorce papers for auction”. April 21, 2005 – via news.bbc.co.uk.
o ^
Hertel, Howard; Heff, Don (August 6, 1962). “Marilyn Monroe Dies; Pills Blamed”. Los Angeles Times. Archived from the original on September 25, 2015. Retrieved September 23, 2015.
o ^ Chapman 2001, pp. 542–543; Hall 2006, p. 468.
o ^ Singer, Leigh
(February 19, 2009). “Oscars: the best actors never to have been nominated”. The Guardian. UK. Retrieved September 17, 2022.
o ^ Spoto 2001, pp. 3, 13–14; Banner 2012, p. 13.
o ^ “Inside Marilyn Monroe’s Family Tree”.
o ^ Spoto 2001, pp. 9–10;
Rollyson 2014, pp. 26–29.
o ^ Miracle & Miracle 1994, p. see family tree; Banner 2012, pp. 19–20; Leaming 1998, pp. 52–53.
o ^ Spoto 2001, pp. 7–9; Banner 2012, p. 19.
o ^ Spoto 2001, p. 9 for the exact year when divorce was finalized; Banner
2012, p. 20; Leaming 1998, pp. 52–53.
o ^ Spoto 2001, p. 88, for first meeting in 1944; Banner 2012, p. 72, for mother telling Monroe of sister in 1938.
o ^ Jump up to:a b Churchwell 2004, p. 150, citing Spoto and Summers; Banner 2012, pp. 24–25.
o ^
Churchwell 2004, p. 150, citing Spoto, Summers and Guiles.
o ^ Churchwell 2004, pp. 149–152; Banner 2012, p. 26; Spoto 2001, p. 13.
o ^ Miller, Korin; Spanfeller, Jamie (September 29, 2022). “Did Marilyn Monroe Ever Meet Her Biological Father?
All About Charles Stanley Gifford”. Women’s Health. Retrieved September 30, 2022.
o ^ Jump up to:a b Churchwell 2004, p. 152; Banner 2012, p. 26; Spoto 2001, p. 13.
o ^ Keslassy, Elsa (April 4, 2022). “Marilyn Monroe’s Biological Father Revealed
in Documentary ‘Marilyn, Her Final Secret'”. Variety. Retrieved April 4, 2022.
o ^ Jump up to:a b Spoto 2001, pp. 17–26; Banner 2012, pp. 32–35.
o ^ Spoto 2001, pp. 16–26; Churchwell 2004, p. 164; Banner 2012, pp. 22–35.
o ^ Spoto 2001, pp.
26–28; Banner 2012, pp. 35–39; Leaming 1998, pp. 54–55.
o ^ Spoto 2001, pp. 26–28; Banner 2012, pp. 35–39.
o ^ Churchwell 2004, pp. 155–156.
o ^ Churchwell 2004, pp. 155–156; Banner 2012, pp. 39–40.
o ^ Spoto 2001, pp. 100–101, 106–107, 215–216;
Banner 2012, pp. 39–42, 45–47, 62, 72, 91, 205.
o ^ Spoto 2001, pp. 40–49; Churchwell 2004, p. 165; Banner 2012, pp. 40–62.
o ^ Spoto 2001, pp. 33–40; Banner 2012, pp. 40–54.
o ^ Banner 2012, pp. 48–49.
o ^ Banner 2012, pp. 40–59.
o ^ Banner
2012, pp. 7, 40–59.
o ^ Spoto 2001, p. 55; Churchwell 2004, pp. 166–173.
o ^ Churchwell 2004, pp. 166–173.
o ^ Banner 2012, pp. 27, 54–73.
o ^ Banner 2012, pp. 47–48.
o ^ Spoto 2001, pp. 44–45; Churchwell 2004, pp. 165–166; Banner 2012,
pp. 62–63.
o ^ Banner 2012, pp. 60–63.
o ^ Spoto 2001, pp. 49–50; Banner 2012, pp. 62–63 (see also footnotes), 455.
o ^ Banner 2012, pp. 62–64.
o ^ Spoto 2001, pp. 49–50; Banner 2012, pp. 62–64, 455.
o ^ Meryman, Richard (September 14, 2007).
“Great interviews of the 20th century: “When you’re famous you run into human nature in a raw kind of way””. The Guardian. Archived from the original on November 4, 2015. Retrieved October 21, 2015.
o ^ Spoto 2001, pp. 51–67; Banner 2012, pp. 62–86.
o ^
Spoto 2001, pp. 68–69; Banner 2012, p. 75–77.
o ^ Banner 2012, pp. 73–76.
o ^ Spoto 2001, pp. 67–69; Banner 2012, p. 86.
o ^ Spoto 2001, pp. 67–69.
o ^ Spoto 2001, pp. 70–75; Banner 2012, pp. 86–90.
o ^ Banner 2012, pp. 86–90.
o ^ Spoto
2001, pp. 70–75.
o ^ Spoto 2001, p. 70–78.
o ^ Jump up to:a b c Spoto 2001, pp. 83–86; Banner 2012, pp. 91–98.
o ^ Spoto 2001, pp. 90–91; Churchwell 2004, p. 176.
o ^ Spoto 2001, pp. 90–93; Churchwell 2004, pp. 176–177.
o ^ “Yank USA 1945”.
Wartime Press. Archived from the original on August 7, 2017. Retrieved January 13, 2012.
o ^ Banner 2012, pp. 103–104.
o ^ Spoto 2001, pp. 95–107.
o ^ Jump up to:a b Spoto 2001, pp. 93–95; Banner 2012, pp. 105–108.
o ^ Spoto 2001, p. 95, for
statement & covers; Banner 2012, p. 109, for Snively’s statement.
o ^ Spoto 2001, pp. 110–111.
o ^ Spoto 2001, pp. 110–112; Banner 2012, pp. 117–119.
o ^ Banner 2012, p. 119.
o ^ Spoto 2001, pp. 112–114.
o ^ Spoto 2001, p. 114.
o ^ Spoto
2001, p. 109.
o ^ Spoto 2001, pp. 118–120; Banner 2012, pp. 130–131.
o ^ Spoto 2001, pp. 120–121.
o ^ Jump up to:a b Churchwell 2004, p. 59.
o ^ Spoto 2001, pp. 122–126.
o ^ Jump up to:a b Spoto 2001, pp. 120–121, 126; Banner 2012, p. 133.
o ^
Spoto 2001, pp. 122–129; Banner 2012, p. 133.
o ^ Spoto 2001, pp. 130–133; Banner 2012, pp. 133–144.
o ^ Churchwell 2004, pp. 204–216, citing Summers, Spoto and Guiles for Schenck; Banner 2012, pp. 141–144; Spoto 2001, pp. 133–134.
o ^ Banner
2012, p. 139; Spoto 2001, pp. 133–134.
o ^ Spoto 2001, pp. 133–134.
o ^ Banner 2012, p. 148.
o ^ Summers 1985, p. 43.
o ^ Ortner, Jon. “Sex Goddesses & Pin-Up Queens”. issue magazine. Archived from the original on January 21, 2022. Retrieved
July 19, 2022.
o ^ Spoto 2001, pp. 151–153.
o ^ Jump up to:a b Spoto 2001, pp. 151–153; Banner 2012, pp. 140–149.
o ^ Spoto 2001, pp. 145–146; Banner 2012, pp. 149, 157.
o ^ Churchwell 2004, pp. 59–60.
o ^ Spoto 2001, pp. 159–162.
o ^
Riese & Hitchens 1988, p. 228; Spoto 2001, p. 182.
o ^ Spoto 2001, p. 182.
o ^ Spoto 2001, pp. 175–177; Banner 2012, p. 157.
o ^ Churchwell 2004, p. 60.
o ^ Spoto 2001, pp. 179–187; Churchwell 2004, p. 60.
o ^ Spoto 2001, p. 192.
o ^ Jump
up to:a b Kahana, Yoram (January 30, 2014). “Marilyn: The Globes’ Golden Girl”. Hollywood Foreign Press Association (HFPA). Retrieved September 11, 2015.
o ^ Spoto 2001, pp. 180–181; Banner 2012, pp. 163–167, 181–182 for Kazan and others.
o ^
Spoto 2001, p. 201; Banner 2012, p. 192.
o ^ Summers 1985, p. 58; Spoto 2001, pp. 210–213.
o ^ Spoto 2001, pp. 210–213; Churchwell 2004, pp. 224–226; Banner 2012, pp. 194–195.
o ^ Hopper, Hedda (May 4, 1952). “They Call Her The Blowtorch Blonde”.
Chicago Tribune. Archived from the original on November 21, 2015. Retrieved October 18, 2015.
o ^ Spoto 2001, pp. 210–213; Churchwell 2004, pp. 61–62, 224–226; Banner 2012, pp. 194–195.
o ^ Spoto 2001, pp. 188–189; Banner 2012, pp. 170–171, 178
for not wanting to be solely a sex symbol.
o ^ Churchwell 2004, p. 61 for being commercially successful; Banner 2012, p. 178 for wishes to not be solely a sex symbol.
o ^ Spoto 2001, pp. 194–195; Churchwell 2004, pp. 60–61.
o ^ Spoto 2001, pp.
194–195.
o ^ “Clash By Night”. American Film Institute. Retrieved August 8, 2015.
o ^ Spoto 2001, pp. 196–197.
o ^ Crowther, Bosley (July 19, 1952). “Don’t Bother to Knock”. The New York Times. Retrieved August 8, 2015.
o ^ Churchwell 2004,
p. 61; Banner 2012, p. 180.
o ^ “Review: Don’t Bother to Knock”. Variety. December 31, 1951. Retrieved August 8, 2015.
o ^ Spoto 2001, p. 200.
o ^ Jump up to:a b c Churchwell 2004, p. 62.
o ^ Churchwell 2004, p. 61.
o ^ Spoto 2001, pp.
224–225.
o ^ Muir, Florabel (October 19, 1952). “Marilyn Monroe Tells: How to Deal With Wolves”. Chicago Tribune. Archived from the original on November 21, 2015. Retrieved October 18, 2015.
o ^ Marilyn Monroe as told to Florabel Muir (January
1953). “Wolves I Have Known”. Motion Picture. p. 41. Archived from the original on March 10, 2021. Retrieved January 31, 2022.
o ^ Churchwell 2004, p. 238.
o ^ Spoto 2001, pp. 139, 195, 233–234, 241, 244, 372.
o ^ Jump up to:a b Spoto 2001,
pp. 328–329; Churchwell 2004, pp. 51–56, 238; Banner 2012, pp. 188–189, 211–214.
o ^ Jump up to:a b “Filmmaker interview – Gail Levin”. Public Broadcasting Service. July 19, 2006. Archived from the original on August 10, 2016. Retrieved July 11,
2016.
o ^ Spoto 2001, pp. 328–329; Churchwell 2004, p. 238; Banner 2012, pp. 211–214, 311.
o ^ Churchwell 2004, pp. 257–264.
o ^ Banner 2012, pp. 189–190, 210–211.
o ^ Spoto 2001, p. 221; Churchwell 2004, pp. 61–65; Lev 2013, p. 168.
o ^
Jump up to:a b “The 2006 Motion Picture Almanac, Top Ten Money Making Stars”. Quigley Publishing Company. Archived from the original on December 21, 2014. Retrieved August 25, 2008.
o ^ Churchwell 2004, p. 233.
o ^ Churchwell 2004, pp. 25, 62.
o ^
Jump up to:a b Churchwell 2004, p. 62; Banner 2012, pp. 195–196.
o ^ Spoto 2001, p. 221; Banner 2012, p. 205; Leaming 1998, p. 75 on box office figure.
o ^ “Niagara Falls Vies With Marilyn Monroe”. The New York Times. January 22, 1953. Archived
from the original on November 5, 2015. Retrieved October 18, 2015.
o ^ “Review: ‘Niagara'”. Variety. December 31, 1952. Archived from the original on November 21, 2015. Retrieved October 18, 2015.
o ^ Jump up to:a b Spoto 2001, pp. 236–238;
Churchwell 2004, p. 234; Banner 2012, pp. 205–206.
o ^ GlamAmor:History of Fashion in Film, May 24, 2014
o ^ Spoto 2001, p. 231; Churchwell 2004, p. 64; Banner 2012, p. 200; Leaming 1998, pp. 75–76.
o ^ Spoto 2001, pp. 219–220; Banner 2012,
p. 177.
o ^ Spoto 2001, p. 242; Banner 2012, pp. 208–209.
o ^ Solomon 1988, p. 89; Churchwell 2004, p. 63.
o ^ Brogdon, William (July 1, 1953). “Gentlemen Prefer Blondes”. Variety. Archived from the original on November 21, 2015. Retrieved October
18, 2015.
o ^ Crowther, Bosley (July 16, 1953). “Gentlemen Prefer Blondes”. The New York Times. Archived from the original on September 26, 2015. Retrieved October 18, 2015.
o ^ Spoto 2001, p. 250.
o ^ Spoto 2001, p. 238; Churchwell 2004, pp.
64–65.
o ^ Solomon 1988, p. 89; Churchwell 2004, p. 65; Lev 2013, p. 209.
o ^ Solomon 1988, p. 89.
o ^ Jump up to:a b Churchwell 2004, p. 217.
o ^ Churchwell 2004, p. 68.
o ^ Churchwell 2004, pp. 68, 208–209.
o ^ Banner 2012, p. 217.
o ^
Summers 1985, p. 92; Spoto 2001, p. 254–259.
o ^ Spoto 2001, p. 260.
o ^ Hoppe, Art (January 15, 1954). “Joe Di Maggio Marries Marilyn Monroe at San Francisco City Hall”. San Francisco Chronicle. San Francisco. Retrieved June 12, 2022. Di Maggio
said he didn’t know where they would spend their honeymoon but they would ‘probably just get in the car and go’ tonight.
o ^ Middlecamp, David (March 25, 2016). “Joe DiMaggio and Marilyn Monroe’s Central Coast honeymoon”. San Luis Obispo Tribune.
Retrieved June 12, 2022.
o ^ Mungo, Ray (January 15, 1993). Palm Springs Babylon: Sizzling Stories From The Desert Playground Of The Stars. Macmillan. ISBN 978-0-312-06438-9. In January , 1954 , Marilyn and Joe DiMaggio spent their honeymoon in
the area , mostly tucked away playing billiards in a cabin up in the Idyllwild Hills .
o ^ “Past Tense: January 30, 2014”. Idyllwild Town Crier. January 30, 2014. Retrieved September 10, 2022.
o ^ “Before Our Time: Idyllwild’s SMASH!”. Idyllwild
Town Crier. June 6, 2012. Retrieved June 12, 2022.
o ^ “ERNIE MAXWELL: Idyllwild ‘old-timer’ remembers much of mountain town’s history”. The Desert Sun. Palm Springs, California. September 1, 1984. Retrieved June 12, 2022 – via California Digital
Newspaper Collection.
o ^ “Marilyn Monroe extensive archive of her agent Charles K. Feldman’s files of (150+) typed and handwritten letters, memos, clippings and telegrams from the Famous Artists Corporation”. Heritage Auctions. December 11, 2018.
Retrieved September 10, 2022. Marilyn Monroe is giving press statements in New York that she was not returning to 20th-Fox, where she is under contract, and also that she was dismissing her attorney, Lloyd Wright, and her agency, Famous Artists…
o ^
O’Hagan, Andrew (January 22, 2013). The Atlantic Ocean: Reports from Britain and America. HMH. p. 112. ISBN 978-0-547-72789-9.
o ^ “When Marilyn Monroe Interrupted Her Honeymoon to Go to Korea”. HistoryNet. December 3, 2019. Retrieved September
10, 2022.
o ^ Melinda. “Marilyn Monroe and Joe DiMaggio Honeymoon in Japan”. MarilynMonroe.ca. Ontario, Canada. Retrieved June 12, 2022.
o ^ “Marilyn Monroe, (Left Center), and Jean O’Doul, the wife “Lefty” O’Doul, (Right Center), are shown
posing with pretty Japanese Geisha Girls after a “Sukiyaki” Dinner in Kobe. The dinner was given by the Central League, one of Japan’s professional baseball organizations. Husbands DiMaggio and O’Doul were among the diners. Miss Monroe and DiMaggio
are flying home today”. Getty Images. Retrieved September 10, 2022.
o ^ “The streak continues for ‘Lefty’ O’Doul”. Santa Rosa Press Democrat. September 4, 2017. Retrieved September 10, 2022.
o ^ Jump up to:a b Doyle, Jack. “”Marilyn & Joe,
et al.” A 70-Year Saga”. The Pop History Dig. Retrieved September 10, 2022.
o ^ Spoto 2001, pp. 262–263.
o ^ “Marilyn Monroe (left) stands with (l to r) Marine Col. William K. Jones and Jean O’Doul while visiting American troops in Korea”. Getty
Images. Retrieved September 10, 2022.
o ^ Warner, Gary A. (November 12, 2012). “Lefty O’Doul’s is the best baseball bar in San Francisco”. Orlando Sentinel. Orange County Register. Retrieved September 10, 2022. The name on the card is “Norma Jean
DiMaggio” – the legal name of DiMaggio’s then-wife, Marilyn Monroe, who needed the card to make overseas visits to build the morale of American troops in Korea.
o ^ Parr, Patrick (August 23, 2018). “Mrs and Mr Marilyn Monroe honeymoon in Japan”.
Japan Today. Retrieved September 10, 2022.
o ^ O’Doul, Jean (December 12, 2013). “A Marilyn Monroe Group of Never-Before-Seen Black and White Snapshots from Korea, 1954”. Heritage Auctions. Retrieved September 10, 2022.
o ^ Miller, Jennifer Jean
(February 14, 2014). Marilyn Monroe & Joe DiMaggio – Love In Japan, Korea & Beyond. J.J. Avenue Productions. p. 79. ISBN 978-0-9914291-6-5.
o ^ Churchwell 2004, p. 241.
o ^ Spoto 2001, p. 267.
o ^ Jump up to:a b Spoto 2001, p. 271.
o ^ Churchwell
2004, pp. 66–67.
o ^ Riese & Hitchens 1988, pp. 338–440; Spoto 2001, p. 277; Churchwell 2004, p. 66; Banner 2012, p. 227.
o ^ Jump up to:a b Spoto 2001, pp. 283–284.
o ^ Spoto 2001, p. 331.
o ^ Spoto 2001, pp. 284–285; Banner 2012, pp. 8–9.
o ^
Spoto 2001, pp. 208, 222–223, 262–267, 292; Churchwell 2004, pp. 243–245; Banner 2012, pp. 204, 219–221.
o ^ Summers 1985, pp. 103–105; Spoto 2001, pp. 290–295; Banner 2012, pp. 224–225.
o ^ Spoto 2001, pp. 295–298; Churchwell 2004, p. 246.
o ^
Spoto 2001, pp. 158–159, 252–254.
o ^ Spoto 2001, pp. 302–303.
o ^ Jump up to:a b Spoto 2001, pp. 301–302.
o ^ Spoto 2001, p. 338.
o ^ Spoto 2001, p. 302.
o ^ Spoto 2001, p. 327.
o ^ Spoto 2001, p. 350.
o ^ Spoto 2001, pp. 310–313.
o ^
Spoto 2001, pp. 312–313, 375, 384–385, 421, 459 on years and names.
o ^ Jump up to:a b Spoto 2001; Churchwell 2004, p. 253, for Miller; Banner 2012, p. 285, for Brando.
o ^ Jump up to:a b Spoto 2001, p. 337; Meyers 2010, p. 98.
o ^ Summers 1985,
p. 157; Spoto 2001, pp. 318–320; Churchwell 2004, pp. 253–254.
o ^ Jump up to:a b Spoto 2001, pp. 339–340.
o ^ Jump up to:a b Banner 2012, pp. 296–297.
o ^ Jump up to:a b Spoto 2001, p. 341.
o ^ Spoto 2001, pp. 343–345.
o ^ Spoto 2001, p.
345.
o ^ Spoto 2001, pp. 352–357.
o ^ Spoto 2001, pp. 352–354.
o ^ Spoto 2001, pp. 354–358, for location and time; Banner 2012, p. 297, 310.
o ^ Banner 2012, p. 254.
o ^ Spoto 2001, pp. 364–365.
o ^ Schreck, Tom (November 2014). “Marilyn
Monroe’s Westchester Wedding; Plus, More County Questions And Answers”. Westchester Magazine. Archived from the original on May 17, 2019. Retrieved May 17, 2019.
o ^ Jump up to:a b c d Meyers 2010, pp. 156–157.
o ^ Banner 2012, p. 256.
o ^
Churchwell 2004, pp. 253–257; Meyers 2010, p. 155.
o ^ Spoto 2001, pp. 358–359; Churchwell 2004, p. 69.
o ^ Spoto 2001, p. 358.
o ^ Spoto 2001, p. 372.
o ^ Jump up to:a b Churchwell 2004, pp. 258–261.
o ^ Spoto 2001, pp. 370–379; Churchwell
2004, pp. 258–261; Banner 2012, pp. 310–311.
o ^ Spoto 2001, pp. 370–379.
o ^ Jump up to:a b Spoto 2001, pp. 368–376; Banner 2012, pp. 310–314.
o ^ Churchwell 2004, p. 69; Banner 2012, p. 314, for being on time.
o ^ Churchwell 2004, p. 69.
o ^
Jump up to:a b Banner 2012, p. 346.
o ^ Spoto 2001, pp. 381–382.
o ^ Spoto 2001, pp. 392–393, 406–407.
o ^ Jump up to:a b Churchwell 2004, pp. 274–277.
o ^ Churchwell 2004, pp. 271–274; Banner 2012, pp. 222, 226, 329–30, 335, 362.
o ^ Jump
up to:a b Churchwell 2004, pp. 271–274.
o ^ Banner 2012, p. 321.
o ^ Spoto 2001, pp. 389–391.
o ^ Banner 2012, p. 325 on it being a comedy on gender.
o ^ Banner 2012, p. 325.
o ^ Churchwell 2004, p. 626.
o ^ Spoto 2001, pp. 399–407; Churchwell
2004, p. 262.
o ^ Banner 2012, p. 327 on “sinking ship” and “phallic symbol”; Rose 2014, p. 100 for full quote.
o ^ Jump up to:a b Churchwell 2004, pp. 262–266; Banner 2012, pp. 325–327.
o ^ Spoto 2001, p. 406.
o ^ Spoto 2001, p. 406; Banner
2012, p. 346.
o ^ “Review: ‘Some Like It Hot'”. Variety. February 24, 1959. Archived from the original on October 31, 2015. Retrieved October 21, 2015.
o ^ “The 100 greatest comedies of all time”. BBC. August 22, 2017. Archived from the original
on January 11, 2018. Retrieved January 21, 2018.
o ^ “Some Like It Hot”. American Film Institute. Archived from the original on May 17, 2019. Retrieved September 5, 2015.
o ^ Christie, Ian (September 2012). “The top 50 Greatest Films of All Time”.
British Film Institute. Archived from the original on September 5, 2015. Retrieved September 5, 2015.
o ^ Jump up to:a b Churchwell 2004, p. 71.
o ^ Spoto 2001, pp. 410–415.
o ^ Churchwell 2004, p. 72.
o ^ Riese & Hitchens 1988, p. 270; Churchwell
2004, p. 266; Solomon 1988, p. 139.
o ^ Crowther, Bosley (September 9, 1960). “Movie Review: Let’s Make Love (1960)”. The New York Times. Archived from the original on October 11, 2015. Retrieved October 18, 2015.
o ^ Hopper, Hedda (August 25,
1960). “Hedda Finds Marilyn’s Film ‘Most Vulgar'”. Chicago Tribune. Archived from the original on April 22, 2016. Retrieved October 18, 2015.
o ^ Banner 2012, p. 335.
o ^ Jump up to:a b Churchwell 2004, p. 266.
o ^ Spoto 2001, pp. 429–430.
o ^
Spoto 2001, pp. 431–435; Churchwell 2004, pp. 266–267; Banner 2012, p. 352.
o ^ Jump up to:a b Spoto 2001, pp. 435–445; Banner 2012, pp. 353–356.
o ^ Tracy 2010, p. 109.
o ^ Spoto 2001, pp. 450–455.
o ^ Jump up to:a b Spoto 2001, p. 456; Banner
2012, p. 361.
o ^ “The Misfits”. Variety. December 31, 1960. Archived from the original on November 18, 2016. Retrieved November 16, 2016.
o ^ Crowther, Bosley (February 2, 1961). “Movie Review: The Misfits (1961)”. The New York Times. Archived
from the original on November 1, 2015. Retrieved October 18, 2015.
o ^ Andrew, Geoff (June 17, 2015). “A Film That Fate Helped Make a Classic: The Misfits”. British Film Institute. Archived from the original on September 10, 2015. Retrieved September
10, 2015.
o ^ Tracy 2010, p. 96.
o ^ McNab, Geoffrey (June 12, 2015). “The Misfits, film review: Marilyn Monroe gives an extraordinary performance”. The Independent. Archived from the original on November 17, 2016. Retrieved November 16, 2016.
o ^
Spoto 2001, pp. 453–454.
o ^ Spoto 2001, pp. 453, for a new role, 466–467 for operations, 456–464 for psychiatric hospital stays.
o ^ Jump up to:a b c Spoto 2001, pp. 456–459.
o ^ Spoto 2001, pp. 464–470, 483–485, 594–596; Churchwell 2004, p.
291.
o ^ Spoto 2001, pp. 465–470, 484–485.
o ^ Spoto 2001, pp. 495–496; Churchwell 2004, pp. 74–75.
o ^ Churchwell 2004, p. 258, for the involvement of MMP.
o ^ Jump up to:a b Spoto 2001, pp. 524–525; Banner 2012, pp. 391–392; Rollyson 2014,
pp. 264–272.
o ^ Jump up to:a b Spoto 2001, pp. 520–521; Churchwell 2004, pp. 284–285.
o ^ Churchwell 2004, pp. 291–294; Rollyson 2014, p. 17; Spoto 2001, pp. 488–493.
o ^ Banner 2012, p. 398.
o ^ Spoto 2001, p. 523.
o ^ Churchwell 2004,
p. 74.
o ^ Spoto 2001, p. 535.
o ^ Jump up to:a b Churchwell 2004, p. 75.
o ^ Spoto 2001, pp. 535–536.
o ^ Rollyson 2014, p. 273–274, 279; Spoto 2001, pp. 537, 545–549; Banner 2012, p. 402.
o ^ Summers 1985, p. 301; Spoto 2001, pp. , 537,
545–549; Banner 2012, pp. 401–402.
o ^ Spoto 2001, pp. 538–543; Churchwell 2004, p. 285.
o ^ Banner 2012, p. 401.
o ^ Marilyn Monroe en México [Marilyn Monroe in Mexico] (Online video platform) (in Spanish). Canal22. June 5, 2016. t6Oq8Y0Hv9o.
Retrieved July 27, 2022.
o ^ Jump up to:a b c d Spoto 2001, pp. 574–577; Banner 2012, pp. 410–411.
o ^ Banner 2012, p. 411.
o ^ Spoto 2001, pp. 580–583; Churchwell 2004, p. 302; Banner 2012, pp. 411–412.
o ^ Jump up to:a b Spoto 2001, pp.
580–583; Banner 2012, pp. 411–412.
o ^ Jump up to:a b Kormam, Seymour (August 18, 1962). “Marilyn Monroe Ruled ‘Probable Suicide’ Victim”. Chicago Tribune. Archived from the original on March 10, 2016. Retrieved October 21, 2015.
o ^ Banner
2012, pp. 411–413.
o ^ Spoto 2001, pp. 580–583; Banner 2012, pp. 411–413.
o ^ Jump up to:a b Banner 2012, p. 427.
o ^ Hopper, Hedda (August 6, 1962). “Pill Death Secret Goes With Marilyn”. Chicago Tribune. Archived from the original on March
7, 2016. Retrieved September 23, 2015.
o ^ “Brilliant Stardom and Personal Tragedy Punctuated the Life of Marilyn Monroe”. The New York Times. August 6, 1962. Archived from the original on March 10, 2016. Retrieved September 23, 2015.
o ^ Jump
up to:a b c Spoto 2001, pp. 594–597; Banner 2012, pp. 427–428.
o ^ “Top 10 Celebrity Grave Sites: Marilyn Monroe”. Time. September 3, 2009. Archived from the original on November 19, 2015. Retrieved October 15, 2015.
o ^ Churchwell 2004, pp. 297–318,
for different theories proposed by Spoto, Summers, Brown & Barham, and Donald Wolfe.
o ^ Spoto 2001, pp. 605–606; Churchwell 2004, pp. 88, 300.
o ^ Spoto 2001, p. 606.
o ^ Banner 2012, pp. 124, 177.
o ^ Jump up to:a b c Dyer 1986, pp. 19,
20.
o ^ Banner 2012, pp. 172–174; Hall 2006, p. 489.
o ^ Stacey, Michelle (May 2008). “Model Arrangement”. Smithsonian Institution. Archived from the original on September 25, 2015. Retrieved September 11, 2015.
o ^ Spoto 2001, pp. 172–174,
210–215, 566; Churchwell 2004, p. 9; Banner 2012, pp. 172–174.
o ^ Banner 2012, p. 238.
o ^ Banner 2012, pp. 38, 175, 343.
o ^ Churchwell 2004, pp. 21–26, 181–185.
o ^ Dyer 1986, pp. 33–34; Churchwell 2004, pp. 25, 57–58; Banner 2012, p. 185;
Hall 2006, p. 489.
o ^ Banner 2012, p. 194.
o ^ Jump up to:a b Dyer 1986, pp. 19–20.
o ^ Churchwell 2004, p. 25; Banner 2012, pp. 246–250.
o ^ Jump up to:a b Spoto 2001, pp. 224–225, 342–343; Churchwell 2004, p. 234.
o ^ Dyer 1986, p. 45;
Harris 1991, pp. 40–44; Banner 2012, pp. 44–45, 184–185.
o ^ Banner 2012, pp. 44–45.
o ^ Harris 1991, pp. 40–44.
o ^ Banner 2012, pp. 273–276.
o ^ Dotinga, Randy (August 3, 2012). “Marilyn Monroe: Anything but a dumb blonde”. The Christian
Science Monitor. Archived from the original on June 30, 2016. Retrieved June 16, 2016.
o ^ Banner 2012, p. 244.
o ^ Banner, Lois. “The Meaning of Marilyn”. Women’s Review of Books. Archived from the original on May 1, 2018. Retrieved April 30,
2018.
o ^ Churchwell 2004, p. 63 for West; Banner 2012, p. 325.
o ^ Banner 2012, pp. 170–171.
o ^ Banner 2012, p. 201.
o ^ Dyer 1986, p. 21; Dyer 1991, p. 58.
o ^ Dyer 1986, pp. 29–39.
o ^ Haskell 1991, p. 256; Spoto 2001, p. 249.
o ^
Dyer 1986, p. 39; Churchwell 2004, p. 82.
o ^ Dyer 1986, p. 57, quoting Haskell.
o ^ Dyer 1986, p. 40.
o ^ Banner 2012, pp. 254–256.
o ^ Banner 2012, p. 184.
o ^ Banner 2012, p. 8.
o ^ Banner 2012, pp. 239–240.
o ^ Handyside 2010, pp.
1–16.
o ^ Handyside 2010, p. 2, quoting Mulvey.
o ^ Spoto 2001, p. 396; Belton 2005, p. 103.
o ^ Spoto 2001, p. 396.
o ^ Solomon 2010, p. 110.
o ^ “From the archives: Sex Symbol Diana Dors Dies at 52”. The Guardian. May 5, 1964. Archived
from the original on September 25, 2015. Retrieved September 11, 2015.
o ^ Chapman 2001, pp. 542–543.
o ^ Frail, T.A. (November 17, 2014). “Meet the 100 Most Significant Americans of All Time”. Smithsonian Institution. Archived from the original
on March 21, 2019. Retrieved September 10, 2015.
o ^ “Beatles Named ‘Icons of Century'”. BBC. October 16, 2005. Archived from the original on March 6, 2016. Retrieved September 10, 2015.
o ^ “The 200 Greatest Pop Culture Icons Complete Ranked
List” (Press release). VH1. Archived from the original on May 11, 2016. Retrieved September 10, 2015 – via PR Newswire.
o ^ Churchwell 2004, pp. 12–15; Hamscha 2013, pp. 119–129.
o ^ Schneider, Michel (November 16, 2011). “Michel Schneider’s
Top 10 Books About Marilyn Monroe”. The Guardian. Archived from the original on September 28, 2015. Retrieved August 30, 2015.
o ^ Rudnick, Paul (June 14, 1999). “The Blond Marilyn Monroe”. Time. Archived from the original on January 6, 2016. Retrieved
August 30, 2015.
o ^ Churchwell 2004, pp. 33, 40.
o ^ Jump up to:a b c Churchwell, Sarah (January 9, 2015). “Max Factor Can’t Claim Credit for Marilyn Monroe”. The Guardian. Archived from the original on August 25, 2015. Retrieved August 30,
2015.
o ^ Fuller & Lloyd 1983, p. 309; Marcus 2004, pp. 17–19, 309; Churchwell 2004, pp. 21–42.
o ^ Churchwell 2004, p. 8.
o ^ Stromberg, Joseph (August 5, 2011). “Remembering Marilyn Monroe”. Smithsonian Institution. Archived from the original
on September 28, 2015. Retrieved September 10, 2015.
o ^ Wild, Mary (May 29, 2015). “Marilyn: The Icon”. British Film Institute. Archived from the original on September 6, 2015. Retrieved September 10, 2015.
o ^ Fuller & Lloyd 1983, p. 309; Steinem
& Barris 1987, pp. 13–15; Churchwell 2004, p. 8.
o ^ Jump up to:a b “Happy Birthday, Marilyn”. The Guardian. May 29, 2001. Archived from the original on June 11, 2015. Retrieved August 30, 2015.
o ^ Jump up to:a b Rose 2014, pp. 100–137.
o ^
Haskell 1991, pp. 254–265.
o ^ Banner, Lois (July 21, 2012). “Marilyn Monroe: Proto-feminist?”. The Guardian. Archived from the original on November 21, 2015. Retrieved November 7, 2015.
o ^ Steinem & Barris 1987, pp. 15–23; Churchwell 2004, pp.
27–28.
o ^ Haskell, Molly (November 22, 1998). “Engineering an Icon”. The New York Times. Archived from the original on March 7, 2016. Retrieved August 30, 2015.
o ^ Jump up to:a b Hamscha 2013, pp. 119–129.
o ^ Banner, Lois (August 5, 2012).
“Marilyn Monroe, the Eternal Shape Shifter”. Los Angeles Times. Archived from the original on May 17, 2019. Retrieved August 30, 2015.
o ^ Thomson, David (August 6, 2012). “The Inscrutable Life and Death of Marilyn Monroe”. New Republic. Archived
from the original on December 10, 2015. Retrieved August 30, 2015.
o ^ Kael, Pauline (July 22, 1973). “Marilyn: A Rip-Off With Genius”. The New York Times. Archived from the original on March 25, 2016. Retrieved August 30, 2015.
o ^ Bradshaw,
Peter (May 9, 2012). “Cannes and the Magic of Marilyn Monroe”. The Guardian. Archived from the original on September 23, 2015. Retrieved August 30, 2015.
o ^ Ebert, Roger (January 9, 2000). “Some Like It Hot”. Roger Ebert.com. Archived from the
original on July 25, 2016. Retrieved July 11, 2016.
o ^ Rosenbaum, Jonathan (December 1, 2005). “Marilyn Monroe’s Brains”. Chicago Reader. Archived from the original on September 5, 2015. Retrieved August 30, 2015.
• Banner, Lois (2012). Marilyn:
The Passion and the Paradox. Bloomsbury. ISBN 978-1-4088-3133-5.
• Belton, John (2005). American Cinema, American Culture. McGraw Hill. ISBN 978-0-07-288627-6.
• Chapman, Gary (2001). “Marilyn Monroe”. In Browne, Ray B.; Browne, Pat (eds.). The
Guide to United States Popular Culture. University of Wisconsin Press. ISBN 978-0-87972-821-2.
• Churchwell, Sarah (2004). The Many Lives of Marilyn Monroe. Granta Books. ISBN 978-0-312-42565-4.
• Dyer, Richard (1991) [1979]. “Charisma”. In Gledhill,
Christine (ed.). Stardom: Industry of Desire. Routledge. ISBN 978-0-415-05217-7.
• ——— (1986). Heavenly Bodies: Film Stars and Society. Routledge. ISBN 978-0-415-31026-0.
• Fuller, Graham; Lloyd, Ann, eds. (1983). Illustrated Who’s Who of the
Cinema. Macmillan. ISBN 978-0-02-923450-1.
• Hall, Susan G. (2006). American Icons: An Encyclopedia of the People, Places, and Things that Have Shaped Our Culture. Greenwood Publishing Group. ISBN 978-0-275-98429-8.
• Hamscha, Susanne (2013) Photo
credit: https://www.flickr.com/photos/prayitnophotography/4248222578/’]