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*Teo argues that he is just as literary as he is visual (poetic dialogue) - teo 88
{{Use mdy dates|date=June 2011}}
*"pays as much attention to the word as as to the image" - teo 163
{{Infobox person
*"the time between gunshots is filled in, lengthened, allowing for boredom, rumination (in his films, characters trade voice-overs like kicking a ball around), a sense of real time he effects by repetition or focusing the camera on what appears to be a dormant scene. In other words, he puts in what other people leave out" - Bomb
| name = Katharine Hepburn
| image = Katharine_Hepburn_promo_pic.jpg
| caption = A promotional shot of Hepburn, c. 1940.
| alt =
| birth_date = {{Birth date|1907|5|12|mf=y}}
| birth_place = ], Connecticut, U.S.
| death_date = {{Death date and age|mf=yes|2003|6|29|1907|5|12}}
| death_place = ], ], Connecticut, U.S.
| occupation = Actress
| years_active = 1928–94
| birth_name = {{nowrap|Katharine Houghton Hepburn}}
| spouse = ]<br />(1928–34)
| partner = ]<br />(1941–67, his death)
| religion = ]
}}


;Themes
'''Katharine Houghton Hepburn''' (May 12, 1907{{ndash}}June 29, 2003) was an American actress of film, stage, and television. In a career that spanned eight decades, she was adept in both dramatic and comedic roles. In 1999, she was ranked by the ] as the ] in the history of American cinema.<ref>{{Cite web|author=American Film Institute |url=http://www.afi.com/100years/stars.aspx |title=AFI's 100 YEARS...100 STARS |publisher=Afi.com |date=June 16, 1999 |accessdate=October 17, 2009}}</ref>
*"recurrent themes of time, love and loss" - Brun xv
*Perennial themes are: "the painful contradictions of love; the persistence of longing, memory, and regret; and the hopelessness of ever recapturing, modifying, or getting rid of the past." - brun 105
*"refusal and acceptance, loss and gain, forgetfulness and remembrance constantly appear" - cui 4
*"The psychology in the films is rarely deep, but that isn’t the point." - Bomb, in 1998, but then...
*Brunette argues he has matured as a filmmaker: "these ephemeral techniques" have "been supplemented by a powerful artistic vision and a new depth of feeling" (in e.g. Happy Together & In the Mood) - Brun xiii
*WKW quote: "Times goes by, people change ... but there's one thing that doesn't ever change, and that's the desire people have to communicate with each other." brun 53
*"Why am I sitting here having this interview with you instead of somebody else? Why should we meet here? This is about chances, and I think all my films are about chances." WKW considers this very Chinese. - Bomb
*Shamelessly romantic, but not in a cheesy way. - Bomb
*existentialist - Zhang 368
*In DoBW, "the relentless passage of time, which is sometimes evoked almost to the point of parody": loud ticking of a clock, hammering of rain (and more) -Brun 19
**ItMFL features lots of clocks - teo 128
*"typically Wongian narrative time markers" (characters count down minutes, hours, etc) - brun 56
*WKW: "memory is actually about the sense of loss—always an important element in drama." - Brun 20
*Studies of modernity - Noc 342
*"Wong Kar-Wai is the most modern of filmmakers, dealing with contemporary concerns like cultural dislocation and personal isolation, set against the backdrop of dizzyingly fast or disorientating worlds." - film4
*Focus on "spacial dislocation", seeing things from an immigrant's perspective - Noc 337
*space, time, loneliness, dislocation - Noc 341*alienation - teo 93; "people living in a dense urban environment, where everyone is physically close to each other but mentally apart" - teo 85
**monologues can enhance the sense of the characters' alienation from each other - brun 74
*"the unforseen effects of large-scale migration and alienation" - string 397
*political, post-colonial stuff - brun 52;
*Themes of exile first becomes major in Happy Together, but an element in other early films - teo 98, 101
*Time and space major/consistent themes - Noc 342
*use of time - teo 63
*"the heavy weight of time" - Brun 33
*past and memory - teo 70
*Scott Feinberg sees main themes as regret and longing. WKW says "I would say longing more than regrets. I think longing is something that keeps us going ... my films are always about hope -- longing for something better." - THR
*WKW said that all his films are about rejection or fear of rejection - Teo 65


;Characters
Raised in ] by wealthy parents, Hepburn turned to acting after graduation from ]. Favorable reviews of her work on ] brought her to the attention of ]. Her feature debut, 1932's '']'', was a huge success and turned her into an instant star. Within eighteen months, she had won an ] for '']''. This initial success, however, was followed by a series of flops. Her brash personality and unconventional behavior (such as wearing trousers) began to turn audiences away, and in time she was labeled "Box Office Poison". By the end of the 1930s, her career was in serious jeopardy. Hepburn masterminded her own comeback, buying the film rights to '']'' and only selling them on the condition that she be the star. The movie was a huge hit, and Hepburn would be in high demand from then on. Alongside her movie career, she regularly appeared on the stage, including numerous ] performances and a starring role in a Broadway musical.
*"character prevails over story" - Teo 35
*His films show life from a "marginal perspective". "It is almost as if is challenging himself to find the human connection between the ordinary citizens in the audience and the extreme outsiders he has put on screen." - Noc 343. Uses voiceover narration to help us emphasise - Noc 342.
*from ATGB to FA, his characters are "chronically pathological" - teo 89
*"he loves his characters and builds his films from that foundation. His men are cool, his women kooky and beautiful." - Bomb
*Critic Bordwell says "Almost devoid of irony, Wong's films, like classic rock, take seriously all the crushes, the posturing, the stubborn capriciousness of young angst." Brunelle says that the angst of his films is universal of any age. - Brun 5
*DoBW, CE and FA deal with "ultracool, alienated Hong Kong twentysomething heterosexuals" - Brun xvii
*"malevolent and amoral protagonists" - Bet 23
*"charming character observations" - Zhang 367
*"sensitive dissection of fragmented and broken lives" - Zhang 368
*lonely and isolated - brun 47, 53
*"Wong's characters are like zombies moving around somnambulistically" - Teo 42
*Monologues are one of his trademarks - teo 50
*Narration: "poetic", multiple characters is unusual, "Rather than fragmenting the film's effect, however, they connect these otherwise disparate figures while articulating the film's themes" - Brun 27
**Important element of WKW films (lack of voice over in ATGB makes it feel less typical) _Chui 12
**Bordwell says narration " out across sequences to create links and symmetries, recollections and prefigurations" - Brun 27
*Fragments of character - Dis 42


Throughout her career, Hepburn co-starred with screen legends such as ], ], ], ], ] and ]. Her most famous pairing was with ], with whom she made nine pictures over a 25 year period (the longest-running acting partnership the movie business has ever known)<ref>Kanin (1971), p. 81.</ref> and had an enduring love affair.


{{Reflist|30em}}
Hepburn won more ] than any other actor or actress, with four wins out of 12 nominations. She also won an ] in 1976 for her lead role in '']'', and was nominated for four other Emmys, two ]s and eight ].

==Early life and background==
]
Katharine Hepburn was born in ], the daughter of ] ] (1878–1951), and Dr. Thomas Norval Hepburn (1879–1962), a successful ] and surgeon from ] with ] roots. The second of six children, her siblings were Thomas Houghton Hepburn (1905–21), Richard Houghton Hepburn (1911–2000), Robert Houghton Hepburn (1913–2007), Marion Houghton Hepburn Grant (1918–86), and Margaret Houghton Hepburn Perry (1920–2006). Hepburn's genealogy has been traced through the Whittier line back to King ] (a great grandson of King ] and Queen ], whom she played in ''The Lion in Winter''). She is also listed as one of the descendants of the Mayflower compact author ].<ref></ref> In 1910, the Hepburn family lived at 133 Hawthorne Street in Hartford. Eight years later, they moved to 352 Laurel Street, also in Hartford. By the time of Marion's birth, the family had moved to a large eight bedroom house at 201 Bloomfield Avenue in ].<ref>Hepburn (1991), p. 52.</ref>

Hepburn idolised her parents enormously, describing them as "perfect parents",<ref>Hepburn (1991), p. 27.</ref> and often credited them with giving her the belief and conditions with which she was able to make herself a success. Her mother was an active ], who taught the young Katharine never to give in, to be independent and fight for your future, and that women are as good as men.<ref>Hepburn (1991), p. 14.</ref> As a child, Hepburn joined her mother - the head of the Connecticut Woman Suffrage Association - on a number of 'Votes For Women' demonstrations.<ref>Hepburn (1991), p. 19.</ref> Her father, meanwhile, was pivitol in establishing the New England Social Hygiene Association, which tried to educate the general public about venereal disease.<ref>Hepbun (1991), p. 20.</ref> Hepburn said she realised from a young age that she was the product of two very remarkable parents,<ref>Hepburn (1991), p. 21.</ref> and never forgot her luck at "being born out of love and to live in an atmosphere of warmth and interest."<ref>Hepburn (1991), p. 24.</ref> She was close with her siblings her whole life, and said "I could not have been me without them."<ref>Hepburn (1991), p. 30.</ref>

Hepburn was a tomboy as a child, and would shave her head and call herself Jimmy.<ref Name="Time"/><ref>Hepburn (1991), p. 39.</ref> She got a thrill out of breaking into people's houses.<ref>Hepburn (1991), pp. 62-64.</ref> Her father was a very good athlete,<ref>Hepburn (1991), p. 32.</ref> and taught and encouraged the children to swim, dive, ride, wrestle, learn gymnastics and play golf and tennis.<ref>Hepburn (1991), p. 25; p. 43.</ref> Golf became a passion - she took daily lessons, could hit the ball a mile and score in the low eighties,<ref>Hepburn (1991), p. 50.</ref> and reached the semifinal of the Connecticut Young Women's Golf Championship. Hepburn loved swimming, and took daily dips in the cold waters that fronted her bayfront ] home, generally believing that "the bitterer the medicine, the better it was for you."<ref name="Kate the Great">{{cite web|last=Friedman|first=F.|title=Kate The Great - The Gal Who Loves To Be Hated|url=http://www.brisbin.net/Tracy-Hepburn/Articles/Hepburn/Historical/fullsize/Kate_1957.pdf|accessdate=August 23, 2011|year=1957}}</ref> As a child she also adored movies, and would go to the movies every saturday night.<ref>Hepburn (1991), p. 51.</ref>

On April 3, 1921, while visiting friends in ], Hepburn found her adored older brother Tom dead from an apparent suicide.<ref>Hepburn (1991), p. 44.</ref> Many reports have said Tom had hanged himself. According to the coroner's report, Tom had tied one end of a sheet around his neck, the other to a post, and had effectively strangled himself. The Hepburn family denied it was suicide and insisted Tom's death must have been an experiment gone wrong.<ref>Hepburn (1991), p. 48.</ref> Fourteen-year-old Katharine was devastated. She shied away from other children, dropped out of Oxford School (now ]), and began receiving private tutoring.<ref>Hepburn (1991), p. 49.</ref> For many years, she used Tom's birthday (November 8) as her own. It was not until her 1991 autobiography, ''Me: Stories of My Life,'' that Hepburn revealed her true birth date of May 12, 1907.

Hepburn gained a place at ], her mother's alma mater. It was the first time she had been in school for several years, and she was self-conscious and uncomfortable with her classmates. She would purposely wake up early to avoid them and never went to the dinner hall.<ref>Hepburn (1991), p. 69.</ref> By her second year she had formed a group of friends, and found it easier to function.<ref>Hepburn (1991), p. 70.</ref> Hepburn was drawn to acting but roles in the school's plays were conditional on good grades. After initial struggles with her studies, she achieved her goals.<ref Name="Time"/> She began acting in plays, such as ''The Truth about Blayds'', ''The Cradle Song'' and the starring role in a big production of '']''.<ref>Hepburn (1991), pp. 70-71.</ref> She was once suspended for breaking curfew and smoking in her room.<ref>Hepburn (1991), p. 74.</ref> Decades later, Hepburn also confirmed that after dark, she would go swimming naked in the college's Cloisters Fountain. She received a degree in history and philosophy in 1928,<ref></ref> the same year she made her debut on Broadway.

==Career==
===Broadway (1928 - 1932)===
Hepburn left Bryn Mawr filled with ambition, determined to become an actress.<ref>Hepburn (1991), p. 78.</ref><ref Name="Time"/> A friend put her in touch with Edwin Knopf, who ran a successful theatre company in ]. She went to see Knopf in person, taking her father's advice that 'if you want to get something - don't write, don't telephone, be there yourself'.<ref>Hepburn (1991), p. 76.</ref> Following an audition, Hepburn was cast in ''The Czarina'' with ]. She was very touched when a fellow cast member allowed her to have the best costume, believing Hepburn deserved it because she was going to be a big star, and never forgot this act of kindness.<ref>Hepburn (1991), p. 79.</ref> Hepburn received good notices for her small role, with the ''Printed Word'' describing her as "arresting."<ref name="Hep p 81">Hepburn (1991), p.81.</ref> She was given a part in the next week's show, ''The Torch Bearers'', but here Hepburn was less accomplished. She struggled to control her voice, which would get high-pitched when she was nervous. She left Baltimore after only two weeks to go and study voice with Frances Robinson-Duff in New York City.<ref name="Hep p 81"/>

The Knopf Stock Company decided to try a New York production of '']'', with ], and called for Hepburn to be the understudy to the leading lady. She had only been in the theatre for about four weeks, but Hepburn was confident in her abilities. One night during rehearsals, she was asked to read a scene. The leading lady was fired and replaced with Hepburn.<ref>Hepburn (1991), p. 95.</ref> On opening night, the terrified Hepburn turned up late and spoke her lines too high and fast to be comprehensible.<ref>Hepburn (1991), p. 97.</ref> She was promptly fired, and the original leading lady rehired. Undeterred, Hepburn joined forces with producer ], and accepted the role of a schoolgirl in ''These Days''. The play opened in ], then moved to the ] on Broadway. Hepburn was praised, but reviews for the show were poor and it quickly closed.<ref>Hepburn (1991), pp. 101-102.</ref> Within days, Hopkin hired Hepburn as the understudy to Hope Williams in ]'s play '']''. It was a big New York hit.<ref>Hepburn (1991), p. 102.</ref> But after only two weeks, Hepburn quit to marry Ludlow Odgen Smith and they began looking for a house in ]. It took a vey short time for Hepburn to miss the work, and she asked Hopkins for her job back.<ref>Hepburn (1991), p. 103.</ref> He accepted, and she held the role for six months.<ref Name="Time"/>

In 1929, Hepburn turned down a role in ''Meteor'' with the ] to play the lead in '']''. She thought the role was perfect and could not resist it.<ref>Hepburn (1991), p. 109.</ref> But she was again fired for problems with her voice.<ref Name="Time"/> Hepburn refused to wallow, went straight back to the Guild and took an understudy role for minimum pay in '']''. By the spring of 1930, Hepburn felt she was getting nowhere. She went to Stockbridge to Alexander Kirkland & Strickland Company, to play whatever turned up.<ref>Hepburn (1991), p. 111.</ref> The first play was ''The Admirable Chrichton'', then ''The Romantic Young Lady''. Hepburn felt she was wasting her time and left.<ref>Hepburn (1991), p. 112.</ref> She continued to study with Duff, awaiting her next offer. In early 1931 she was cast in ''Art and Mrs. Bottle''. The playwright Ben Levy disliked her appearance, however, and she was temporarily let go. Every one else in the company liked Hepburn, and she was rehired. They opened, and Hepburn was a hit with both the audiences and critics.<ref name="Hep p 114">Hepburn (1991), p. 114.</ref>

With a stock company in ], Connecticut, Hepburn appeared in '']'' and '']''. Hepburn learned a great deal here.<ref name="Hep p 114"/> During the summer of 1931, she was requested by Philip Barry to appear in his new play, '']'', alongside ]. They began rehearsals in November, with Hepburn sure this was the role to make her a star.<ref name="Hep p 118"/> But Howard took a disliking to her, and before long she was fired yet again. When asking Barry why this was, he responded, "Well, to be brutally frank, you weren't very good."<ref name="Hep p 118">Hepburn (1991), p. 118.</ref> This threw the self-assured Hepburn, but she refused to give up. She accepted a small role in '']'', with ], but as rehearsals began she received an offer to read for a Broadway version of ''The Warrior's Husband''. She got the part.<ref>Hepburn (1991), p. 120.</ref>

''The Warrior's Husband'' proved to be Hepburn's break-out role. It was a greek fable about the love affair between ] and ], with Hepburn playing the lead. The play opened in March 1932 at the ], New York. Hepburn's entrance was down a narrow stairway with a stag over her shoulder, wearning a very short silver tunic.<ref name="Hep p 124">Hepburn (1991), p. 124.</ref> The show ran for six months, and Hepburn received excellent reviews.<ref Name="Time"/> Agents from Hollywood began calling.

===Hollywood (1932 - 1938)===
]'' (1932).]]
A scout for ] spotted Hepburn's appearance in ''The Warrior's Husband'', and asked her to test for the part of Sydney Fairfield in the upcoming ] film '']''. Hepburn was unhappy with her test scene, and asked if she could use her own material from ''Holiday'', which she did. She also did a test for ].<ref>Hepburn (1991), p. 128.</ref> Knowing that she was popular, Hepburn demanded $1,500 per week for film work (at the time she was earning $75 per week)<ref>Hepburn (1991), p. 124</ref>. This was a huge amount for a first role, but after seeing her screen test director ] became convinced Hepburn was perfect for the role of Sydney and encouraged the studio to agree to her demands. They signed Hepburn to a temporary contract with a three week guarantee.<ref>Hepburn (1991), p. 129.</ref><ref Name="Time"/> Hepburn arrived in California on July 4th, 1932. She starred in the film alongside noted actors ] and ]. At 5 feet, 7&nbsp;inches (1.71 m), she was one of the tallest leading ladies of the day.<ref>{{Cite web|url=http://community.seattletimes.nwsource.com/archive/?date=19970713&slug=2549179 |title=An affair to remember |publisher=Seattle Times |date|July 13, 1997|accessdate=August 22, 2011}}</ref> ] became a lifetime friend and colleague: they would make a total of eleven films together.

The reception for ''A Bill of Divorcement'' was overwhelmingly positive, and Hepburn received raving reviews. ] described her performance as "exceptionally fine...Miss Hepburn's characterization is one of the finest seen on the screen".<ref>{{cite web|last=Hall|first=Mordaunt|title=Movie Review - A Bill of Divorcement|url=http://movies.nytimes.com/movie/review?res=9801E7D81331E633A25750C0A9669D946394D6CF|publisher=The New York Times|accessdate=August 25, 2011|date=October 3, 1932}}</ref> ] wrote, "Standout here is the smash impression made by Katharine Hepburn in her first picture assignment. She has a vital something that sets her apart from the picture galaxy."<ref>{{cite web|title=A Bill of Divorcement Review|url=http://www.variety.com/review/VE1117789265/|publisher=Variety|accessdate=August 25, 2011}}</ref> RKO signed Hepburn to a contract. Her second film was '']'' (1933), the story of an aviatrix and her affair with a famous man. The picture was not very successful.<ref>Hepburn (1991), p. 145.</ref> But for her next feature, '']'', Hepburn won an ]. It was the story of an aspiring actress, and Hepburn had known the role was perfect for her as soon as she read the script, insisting to producer ] that she had to do it.<ref name="Hep p 147">Hepburn (1991), p. 147.</ref> That same year, Hepburn played Jo in the ] '']''. It broke box-office records, and Hepburn won the Best Actress award at the ]. The film was one of Hepburn's personal favourites.<ref name="Hep p 147"/>

The start to Hepburn's movie career had been an enormous success. One journalist predicted that "Someday...Katharine Hepburn will be our greatest actress."<ref>{{cite web|last=Rogers St. John|first=Adella|title=The Private Life of Katharine Hepburn|url=http://www.brisbin.net/Tracy-Hepburn/Articles/Hepburn/Historical/fullsize/liberty.pdf|publisher=Liberty|accessdate=August 25, 2011|year=1934}}</ref> Intoxicated by this success, Hepburn - who had insisted on a theatre clause in her contract - wanted to return to the stage. Her old friend ], one of the most successful theatre producers of the 1920s, asked her to appear in '']''. Hepburn agreed to this, thinking she would be doing Harris a favour.<ref>Hepburn (1991), p. 157.</ref> The play opened in Washington. Harris' poor direction had erroded Hepburn's confidence, and she struggled with the performance.<ref>Hepburn, p. 163.</ref> Nevertheless, Harris moved the play to New York without further rehearsal and Hepburn began to panic. The play was a disaster, and Hepburn was roasted by the critics.<ref name="Hep p 166">Hepburn (1991), p. 166.</ref> ] quipped, "Go to the ] and see Katharine Hepburn run the gamut of emotions from A to B."<ref Name="Time">{{cite web |url=http://www.time.com/time/magazine/article/0,9171,816908,00.html|title=Cinema: The Hepburn Story |date = September 01, 1952|publisher= Time |accessdate=August 21, 2011}}</ref> The actress had already signed a ten week contract, and had to endure the embarrassment of rapidly declining box office sales.<ref name="Hep p 166"/> She worked hard to improve the performance, which she did, but when Jed Harris decided to take the show to Chicago, Hepburn refused to let it happen. She paid Harris every penny she had in the bank, $13,675, to close the production instead.<ref>Hepburn (1991), p. 169.</ref> Hepburn claimed this experience was important in teaching her to take responsibilty for her career.<ref>Hepburn (1991), p. 4.</ref>

Back in Hollywood, Hepburn struggled to find memorable roles. '']'' (1934), '']'' (1934) and '']'' (1935) made little impact. Meanwhile, her non-conformist, anti-Hollywood behavior off screen put her at odds with studio executives. During a time when studios managed every aspect of a star's career, Hepburn's self-possession was viewed as a liability. She had one success in 1935 with '']'', the story of a girl's desperation to climb the social ladder. It was directed by ], and gave Hepburn her second Oscar nomination. But this was followed by four more forgettable pictures. '']'' (1935) was her first pairing with ], but was a disaster at the box office.<ref>Hepburn (1991), p. 232.</ref> She played ] in ]'s '']'' (1936), but the project was also a failure. Around this time, Hepburn vied for the role of Scarlett O'Hara in '']'', but was deemed unsympathetic for the part by RKO producer ].<ref>Brown, Ellen F. and John Wiley. ''Margaret Mitchell's Gone With the Wind: A Bestseller's Odyssey from Atlanta to Hollywood''. Lanham: Taylor Trade, 2011. ISBN 978-1589795679</ref> '']'' (1936) and '']'' (1937) both had a period setting, and flopped at the box office.

Although these films were regarded as underwhelming by critics, it was also clear that problems were arrising from Hepburn's attitude. Outspoken and intellectual with an acerbic tongue, she defied the era's conventions, preferring to wear pantsuits and minimal makeup. She also had a famously difficult relationship with the press, turning down most interviews, which did not help her image with the public. Hepburn could also be prickly with fans - though she relented as she aged, early in her career Hepburn often denied requests for autographs. On movie sets, she was eager to learn the technicalities of the business, and befriended many crew members. Even so, her refusal to sign autographs and answer personal questions earned her the nickname "Katharine of Arrogance" (an allusion to ]).<ref name="obit">{{Cite news| first = Ann| last = Oldenburg| title = Film icon Katharine Hepburn dies at 96| url = http://www.usatoday.com/life/2003-06-30-hepburn-cover_x.htm|work=USA Today| page = 1A| date = June 30, 2003}}</ref> The extent of her unpopularity was shown when the release of critically praised movies still failed to bring audiences.

] in the screwball comedy '']'' (1938).]]'']'' (1937) paired Hepburn with ], and she was praised for a role that held parallels to her own life.<ref>Hepburn (1991), p. 238.</ref> Next came the ] '']'' (1938), co-staring Cary Grant and directed by ]. It was popular with critics, and Hepburn was praised for her comedic talents, but it did not do well at the box office.<ref>Hepburn (1991), p. 240.</ref> It has since grown in stature to be considered ], often called the definitive screwball comedy. It was the last picture Hepburn did at RKO. By this point she had been voted "box office poison" in a poll taken by movie theatre owners.<ref name="oregon">{{Cite news| first = Ted| last = Mahar| title = Movie Review: The Hepburn Story, Katharine Hepburn's Career is Back in the Spotlight | work=The Oregonian | page = 46| date = March 4, 2005}}</ref> RKO, who were anxious to be rid of her, offered Hepburn a role in a film called ''Mother Carey's Chickens''. She turned it down, knowing it would be a horrible role, and instead opted to buy herself out of her contract for $75,000.<ref>Hepburn (1991), p. 201.</ref> She signed on to do '']'' (1938) with ], another comedy with Grant. Hepburn knew it was a good film, but it was too late to compensate for the previous flops. The next script she received, from ], offered a salary of only $10,000 (down from $150,000 for ''Holiday'') - a true sign of the state of her career.<ref name="Hep p 202">Hepburn (1991), p. 202.</ref>

===Revival (1938 - 1951)===
] in ''The Philadelphia Story'' (1940).]]Hepburn decided she needed to create her own comeback vehicle. She asked friend ], soon after she had starred in ] of his play ''Holiday'', to write a play especially for her.{{Citation needed|date=October 2010}} The result was '']''. The play opened in New York in 1938 and was an instant hit, running for 417 performances.<ref>Hepburn (1991), p. 242.</ref><ref Name="Time"/> Hepburn invested financially in the play and, with the help of ex-lover ], acquired the ] and sold them to ], ensuring that she be the star. As part of the deal she also received the director of her choice, ], but the co-stars she wanted, ] and ], were both unavailable. ] promised her ] and $150,000 "for anyone else you want or can get."<ref>Hepburn (1991), p. 217.</ref> Katharine chose her friend and previous co-star, ]. The ] was one of the biggest hits of 1940, breaking all records at the Radio City Music Hall.<ref Name="Time"/> For her role as spoiled but misunderstood socialite Tracy Lord, Hepburn was nominated for her third ] and won the ] award. Her career was revived almost overnight.

Hepburn's was also responsible for the development of her next project, '']'' (1942). The idea for the film was proposed to her by friend ]. Hepburn then passed the outline on to ] at MGM and said the price was $250,000 (half for her, half for the script).<ref name="Hep p 400">Hepbun (1991), p. 400.</ref> He liked it and agreed to make the movie.<ref>Hepburn (1991), p. 243.</ref> Hepburn contributed significantly to the script - reading it, suggesting cuts and word changes, and generally providing helpful enthusisasm for the project.<ref name="Kanin p 81">Kanin (1971), p. 81.</ref> Spencer Tracy was cast as her co-star and ] directed. In preparation, Tracy and Hepburn studied each other's films extensively.<ref Name="Time"/> Tracy was initially wary of Katharine, thinking she had dirty fingernails and was probably a lesbian.<ref name="Hep p 400"/> But the pair soon established a connection, and would go on to make a further eight films together. ''Woman of the Year'' was another success for Hepburn, and she received her forth Academy Award nomination for playing independent career-woman Tess Harding. The film set the template for the 'battle of the sexes' theme that ran through much of the Tracy-Hepburn oeuvre. Forty years later it was turned into a ] with Hepburn's friend ].

]'' (1949).]]Hepburn returned to New York to appear in another Philip Barry play, ''Without Love''. Her next film was another with Tracy - this time a dark mystery, '']'' (1943). She also made a cameo appearance, playing herself, in '']'' (1943). Following this she played a Chinese peasant in the drama '']'' (1944), and then reunited with Tracy for the film version of '']'' (1945). '']'' (1946), a ] with ] and ], then followed. In 1947 she portrayed ] in '']''. There were two more pictures with Tracy in 1947 and 1948, '']'', a period drama, and ]'s political drama '']''.

The subsequent pictures with Tracy had failed to repeat the success of ''Woman of the Year''. But the 1949 film '']'', their sixth pairing, was a return to similar terriory - written specifically for them by friends of the couple, ] and ] - and Hepburn described it as "perfect for and me".<ref>Hepburn (1991), p. 246.</ref> The duo played married lawyers who end up opposing each other in court, and the film was a big hit. Critic ] was full of praise for the film, and noted Tracy and Hepburn's "perfect compatability".<ref>{{cite web|last=Crowther|first=Bosley|title='Adam's Rib,' 'Tight Little Island,' 'Amazing Mr. Beecham' Among Movie Newcomers|publisher=The New York Times|accessdate=August 25, 2011|url=http://movies.nytimes.com/movie/review?res=9E02E5DC1F3BE23BBC4E51DFB4678382659EDE&partner=Rotten%20Tomatoes|date=December 26, 1949}}</ref> The following year, Hepburn made her first venture into Shakespeare, playing Rosalind in '']''. The production began at the ] in New York, where it was virtually sold out for 148 performances, and then toured the United States.<ref>Hepburn (1991), p. 267.</ref>

One of Hepburn's most famous roles was that of Rose Sayer in '']'' (1951), a prim spinster missionary in Africa (around the time of ]), who convinces ]'s character, a hard-drinking riverboat captain, to use his boat to destroy a German ship. ''The African Queen'' was shot mostly on location in ], where almost all the cast and crew suffered from ] and ], except director ] and Bogart, neither of whom ever drank any water. Hepburn disapproved of the two men's heavy alcohol consumption and drank nothing but water to spite them. She wound up so sick with dysentery that, even months after she returned home, the actress was still ill. The film gave Hepburn her fifth Best Actress nomination, but she lost to ] for '']''. The trip was so significant to Hepburn that later in life she wrote a book about filming the movie: ''The Making of The African Queen: Or, How I Went to Africa With Bogart, Bacall and Huston and Almost Lost My Mind'', which made her a best-selling author at the age of 77.

===Mid career (1952 - 1968)===
Hepburn's next project after ''The African Queen'' was the sports comedy '']'' (1952). It was the second film written specifically as a Tracy-Hepburn vehicle by the husband and wife team of Garson Kanin and Ruth Gordon. It occurred to Kanin, a close friend of the couple, that Hepburn's audience were missing an important aspect of her personality - her athleticism.<ref name="Kanin p 163">Kanin (1971), p. 169.</ref> Thus the character of Pat Pemberton was written - a talented sports woman who is coached by hard-boiled promoter Mike Conovan (Tracy). Hepburn performed all the sports footage in the film herself, and was nominated for a ]. The same year, she appeared in London's ] in ]'s ''The Millionairess''. She was an enormous success. The production moved to New York for a further ten weeks, and the ] sold out for the whole run.<ref name="Kanin p 163"/><ref name="Hep p 270">Hepburn (1991), p. 270.</ref> Hepburn would later try hard to get the play adapted into a film, to be written and directed by ], but the project was turned down.<ref>Kanin (1971), p. 163.</ref>

] in ]'s '']'' (1955).]]In 1955, Hepburn toured Australia for six months with the ] theatre company. She played Portia in '']'', Katherina in '']'' and Isabella in '']''. It was a great success.<ref name="Hep p 270"/> The same year, Hepburn starred in ]'s romantic drama '']''. It was loosely based on the play '']'' by ], and was filmed entirely on location in ]. Hepburn played a lonely spinster who has a love affair with ]. She described it as "a very emotional part", and found it fascinating to work with Lean.<ref>Hepburn (1991), p. 253.</ref> Hepburn performed the stunt where she falls into a canal herself, and developed a chronic eye infection as a result. The performance earned her another Academy Award nomination. She was also nominated the following year, again for playing a lonely women empowered by a love affair, for her work opposite ] in '']'' (1956). Less success that year came from '']'' (1956), a reworking of the classic comedy '']'', with ]. The film was poorly received and has been called Hepburn's worst performance.<ref name="Kate the Great"/>

In 1957 she returned to Shakespeare. Appearing in ], she repeated her Portia in ''The Merchant of Venice'' and played Beatrice in '']''. For her next two films, the theme of playing spinsters - which had proven successful for Hepburn - continued. Firstly in '']'' (1957), an office-based comedy with Spencer Tracy, and then in an adaptation of ]' '']'' (1959) with ] and ]. Her work as Violet Venable gave Hepburn her eighth Oscar nomination. Hepburn reappeared in Stratford in 1960 to play Viola in '']'' and Cleopatra in '']'' (with ] playing Antony). Theatre enthusiast Garson Kanin believed she was one of the few actresses to succeed completely as Cleopatra.<ref>Kanin (1971), p. 221.</ref> Hepburn herself was proud of the role.<ref name="Hep p 270"/> Her repertoire was further improved when she appeared in ]'s film version of ]'s '']'' (1962). The complex role of ] addicted Mary Tyrone earned Hepburn an Oscar nomination and a Best Actress award at ].

] in '']'' (1968).]]At this point, Hepburn took a break in her career to care for the sickly Spencer Tracy. She would not appear in a film again until 1967's '']''. It was a triumphant return for Hepburn, as she received her second Academy Award for Best Actress, thirty-four years after winning her first. The film dealt with ], with Hepburn's own neice, ], playing her daughter who wants to marry a black man (]). It was the final Tracy-Hepburn outing: Tracy died just three weeks after completion. Hepburn's next role was ] in '']'' (1968). She read extensively in preparation for the role, where she starred opposite ]. It was filmed in ], the south of France, which Hepburn enjoyed immensely.<ref>Hepburn (1991), p. 257.</ref> For the second year running, Hepburn won an Academy Award for Best Actress (tied with ] for '']''). That same year, she starred in the broadway musical '']'', about the life of ]. Notices for the production were poor, but Hepburn herself was praised and her drawing power ensured it was hugely popular with the public. The show's run was twice extended.<ref>Kanin (1971), pp. 296-297.</ref> Hepburn received a ] nomination for Best Actress in a Musical, losing to close friend ].

===Late career (1969 - 1994)===

Hepburn's next film role was in '']'' (1969), a flop, followed by a film version of ]' '']'' (1971). This was also unsuccessful at the box office, but did win Hepburn an award for Best Actress from the ]. Next was an adaptation of ]'s '']'' (1973), directed by ]. Hepburn then ventured into television for the first time, appearing in a ] of '']'' (1973) and '']'' (1975), a London-based period drama with ], for which she won an ]. Next she starred with ] in '']'' (1975), a sequel to his Oscar-winning western '']''. Hepburn's role was very similar to that which she had played in ''The African Queen'' - a deeply religious spinster who teams up with a masculine loner to avenge a family member's death. In 1976 she returned to the stage for '']''. In 1978 she starred in the adventure comedy '']'', one of the least successful films of her career. The TV Movie '']'' followed, which was filmed in Wales. It was Hepburn's last of eleven films she made with ], and gained her an Emmy nomination. Her next feature paired her with ] to play an elderly couple in '']'' (1981). It was a big success, and won Hepburn a record-winning fourth Oscar.<ref> February 25, 2011. Retrieved June 2, 2011.</ref> The same year she also received a ] nomination for her work on ''].''

[[File:Katharine Hepburn in Love Affair.jpg|thumb|Katharine Hepburn's final movie appearance, ''[[Love Affair (1994 film)|Love
Affair'']] (1994).]]Hepburn remained active into her eighties, despite having a very visible ].<ref name="tremor"/> She starred in the dark comedy '']'' (1984), about an elderly women sho begins blackmailing a hitman. In 1985, Hepburn presented and co-produced a documentary about the life and career of Spencer Tracy. She then featured in a series of ]. ''Mrs Delafield Wants To Marry'' (1986) had her playing an upperclass window who falls in love with a Jewish man, despite her childrens' objections. She recieved an Emmy nomination for her work. '']'' (1987) was a comedy about a famous author challenged to live with a 'normal family' for one week. In 1991 she released her autobiography, ''Me: Stories of my Life'', and an accompanying documentary ''All About Me''. A Golden Globe nomination came for '']'' (1992) with ]. She worked opposite ] in '']'', (1994) which was largely based on Hepburn's own life, with numerous references to her personality and career. Her next TV movie was '']'' (1994), based on a short story by ], for which Hepburn received a ] nomination. Hepburn's final appearance in a theatrically-released film was 1994's '']'' where, at 87 years old, she played a small role alongside ] and ]. ] noted that it was the first time Hepburn had looked frail, but that the "magnificent spirit" was still there and said her scenes "steal the show".<ref>{{cite web|last=Ebert|first=Roger|title=Film Review: 'Love Affair' (1994)|url=http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19941021/REVIEWS/410210302|publisher=Chaicago Sun Times|accessdate=August 25, 2011|date=October 21, 1994}}</ref>


==Personal life==
In 1928, Hepburn married socialite businessman ], whom she had met while at Bryn Mawr. The relationship was strained, as Hepburn pursued her career on the stage and traveled. The move to Hollywood in 1932 cemented their estrangement,<ref>Hepburn (1991), p. 153.</ref> and in 1934, Hepburn travelled to ] to get a quick divorce. The couple had no children. Fearing that the Mexican divorce was not legal, Ludlow obtained a second divorce in the United States in 1942 and a few days later he remarried. Hepburn often expressed her gratitude toward Ludlow for his financial and moral support in the early days of her career, and took full blame for the breakdown of their relationship.<ref>Hepburn (1991), p. 154.</ref> "Luddy" continued to be a lifelong friend to her and the rest of the Hepburn family. After her marriage, Hepburn had long-term relationships with her agent ] and with entrepreneur ].<ref>Hepburn (1991), pp. 183-192 for Hayward; pp. 193-208 for Hughes.</ref>

It was with Spencer Tracy that Hepburn claimed to find true love, saying in her autobiography: "It was a unique feeling that I had for . I would have done anything for him."<ref>Hepburn (1991), p. 392.</ref> Meeting on the set of ''Woman of the Year,'' she said she "knew right away that I found him irresistable."<ref>Hepburn (1991), p. 395.</ref> The relationship between Hepburn and Tracy was complicated. Although Tracy and his wife had been separated since the 1930s, he continued to think of himself as a family man and neither party ever pursued a divorce.<ref>Hepburn (1991), p. 407.</ref><ref name="Kanin p 81"/> Hepburn didn't interfere and never fought for marriage.<ref>Hepburn (1991), p. 405.</ref> To avoid controversy, Hepburn and Tracy chose to keep their relationship private. It was often strained by Tracy's alcoholism, and there were periods in the 1950s where they spent time apart. While filming ''],'' Tracy had an affair with his co-star ].<ref>{{Cite book|title=Leading Men: The 50 Most Unforgettable Actors of the Studio Era |first=Frank |last=Miller |coauthors=Robert Osborne and Molly Haskell |url=http://books.google.com/books?id=M7X0EAXFR6wC|publisher=Chronicle Books |year=2006 |isbn=0811854671 |page=197 }}</ref><ref>{{Cite book|title=The Leading Men of MGM |first=Jane Ellen |last=Wayne |url=http://books.google.com/books?id=YqfsLfqfLmYC |publisher=Carroll & Graf Publishers |year=2006 |isbn=0786717688 |page=219}}</ref> Tracy's health declined significantly in the 1960s, and Hepburn took a break in her career, following completion of ''],'' to care for him. The couple lived together during this period, and Hepburn was with Tracy when he died on June 10, 1967.<ref>Hepburn (1991), p. 402.</ref> Out of consideration for Tracy's family, Hepburn did not attend his funeral.<ref>Hepburn (1991), p. 409.</ref> She never watched ''],'' saying it would be too painful. It was only after ]'s death, in 1983, that Hepburn began to speak publicly about her feelings for Tracy. In response to the question of why she stayed with him for so long, despite the nature of their relationship, she said "I don't know. I just know I never could have left him."<ref>Hepburn (1991), p. 393.</ref>

Regarding religion, Hepburn stated in her 1973 interview with ] that although she agreed with Christian principles, and thought highly of Jesus Christ, she did not believe in religion or the afterlife. She told a journalist in October 1991 "I'm an atheist and that's it. I believe there's nothing we can know except that we should be kind to each other and do what we can for other people."<ref>{{cite journal|last=Blyth|first=Myrna|title=Kate Talks Straight|journal=Ladies Home Journal|date=1 October, 1991}}</ref>

Hepburn was politically liberal. At the height of the pre-] stages of the post-war ], Hepburn's progressive social views became a target of ] hysteria.<ref Name="Time"/> ], the right-wing writer, producer and director at the center of Hollywood's ], denounced Hepburn after she spoke up on behalf of fellow actors and actresses, directors, and screenwriters facing the blacklist of the 1940s. Despite Hepburn's lack of actual membership in, or any formal links to, the ], Fagan, in his speech against "the Reds" in Hollywood, named Hepburn as an example, making the claim that "Katharine Hepburn's love for ] is no secret."<ref name = "Fagan">Fagan, Myron. "Speech on the Opening Night Performance of "Thieves in Paradise," April 12, 1948. In ''Red Stars in Hollywood: Their Helpers, Fellow Travelers, and Co-Conspirators,'' P. 8. http://archive.lib.msu.edu/DMC/AmRad/redstarshollywood.pdf</ref> Although it has never been shown to be founded, ] ] as a ] along with 34 others in a letter to his friend Celia Kirwan on May 2, 1949.<ref>Davison, Peter eds. "The Lost Orwell" (London: Timewell Press, 2006) p. 150</ref> Hepburn lent her name to various liberal causes, particularly family planning. In 1985, she received the Humanist Arts Award of the ], presented by her friend ].<ref>{{cite web|title=Humanist Profile - Brief Acticle|url=http://findarticles.com/p/articles/mi_m1374/is_5_63/ai_107897319/|work=The Humanist|accessdate=August 24, 2011|date=Sept-Oct 2003}}</ref>

Hepburn's primary hobbies outside of acting were sports and painting. Throughout her life she played tennis daily, swam regularly, frequently took long walks, cycled, and at one point was one of the best lady golfers in the United States.<ref>Kanin (1971), p. 169.</ref> Even in her eighties she was still playing tennis every day, as seen in her 1991 documentary ''All About Me''. She took up painting in the 1930s, and fully embraced it in the 1960s.<ref>Kanin (1971), p. 208.</ref> Despite being talented, she never sold any of her work. A small bust she made of Spencer Tracy's head was featured in ''Guess Who's Coming To Dinner''.

Hepburn's family beach home, in ], was destroyed in the ] (September 21, 1938). Hepburn, her mother, brother, and servants narrowly escaped before the house was lifted off its foundations and washed away.<ref>Hepburn (1991), pp. 211-213.</ref> Her 1932–1933 Best Actress ] was lost in the storm but later found intact.

Hepburn was one of only two witnesses (the other being ]) to the wedding of ] and ]. <ref name="LA">{{Cite news | first = Anthony | last = Holden | title = Sneak Previews of Forthcoming Books of Special Interest to Southern Californians, Secretly Married| work=Los Angeles Times, Magazine | page = 8A| date = September 18, 1988}}</ref>

In later years, Hepburn developed ], a chronic neurological condition that causes involuntary shaking of the head, hands, and feet.<ref name="tremor">{{Cite web|url=http://www.reviewjournal.com/lvrj_home/2007/Jan-04-Thu-2007/news/11770146.html|title=Gibbons reveals he has neurological disorder|accessdate=July 30, 2010}}</ref>

==Death and legacy==
{{quote box|align=right|width=30%|quote="Every actress in the world looked up to her with a kind of reverence and a sense of 'Oh, boy, if only I could be like her.' We never looked at her with envy or jealousy because she worked with such grace and wit and charm. You only wished that one day you could be like her."<ref name="obit"/>|source=—], who worked with Hepburn on ''Suddenly, Last Summer'', speaking after her death.
}}
Katharine Hepburn died on June 29, 2003 at ], the Hepburn family home in ], Connecticut. She was 96 years old and was buried in ], Hartford, Connecticut in the family plot. In honor of her extensive theater work, the lights of Broadway were dimmed for one minute.<ref>{{cite web|title=Film star Katharine Hepburn dies|url=http://news.bbc.co.uk/1/hi/entertainment/film/3030792.stm|publisher=BBC|accessdate=August 24, 2011|date=June 30, 2003}}</ref>

In 2004, in accordance with Hepburn's wishes, her personal effects were put up for auction with ] in New York. Hepburn had meticulously collected an extraordinary amount of material relating to her career and place in Hollywood over the years, as well as personal items such as a bust of Spencer Tracy she sculpted herself (used as a prop in ''Guess Who's Coming to Dinner'' on the desk where ] makes his phone call) and her own oil paintings. The auction garnered $5.8 million, which Hepburn willed mostly to her family and close friends, including television journalist ].<ref>{{cite web|title=Hepburn auction in US makes $5.8m|url=http://news.bbc.co.uk/1/hi/entertainment/film/3802629.stm|publisher=BBC|accessdate=August 24, 2011|date=June 13, 2004}}</ref>

Hepburn is considered one of history's most influential and iconic actresses, a 'true Hollywood legend'.<ref>{{cite web|last=Morley|first=Sheridan|title=Hepburn's spirited legacy|url=http://news.bbc.co.uk/1/hi/entertainment/film/3031684.stm|publisher=BBC|accessdate=August 24, 2011|date=June 30, 2003}}</ref><ref name="obit"/> She has been honored in a number of ways since her death:
* A theatre was built in Hepburn's name in ], Connecticut. Hepburn's family beach home had been in the Fenwick section of Old Saybrook, a place that she loved and visited regularly throughout her life. In October 2007, the town received $200,000 from the Connecticut Commission on Culture and Tourism, Historic Restoration Grant for the theatre, totalling one million dollars received in grants for the project.<ref name="LA"/> During the spring of 2009, the state-of-the-art ] was opened. It is fondly known as 'The Kate', which was Hepburn's nickname among friends.<ref>{{Cite web|url=http://www.katharinehepburntheater.org |title=The Katharine Hepburn Cultural Arts Center Blog&nbsp;— A Blog About the New Katharine Hepburn Cultural Arts Center in Old Saybrook, CT |publisher=Katharinehepburntheater.org |accessdate=October 17, 2009}}</ref>
* On September 8 and 9, 2006, Bryn Mawr College, Hepburn's alma mater, launched the Katharine Houghton Hepburn Center, dedicated to both the actress and her mother. The centre challenges women to lead publicly engaged lives and to take on important and timely issues affecting women.<ref name="Hepburn center">{{cite web|title=Katharine Hepburn Houghton Center|url=http://www.brynmawr.edu/hepburn/mission.shtml|accessdate=August 24, 2011}}</ref> The center regularly awards the Hepburn Medal, which recognizes women whose lives, work and contributions embody the intelligence, drive and independence of the four-time-Oscar-winning actress.<ref name="Hepburn center"/>
]
* Hepburn, who resided for decades in a ] located at 244 East 49th Street in the borough of ] of New York City, was honored posthumously by neighbors in her community, ]. First, a garden near her home was dedicated in her name in 2004.<ref>]'' 29 March 2007]</ref> The garden contains 12 stepping stones (representing her 12 Oscar nominations) each inscribed with quotes. One reads: "I remember when walking as a child, it was not customary to say you were fatigued. It was customary to complete the goal of the expedition."<ref>{{Cite web|author=Jim Naureckas |url=http://www.nysonglines.com/2av.htm |title=New York Songlines: 2nd Avenue/Chrystie Street |publisher=Nysonglines.com |accessdate=October 17, 2009}}</ref> In addition to the garden, the intersection of East 49th Street and 2nd Avenue has been renamed Katharine Hepburn Place (see picture) by the city.
* To mark the 100th anniversary of her birth, in May 2007 cable channel ] dedicated a week of its evening broadcast hours to her films and documentaries on her life. Warner Brothers Home video also celebrated the 100th anniversary of her birth by releasing a box set of movies not previously available on DVD – '']'' (1933), '']'' (1936), '']'' (1944), '']'' (1945), '']'' (1946), and the TV movie '']'' (1979).
* In 2009, the ] held an exhibition of materials relating to Hepburn called 'Katharine Hepburn: In Her Own Files'. It ran from June to October, and showcased photos of her well-known roles, several of Hepburn’s play transcripts, candid backstage photos, and annotated rehearsal notes.<ref>{{cite web|title=Actress Katharine Hepburn Honored in New Exhibit|url=http://www.theepochtimes.com/n2/content/view/18001/|publisher=The Epoch Times|date=June 11, 2009|accessdate=August 24, 2011}}</ref>
* Hepburn was honored in the "]" stamp series as the sixteenth star to earn her own stamp. These commemorative stamps were unveiled in Old Saybrook, CT and became available for sale in U.S. post offices on May 12, 2010, which would have been her 103rd birthday.<ref></ref>

In the 2004 Howard Hughes biopic '']'', Hepburn was portrayed by ], who won the ] for her performance. It marked the first instance when an Academy Award–winning actress was turned into an Academy Award–winning role.

Hepburn's professional legacy is carried on within her family. Her niece is actress ], who appeared as her daughter in ''Guess Who's Coming to Dinner''. Hepburn's grandniece is actress ], who appeared in '']'' and '']''.

==Awards==
*1933: ]'' ]''
*1934: ], Venice Film Festival for '']''
*1935: Academy Award for Best Actress, nomination for '']''
*1940: Academy Award for Best Actress, nomination for '']''
*1940: ] for '']''
*1942: Academy Award for Best Actress, nomination for '']''
*1951: Academy Award for Best Actress, nomination for '']''
*1952: BAFTA ], nomination for '']''
*1953: ], nomination for '']''
*1955: Academy Award for Best Actress, nomination for '']''
*1955: BAFTA ], nomination for '']''
*1956: Academy Award for Best Actress, nomination for '']''
*1957: BAFTA ], nomination for '']''
*1957: ], nomination for '']''
*1959: Academy Award for Best Actress, nomination for '']''
*1960: Golden Globe, Best Actress in a Motion Picture Drama, nomination for '']''
*1962: Academy Award for Best Actress nomination, for '']''
*1962: ], Cannes Film Festival for '']
*1963: Golden Globe, Best Actress in a Motion Picture Drama, nomination for '']''
*1967: Academy Award for Best Actress '']''
*1968: Academy Award for Best Actress '']''
*1968: Golden Globe, Best Actress in a Motion Picture Drama, nomination for '']''
*1968: BAFTA, ] for '']''
*1968: BAFTA, ] for '']''
*1969: Golden Globe, Best Actress in a Motion Picture Drama, nomination for '']''
*1969 Tony, ], nomination for '']''
*1974: Emmy, ], nomination for '']''
*1975: Emmy, ] for '']''
*1979: Emmy, ] nomination for '']''
*1980: Screen Actors Guild Award, ]
*1981: Academy Award for Best Actress '']''
*1982: Golden Globe, Best Actress in a Motion Picture Drama nomination for '']''
*1982: BAFTA, ] for '']''
*1981: Tony, ], nomination for '']''
*1986: Emmy, ], nomination for ''Mrs. Delafield Wants to Marry''
*1989: ], Lifetime Achievement Award in Comedy
*1993: ], nomination for '']''
*1994: ], nomination for '']''

==Work==
===Stage===

* ''The Czarina'' (1928)
* ''The Torch Bearers'' (1928)
* '']'' (1928)
* ''These Days'' (1928)
* '']'' (1929) - Understudy
* '']'' (1929)
* ''The Admirable Chricton'' (1930)
* ''The Romantic Young Lady'' (1930)
* ''Art and Mrs. Bottle'' (1931)
* '']'' (1931)
* '']'' (1931)
* ''The Warrior's Husband'' (1932)
* '']'' (1934)
* ''Jane Eyre'' (1936–1937)
* '']'' (1938-1939)
* ''Without Love'' (1942)
* '']'' (1950)
* '']'' (1952)
* '']'', '']'', and '']'' (1955)—On tour in Australia with the ]
* '']'' and '']'' (1957)—], Connecticut Shakespeare Theatre
* '']'' and '']'' (1960)—], Connecticut Shakespeare Theatre
* '']'' (1969)
* '']'' (1976)
* '']'' (1981)

===Filmography===
{{Main|Katharine Hepburn filmography}}

===Television===
* '']'' (1973)
* '']'' (1975)
* '']'' (1979)
* ''Mrs. Delafield Wants to Marry'' (1986)
* ''The Spencer Tracy Legacy: A Tribute by Katharine Hepburn'' (1986)
* '']'' (1988)
* ''The Man Upstairs'' (1992)
* ''All About Me'' (1993)
* ''This Can't Be Love'' (1994)
* ''One Christmas'' (1994)

===Books===
*''Making of the African Queen: Or How I Went to Africa With Bogart, Bacall and Huston and Almost Lost My Mind'' (1987)
* ''Me: Stories of My Life'' (1991)

==References==
{{Reflist|3}}

==Bibliography==
*{{Cite book|author=Berg, Scott A. |title=Kate Remembered |publisher=Putnam |year=2003 |authorlink=A. Scott Berg}}
* {{Cite book|last= Carr |first= Larry |title= More Fabulous Faces: The Evolution and Metamorphosis of ], Katharine Hepburn, ], ] and ] |year= 1979 |publisher=Doubleday and Company |isbn= 0-385-12819-3 }}
* {{Cite book|last=Hepburn |first=Katharine |title=Me: Stories of My Life |publisher=Knopf |year=1991 | isbn=0-679-40051-6}}
* {{Cite book|title=Kate |author=Higham, Charles |publisher=W. W. Norton |year=1975 |authorlink=Charles Higham (biographer)}}
*{{Cite book| last=Kanin | first=Garson | title=Tracy and Hepburn; an intimate memoir | location=New York | publisher=Viking | year=1971 |authorlink=Garson Kanin| isbn=0670722936 }}
* {{Cite book|title=Knowing Hepburn |first=James |last=Prideaux |year=1996}}

==External links==
{{Portal|Biography}}
{{Sister project links|wikt=no|b=no|s=no|n=no|v=no}}
* {{IMDb name|31}}
* {{IBDB name|44928}}
* {{tcmdb name|85052}}
*
*
* . Online exhibition from the National Portrait Gallery, Smithsonian Institution
*

{{Template group
|title = Awards for Katharine Hepburn
|list =
{{AcademyAwardBestActress 1927-1940}}
{{AcademyAwardBestActress 1961-1980}}
{{AcademyAwardBestActress 1981-2000}}
{{BAFTA Award for Best Actress 1960-1979}}
{{BAFTA Award for Best Actress 1980-1999}}
{{Prix d'interprétation féminine 1960–1979}}
{{EmmyAward MiniseriesLeadActress 1950-1975}}
{{1990 Kennedy Center Honorees}}
{{AFI 100 Stars}}
}}

{{Persondata <!-- Metadata: see ] -->
|NAME=Hepburn, Katharine Houghton
|ALTERNATIVE NAMES=
|SHORT DESCRIPTION= Actor
|DATE OF BIRTH= May 12, 1907
|PLACE OF BIRTH= Hartford, Connecticut, U.S.
|DATE OF DEATH= June 29, 2003
|PLACE OF DEATH= ], Old Saybrook, Connecticut, U.S.
}}
{{DEFAULTSORT:Hepburn, Katharine}}
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Latest revision as of 17:39, 15 June 2016

  • Teo argues that he is just as literary as he is visual (poetic dialogue) - teo 88
  • "pays as much attention to the word as as to the image" - teo 163
  • "the time between gunshots is filled in, lengthened, allowing for boredom, rumination (in his films, characters trade voice-overs like kicking a ball around), a sense of real time he effects by repetition or focusing the camera on what appears to be a dormant scene. In other words, he puts in what other people leave out" - Bomb
Themes
  • "recurrent themes of time, love and loss" - Brun xv
  • Perennial themes are: "the painful contradictions of love; the persistence of longing, memory, and regret; and the hopelessness of ever recapturing, modifying, or getting rid of the past." - brun 105
  • "refusal and acceptance, loss and gain, forgetfulness and remembrance constantly appear" - cui 4
  • "The psychology in the films is rarely deep, but that isn’t the point." - Bomb, in 1998, but then...
  • Brunette argues he has matured as a filmmaker: "these ephemeral techniques" have "been supplemented by a powerful artistic vision and a new depth of feeling" (in e.g. Happy Together & In the Mood) - Brun xiii
  • WKW quote: "Times goes by, people change ... but there's one thing that doesn't ever change, and that's the desire people have to communicate with each other." brun 53
  • "Why am I sitting here having this interview with you instead of somebody else? Why should we meet here? This is about chances, and I think all my films are about chances." WKW considers this very Chinese. - Bomb
  • Shamelessly romantic, but not in a cheesy way. - Bomb
  • existentialist - Zhang 368
  • In DoBW, "the relentless passage of time, which is sometimes evoked almost to the point of parody": loud ticking of a clock, hammering of rain (and more) -Brun 19
    • ItMFL features lots of clocks - teo 128
  • "typically Wongian narrative time markers" (characters count down minutes, hours, etc) - brun 56
  • WKW: "memory is actually about the sense of loss—always an important element in drama." - Brun 20
  • Studies of modernity - Noc 342
  • "Wong Kar-Wai is the most modern of filmmakers, dealing with contemporary concerns like cultural dislocation and personal isolation, set against the backdrop of dizzyingly fast or disorientating worlds." - film4
  • Focus on "spacial dislocation", seeing things from an immigrant's perspective - Noc 337
  • space, time, loneliness, dislocation - Noc 341*alienation - teo 93; "people living in a dense urban environment, where everyone is physically close to each other but mentally apart" - teo 85
    • monologues can enhance the sense of the characters' alienation from each other - brun 74
  • "the unforseen effects of large-scale migration and alienation" - string 397
  • political, post-colonial stuff - brun 52;
  • Themes of exile first becomes major in Happy Together, but an element in other early films - teo 98, 101
  • Time and space major/consistent themes - Noc 342
  • use of time - teo 63
  • "the heavy weight of time" - Brun 33
  • past and memory - teo 70
  • Scott Feinberg sees main themes as regret and longing. WKW says "I would say longing more than regrets. I think longing is something that keeps us going ... my films are always about hope -- longing for something better." - THR
  • WKW said that all his films are about rejection or fear of rejection - Teo 65
Characters
  • "character prevails over story" - Teo 35
  • His films show life from a "marginal perspective". "It is almost as if is challenging himself to find the human connection between the ordinary citizens in the audience and the extreme outsiders he has put on screen." - Noc 343. Uses voiceover narration to help us emphasise - Noc 342.
  • from ATGB to FA, his characters are "chronically pathological" - teo 89
  • "he loves his characters and builds his films from that foundation. His men are cool, his women kooky and beautiful." - Bomb
  • Critic Bordwell says "Almost devoid of irony, Wong's films, like classic rock, take seriously all the crushes, the posturing, the stubborn capriciousness of young angst." Brunelle says that the angst of his films is universal of any age. - Brun 5
  • DoBW, CE and FA deal with "ultracool, alienated Hong Kong twentysomething heterosexuals" - Brun xvii
  • "malevolent and amoral protagonists" - Bet 23
  • "charming character observations" - Zhang 367
  • "sensitive dissection of fragmented and broken lives" - Zhang 368
  • lonely and isolated - brun 47, 53
  • "Wong's characters are like zombies moving around somnambulistically" - Teo 42
  • Monologues are one of his trademarks - teo 50
  • Narration: "poetic", multiple characters is unusual, "Rather than fragmenting the film's effect, however, they connect these otherwise disparate figures while articulating the film's themes" - Brun 27
    • Important element of WKW films (lack of voice over in ATGB makes it feel less typical) _Chui 12
    • Bordwell says narration " out across sequences to create links and symmetries, recollections and prefigurations" - Brun 27
  • Fragments of character - Dis 42