Cultural economics

From Wikipedia, the free encyclopedia

https://en.wikipedia.org/wiki/Cultural_economics

Cultural economics is the branch of economics that studies the relation of culture to economic outcomes. Here, 'culture' is defined by shared beliefs and preferences of respective groups. Programmatic issues include whether and how much culture matters as to economic outcomes and what its relation is to institutions. As a growing field in behavioral economics, the role of culture in economic behavior is increasingly being demonstrate to cause significant differentials in decision-making and the management and valuation of assets.

Applications include the study of religion, social norms, social identity, fertility, beliefs in redistributive justice, ideology, hatred, terrorism, trust, family ties, long-term orientation, and the culture of economics. A general analytical theme is how ideas and behaviors are spread among individuals through the formation of social capital, social networks and processes such as social learning, as in the theory of social evolution and information cascades. Methods include case studies and theoretical and empirical modeling of cultural transmission within and across social groups. In 2013 Said E. Dawlabani added the value systems approach to the cultural emergence aspect of macroeconomics.

Development

Cultural economics develops from how wants and tastes are formed in society. This is partly due to nurture aspects, or what type of environment one is raised in, as it is the internalization of one's upbringing that shapes their future wants and tastes. Acquired tastes can be thought of as an example of this, as they demonstrate how preferences can be shaped socially.

A key thought area that separates the development of cultural economics from traditional economics is a difference in how individuals arrive at their decisions. While a traditional economist will view decision making as having both implicit and explicit consequences, a cultural economist would argue that an individual will not only arrive at their decision based on these implicit and explicit decisions but based on trajectories. These trajectories consist of regularities, which have been built up throughout the years and guide individuals in their decision-making process.

Combining value systems and systems thinking

Economists have also started to look at cultural economics with a systems thinking approach. In this approach, the economy and culture are each viewed as a single system where "interaction and feedback effects were acknowledged, and where in particular the dynamic were made explicit". In this sense, the interdependencies of culture and the economy can be combined and better understood by following this approach.

Said E. Dawlabani's book MEMEnomics: The Next-Generation Economic System combines the ideas of value systems (see value (ethics)) and systems thinking to provide one of the first frameworks that explores the effect of economic policies on culture. The book explores the intersections of multiple disciplines such as cultural development, organizational behavior, and memetics all in an attempt to explore the roots of cultural economics.

Growth

The advancing pace of new technology is transforming how the public consumes and shares culture. The cultural economic field has seen great growth with the advent of online social networking which has created productivity improvements in how culture is consumed. New technologies have also lead to cultural convergence where all kinds of culture can be accessed on a single device. Throughout their upbringing, younger persons of the current generation are consuming culture faster than their parents ever did, and through new mediums. The smartphone is a blossoming example of this where books, music, talk, artwork and more can all be accessed on a single device in a matter of seconds. This medium and the culture surrounding it is beginning to have an effect on the economy, whether it be increasing communication while lowering costs, lowering the barriers of entry to the technology economy, or making use of excess capacity.

An example of culture being consumed via smartphone.

This field has also seen growth through the advent of new economic studies that have put on a cultural lens. For example, a recent study on Europeans living with their families into adulthood was conducted by Paola Sapienza, a professor at Northwestern University. The study found that those of Southern European descent tend to live at home with their families longer than those of Northern European descent. Sapienza added cultural critique to her analysis of the research, revealing that it is Southern European culture to stay at home longer and then related this to how those who live at home longer have fewer children and start families later, thus contributing to Europe's falling birthrates. Sapienza's work is an example of how the growth of cultural economics is beginning to spread across the field.

Sustainable development

An area that cultural economics has a strong presence in is sustainable development. Sustainable development has been defined as "...development that meets the needs of the present without compromising the ability of future generations to meet their own needs...". Culture plays an important role in this as it can determine how people view preparing for these future generations. Delayed gratification is a cultural economic issue that developed countries are currently dealing with. Economists argue that to ensure that the future is better than today, certain measures must be taken such as collecting taxes or "going green" to protect the environment. Policies such as these are hard for today's politicians to promote who want to win the vote of today's voters who are concerned with the present and not the future. People want to see the benefits now, not in the future.

Economist David Throsby has proposed the idea of culturally sustainable development which compasses both the cultural industries (such as the arts) and culture (in the societal sense). He has created a set of criteria in regards to for which policy prescriptions can be compared to in order to ensure growth for future generations. The criteria are as follows:

1. Advancement of material and non-material well-being: implies balance amongst economic, social, and cultural forces
2. Intergenerational equity and the maintenance of cultural capital: current generation must recognize their responsibility to future generations
3. Equity within the present generation: distribution of cultural resources must be fair
4. Recognition of interdependence: policy must understand the connections between economic, cultural and other variables within an overall system.

With these guidelines, Throsby hopes to spur the recognition between culture and economics, which is something he believes has been lacking from popular economic discussions.

Cultural finance

Cultural finance a growing field in behavioral economics that studies the impact of cultural differences on individual financial decisions and on financial markets. Probably the first paper in this area was "The Role of Social Capital in Financial Development" by Luigi Guiso, Paola Sapienza, and Luigi Zingales. The paper studied how well-known differences in social capital affected the use and availability of financial contracts across different parts of Italy. In areas of the country with high levels of social capital, households invest less in cash and more in stock, use more checks, have higher access to institutional credit, and make less use of informal credit. Few years later, the same authors published another paper "Trusting the Stock Market" where they show that a general lack of trust can limit stock market participation. Since trust has a strong cultural component, these two papers represent important contribution in cultural economics. 

In 2007, Thorsten Hens and Mei Wang pointed out that indeed many areas of finance are influenced by cultural differences. The role of culture in financial behavior is also increasingly being demonstrated to have highly significant effects on the management and valuation of assets. Using the dimensions of culture identified by Shalom Schwartz, it has been proved that corporate dividend payments are determined largely by the dimensions of Mastery and Conservatism. Specifically, higher degrees of conservatism are associated with greater volumes and values of dividend payments, and higher degrees of mastery are associated with the total opposite. The effect of culture on dividend payouts has been further shown to be closely related to cultural differences in risk and time preferences.

A different study assessed the role of culture on earnings management using Geert Hofstede's cultural dimensions and the index of earnings management developed by Christian Leutz; which includes the use of accrual alteration to reduce volatility in reported earnings, the use of accrual alteration to reduce volatility in reported operating cash flows, use of accounting discretion to mitigate the reporting of small losses, and the use of accounting discretion when reporting operating earnings. It was found that Hofstede's dimension of Individualism was negatively correlated with earnings management, and that uncertainty avoidance was positively correlated. Behavioral economist Michael Taillard demonstrated that investment behaviors are caused primarily by behavioral factors, largely attributed to the influence of culture on the psychological frame of the investors in different nations, rather than rational ones by comparing the cultural dimensions used both by Geert Hofstede and Robert House, identifying strong and specific influences in risk aversion behavior resulting from the overlapping cultural dimensions between them that remained constant over a 20-year period.

In regards to investing, it has been confirmed by multiple studies that greater differences between the cultures of various nations reduces the amount of investment between those countries. It was proven that both cultural differences between nations as well as the amount of unfamiliarity investors have with a culture not their own greatly reduces their willingness to invest in those nations, and that these factors have a negative impact with future returns, resulting in a cost premium on the degree of foreignness of an investment. Despite this, equity markets continue to integrate as indicated by equity price comovements, of which the two largest contributing factors are the ratio of trade between nations and the ratio of GDP resulting from foreign direct investment. Even these factors are the result of behavioral sources, however. The UN World Investment Report (2013) shows that regional integration is occurring at a more rapid rate than distant foreign relations, confirming an earlier study concluding that nations closer to each other tend to be more integrated. Since increased cultural distance reduces the amount of foreign direct investment, this results in an accelerating curvilinear correlation between financial behavior and cultural distance.

Culture also influences which factors are useful when predicting stock valuations. In Jordan, it was found that 84% of variability in stock returns were accounted for by using money supply, interest rate term structure, industry productivity growth, and risk premium; but were not influenced at all by inflation rates or dividend yield. In Nigeria, both real GDP and Consumer Price Index were both useful predictive factors, but foreign exchange rate was not. In Zimbabwe, only money supply and oil prices were found to be useful predictors of stock market valuations. India identified exchange rate, wholesale price index, gold prices, and market index as being useful factors. A comprehensive global study out of Romania attempted to identify if any factors of stock market valuation were culturally universal, identifying interest rates, inflation, and industrial production, but found that exchange rate, currency exchange volume, and trade were all unique to Romania.

Geographical origins of cultural traits

Geographical characteristics were linked recently to the emergence of cultural traits and differences in the intensity of these cultural traits across regions, countries and ethnic group. Geographical characteristics that were favorable for the usage of the plow in agriculture contributed to a gender gap in productivity, and to the emergence of gender roles in society. Agricultural characteristics that led to a higher return to agricultural investment generated a process of selection, adaptation, and learning, that increase the level of long-term orientation in society.

Capital accumulation

From Wikipedia, the free encyclopedia

https://en.wikipedia.org/wiki/Capital_accumulation

Capital accumulation (also termed the accumulation of capital) is the dynamic that motivates the pursuit of profit, involving the investment of money or any financial asset with the goal of increasing the initial monetary value of said asset as a financial return whether in the form of profit, rent, interest, royalties or capital gains. The aim of capital accumulation is to create new fixed and working capitals, broaden and modernize the existing ones, grow the material basis of social-cultural activities, as well as constituting the necessary resource for reserve and insurance. The process of capital accumulation forms the basis of capitalism, and is one of the defining characteristics of a capitalist economic system.

Definition

The definition of capital accumulation is subject to controversy and ambiguities, because it could refer to:

• a net addition to existing wealth
• a redistribution of wealth.

Most often, capital accumulation involves both a net addition and a redistribution of wealth, which may raise the question of who really benefits from it most. If more wealth is produced than there was before, a society becomes richer; the total stock of wealth increases. But if some accumulate capital only at the expense of others, wealth is merely shifted from A to B. It is also possible that some accumulate capital much faster than others. When one person is enriched at the expense of another in circumstances that the law sees as unjust it is called unjust enrichment. In principle, it is possible that a few people or organisations accumulate capital and grow richer, although the total stock of wealth of society decreases.

In economics and accounting, capital accumulation is often equated with investment of profit income or savings, especially in real capital goods. The concentration and centralisation of capital are two of the results of such accumulation (see below). 

Capital accumulation refers ordinarily to:

• real investment in tangible means of production, such as acquisitions, research and development, etc. that can increase the capital flow.
• investment in financial assets represented on paper, yielding profit, interest, rent, royalties, fees or capital gains.
• investment in non-productive physical assets such as residential real estate or works of art that appreciate in value.

and by extension to:

• human capital, i.e., new education and training increasing the skills of the (potential) labour force which can increase earnings from work.
• social capital, i.e. the wealth and productive capacity that the people in a society hold in common, rather than as individuals or corporations.
• etc.

Both non-financial and financial capital accumulation is usually needed for economic growth, since additional production usually requires additional funds to enlarge the scale of production. Smarter and more productive organization of production can also increase production without increased capital. Capital can be created without increased investment by inventions or improved organization that increase productivity, discoveries of new assets (oil, gold, minerals, etc.), the sale of property, etc.

In modern macroeconomics and econometrics the term capital formation is often used in preference to "accumulation", though the United Nations Conference on Trade and Development (UNCTAD) refers nowadays to "accumulation". The term is occasionally used in national accounts.

Measurement of accumulation

Accumulation can be measured as the monetary value of investments, the amount of income that is reinvested, or as the change in the value of assets owned (the increase in the value of the capital stock). Using company balance sheets, tax data and direct surveys as a basis, government statisticians estimate total investments and assets for the purpose of national accounts, national balance of payments and flow of funds statistics. Usually, the reserve banks and the Treasury provide interpretations and analysis of this data. Standard indicators include Capital formation, Gross fixed capital formation, fixed capital, household asset wealth, and foreign direct investment.

Organisations such as the International Monetary Fund, UNCTAD, the World Bank Group, the OECD, and the Bank for International Settlements used national investment data to estimate world trends. The Bureau of Economic Analysis, Eurostat and the Japan Statistical Office provide data on the US, Europe and Japan respectively.

Other useful sources of investment information are business magazines such as Fortune, Forbes, The Economist, Business Week, etc., and various corporate "watchdog" organisations and non-governmental organization publications. A reputable scientific journal is the Review of Income and Wealth. In the case of the US, the "Analytical Perspectives" document (an annex to the yearly budget) provides useful wealth and capital estimates applying to the whole country.

Demand-led growth models

In macroeconomics, following the Harrod–Domar model, the savings ratio (${\displaystyle s}$) and the capital coefficient (${\displaystyle k}$) are regarded as critical factors for accumulation and growth, assuming that all saving is used to finance fixed investment. The rate of growth of the real stock of fixed capital (${\displaystyle K}$) is:

${\displaystyle {{\Delta K} \over K}={{{\Delta K} \over Y} \over {K \over Y}}={s \over k}}$

where ${\displaystyle Y}$ is the real national income. If the capital-output ratio or capital coefficient (${\displaystyle k={K \over Y}}$) is constant, the rate of growth of ${\displaystyle Y}$ is equal to the rate of growth of ${\displaystyle K}$. This is determined by ${\displaystyle s}$ (the ratio of net fixed investment or saving to ${\displaystyle Y}$) and ${\displaystyle k}$. 

A country might, for example, save and invest 12% of its national income, and then if the capital coefficient is 4:1 (i.e. $4 billion must be invested to increase the national income by 1 billion) the rate of growth of the national income might be 3% annually. However, as Keynesian economics points out, savings do not automatically mean investment (as liquid funds may be hoarded for example). Investment may also not be investment in fixed capital (see above).

Assuming that the turnover of total production capital invested remains constant, the proportion of total investment which just maintains the stock of total capital, rather than enlarging it, will typically increase as the total stock increases. The growth rate of incomes and net new investments must then also increase, in order to accelerate the growth of the capital stock. Simply put, the bigger capital grows, the more capital it takes to keep it growing and the more markets must expand.

The Harrodian model has a problem of unstable static equilibrium, since if the growth rate is not equal to the Harrodian warranted rate, the production will tend to extreme points (infinite or zero production). The Neo-Kaleckians models do not suffer from the Harrodian instability but fails to deliver a convergence dynamic of the effective capacity utilization to the planned capacity utilization. For its turn, the model of the Sraffian Supermultiplier grants a static stable equilibrium and a convergence to the planned capacity utilization. The Sraffian Supermultiplier model diverges from the Harrodian model since it takes the investment as induced and not as autonomous. The autonomous components in this model are the Autonomous Non-Capacity Creating Expenditures, such as exports, credit lead consumption and public spending. The growth rate of these expenditures determines the long run rate of capital accumulation and product growth.

Marxist concept

In Karl Marx's economic theory, capital accumulation is the operation whereby profits are reinvested into the economy, increasing the total quantity of capital. Capital was understood by Marx to be expanding value, that is, in other terms, as a sum of capital, usually expressed in money, that is transformed through human labor into a larger value and extracted as profits. Here, capital is defined essentially as economic or commercial asset value that is used by capitalists to obtain additional value (surplus-value). This requires property relations which enable objects of value to be appropriated and owned, and trading rights to be established.

Over-accumulation and crisis

The Marxist analysis of capital accumulation and the development of capitalism identifies systemic issues with the process that arise with expansion of the productive forces. A crisis of overaccumulation of capital occurs when the rate of profit is greater than the rate of new profitable investment outlets in the economy, arising from increasing productivity from a rising organic composition of capital (higher capital input to labor input ratio). This depresses the wage bill, leading to stagnant wages and high rates of unemployment for the working class while excess profits search for new profitable investment opportunities. Marx believed that this cyclical process would be the fundamental cause for the dissolution of capitalism and its replacement by socialism, which would operate according to a different economic dynamic.

In Marxist thought, socialism would succeed capitalism as the dominant mode of production when the accumulation of capital can no longer sustain itself due to falling rates of profit in real production relative to increasing productivity. A socialist economy would not base production on the accumulation of capital, instead basing production on the criteria of satisfying human needs and directly producing use-values. This concept is encapsulated in the principle of production for use.

Concentration and centralization

According to Marx, capital has the tendency for concentration and centralization in the hands of richest capitalists. Marx explains:

"It is concentration of capitals already formed, destruction of their individual independence, expropriation of capitalist by capitalist, transformation of many small into few large capitals.... Capital grows in one place to a huge mass in a single hand, because it has in another place been lost by many.... The battle of competition is fought by cheapening of commodities. The cheapness of commodities demands, caeteris paribus, on the productiveness of labour, and this again on the scale of production. Therefore, the larger capitals beat the smaller. It will further be remembered that, with the development of the capitalist mode of production, there is an increase in the minimum amount of individual capital necessary to carry on a business under its normal conditions. The smaller capitals, therefore, crowd into spheres of production which Modern Industry has only sporadically or incompletely got hold of. Here competition rages.... It always ends in the ruin of many small capitalists, whose capitals partly pass into the hands of their conquerors, partly vanish."

Rate of accumulation

In Marxian economics, the rate of accumulation is defined as (1) the value of the real net increase in the stock of capital in an accounting period, (2) the proportion of realized surplus-value or profit-income which is reinvested, rather than consumed. This rate can be expressed by means of various ratios between the original capital outlay, the realized turnover, surplus-value or profit and reinvestment's (see, e.g., the writings of the economist Michał Kalecki).

Other things being equal, the greater the amount of profit-income that is disbursed as personal earnings and used for consumption purposes, the lower the savings rate and the lower the rate of accumulation is likely to be. However, earnings spent on consumption can also stimulate market demand and higher investment. This is the cause of endless controversies in economic theory about "how much to spend, and how much to save".

In a boom period of capitalism, the growth of investments is cumulative, i.e. one investment leads to another, leading to a constantly expanding market, an expanding labor force, and an increase in the standard of living for the majority of the people.

In a stagnating, decadent capitalism, the accumulation process is increasingly oriented towards investment on military and security forces, real estate, financial speculation, and luxury consumption. In that case, income from value-adding production will decline in favour of interest, rent and tax income, with as a corollary an increase in the level of permanent unemployment.

As a rule, the larger the total sum of capital invested, the higher the return on investment will be. The more capital one owns, the more capital one can also borrow and reinvest at a higher rate of profit or interest. The inverse is also true, and this is one factor in the widening gap between the rich and the poor.

Ernest Mandel emphasized that the rhythm of capital accumulation and growth depended critically on (1) the division of a society's social product between necessary product and surplus product, and (2) the division of the surplus product between investment and consumption. In turn, this allocation pattern reflected the outcome of competition among capitalists, competition between capitalists and workers, and competition between workers. The pattern of capital accumulation can therefore never be simply explained by commercial factors, it also involved social factors and power relationships.

Circuit of capital accumulation from production

Strictly speaking, capital has accumulated only when realized profit income has been reinvested in capital assets. But the process of capital accumulation in production has, as suggested in the first volume of Marx's Das Kapital, at least 7 distinct but linked moments:

• The initial investment of capital (which could be borrowed capital) in means of production and labor power.
• The command over surplus-labour and its appropriation.
• The valorisation (increase in value) of capital through production of new outputs.
• The appropriation of the new output produced by employees, containing the added value.
• The realisation of surplus-value through output sales.
• The appropriation of realised surplus-value as (profit) income after deduction of costs.
• The reinvestment of profit income in production.

All of these moments do not refer simply to an economic or commercial process. Rather, they assume the existence of legal, social, cultural and economic power conditions, without which creation, distribution and circulation of the new wealth could not occur. This becomes especially clear when the attempt is made to create a market where none exists, or where people refuse to trade.

In fact Marx argues that the original or primitive accumulation of capital often occurs through violence, plunder, slavery, robbery, extortion and theft. He argues that the capitalist mode of production requires that people be forced to work in value-adding production for someone else, and for this purpose, they must be cut off from sources of income other than selling their labor power.

Simple and expanded reproduction

In volume 2 of Das Kapital, Marx continues the story and shows that, with the aid of bank credit, capital in search of growth can more or less smoothly mutate from one form to another, alternately taking the form of money capital (liquid deposits, securities, etc.), commodity capital (tradeable products, real estate etc.), or production capital (means of production and labor power). 

His discussion of the simple and expanded reproduction of the conditions of production offers a more sophisticated model of the parameters of the accumulation process as a whole. At simple reproduction, a sufficient amount is produced to sustain society at the given living standard; the stock of capital stays constant. At expanded reproduction, more product-value is produced than is necessary to sustain society at a given living standard (a surplus product); the additional product-value is available for investments which enlarge the scale and variety of production.

The bourgeois claim there is no economic law according to which capital is necessarily re-invested in the expansion of production, that such depends on anticipated profitability, market expectations and perceptions of investment risk. Such statements only explain the subjective experiences of investors and ignore the objective realities which would influence such opinions. As Marx states in Vol.2, simple reproduction only exists if the variable and surplus capital realized by Dept. 1—producers of means of production—exactly equals that of the constant capital of Dept. 2, producers of articles of consumption (pg 524). Such equilibrium rests on various assumptions, such as a constant labor supply (no population growth). Accumulation does not imply a necessary change in total magnitude of value produced but can simply refer to a change in the composition of an industry (pg. 514).

Ernest Mandel introduced the additional concept of contracted economic reproduction, i.e. reduced accumulation where business operating at a loss outnumbers growing business, or economic reproduction on a decreasing scale, for example due to wars, natural disasters or devalorisation.

Balanced economic growth requires that different factors in the accumulation process expand in appropriate proportions. But markets themselves cannot spontaneously create that balance, in fact what drives business activity is precisely the imbalances between supply and demand: inequality is the motor of growth. This partly explains why the worldwide pattern of economic growth is very uneven and unequal, even although markets have existed almost everywhere for a very long time. Some people argue that it also explains government regulation of market trade and protectionism.

Origins

According to Marx, capital accumulation has a double origin, namely in trade and in expropriation, both of a legal or illegal kind. The reason is that a stock of capital can be increased through a process of exchange or "trading up" but also through directly taking an asset or resource from someone else, without compensation. David Harvey calls this accumulation by dispossession. Marx does not discuss gifts and grants as a source of capital accumulation, nor does he analyze taxation in detail (He couldn't, as he died even before completing his major book, Das Kapital). Nowadays the tax take is often so large (i.e., 25-40% of GDP) that some authors refer to state capitalism. This gives rise to a proliferation of tax havens to evade tax liability.

The continuation and progress of capital accumulation depends on the removal of obstacles to the expansion of trade, and this has historically often been a violent process. As markets expand, more and more new opportunities develop for accumulating capital, because more and more types of goods and services can be traded in. But capital accumulation may also confront resistance, when people refuse to sell, or refuse to buy (for example a strike by investors or workers, or consumer resistance).

Capital accumulation as social relation

"Accumulation of capital" sometimes also refers in Marxist writings to the reproduction of capitalist social relations (institutions) on a larger scale over time, i.e., the expansion of the size of the proletariat and of the wealth owned by the bourgeoisie. 

This interpretation emphasizes that capital ownership, predicated on command over labor, is a social relation: the growth of capital implies the growth of the working class (a "law of accumulation"). In the first volume of Das Kapital Marx had illustrated this idea with reference to Edward Gibbon Wakefield's theory of colonisation:

"...Wakefield discovered that in the Colonies, property in money, means of subsistence, machines, and other means of production, does not as yet stamp a man as a capitalist if there be wanting the correlative — the wage-worker, the other man who is compelled to sell himself of his own free-will. He discovered that capital is not a thing, but a social relation between persons, established by the instrumentality of things. Mr. Peel, he moans, took with him from England to Swan River, West Australia, means of subsistence and of production to the amount of £50,000. Mr. Peel had the foresight to bring with him, besides, 3,000 persons of the working-class, men, women, and children. Once arrived at his destination, “Mr. Peel was left without a servant to make his bed or fetch him water from the river.” Unhappy Mr. Peel, who provided for everything except the export of English modes of production to Swan River!"

— Das Kapital, vol. 1, ch. 33

In the third volume of Das Kapital, Marx refers to the "fetishism of capital" reaching its highest point with interest-bearing capital, because now capital seems to grow of its own accord without anybody doing anything. In this case,

"The relations of capital assume their most externalised and most fetish-like form in interest-bearing capital. We have here ${\displaystyle M-M'}$, money creating more money, self-expanding value, without the process that effectuates these two extremes. In merchant's capital, ${\displaystyle M-C-M'}$, there is at least the general form of the capitalistic movement, although it confines itself solely to the sphere of circulation, so that profit appears merely as profit derived from alienation; but it is at least seen to be the product of a social relation, not the product of a mere thing. (...) This is obliterated in ${\displaystyle M-M'}$, the form of interest-bearing capital. (...) The thing (money, commodity, value) is now capital even as a mere thing, and capital appears as a mere thing. The result of the entire process of reproduction appears as a property inherent in the thing itself. It depends on the owner of the money, i.e., of the commodity in its continually exchangeable form, whether he wants to spend it as money or loan it out as capital. In interest-bearing capital, therefore, this automatic fetish, self-expanding value, money generating money, are brought out in their pure state and in this form it no longer bears the birth-marks of its origin. The social relation is consummated in the relation of a thing, of money, to itself.—Instead of the actual transformation of money into capital, we see here only form without content."

— "Das Kapital", vol.1, ch. 24

Markets with social influence

Product recommendations and information about past purchases have been shown to influence consumers choices significantly whether it is for music, movie, book, technological, and other type of products. Social influence often induces a rich-get-richer phenomenon (Matthew effect) where popular products tend to become even more popular.

The rich get richer and the poor get poorer

From Wikipedia, the free encyclopedia

https://en.wikipedia.org/wiki/The_rich_get_richer_and_the_poor_get_poorer

"The rich get richer and the poor get poorer" is an aphorism due to Percy Bysshe Shelley. In A Defence of Poetry (1821, not published until 1840) Shelley remarked that the promoters of utility had exemplified the saying, "To him that hath, more shall be given; and from him that hath not, the little that he hath shall be taken away." The rich have become richer, and the poor have become poorer; and the vessel of the State is driven between the Scylla and Charybdis of anarchy and despotism.

"To him that hath" etc. is a reference to Matthew 25:29 (the parable of the talents, see also Matthew effect). The aphorism is commonly evoked, with variations in wording, as a synopsis of the effect of free market capitalism producing inequality.

Predecessors

Andrew Jackson, the seventh President of the U.S. (1829–1837), in his 1832 bank veto, said that

when the laws undertake... to make the rich richer and the potent more powerful, the humble members of society... have a right to complain of the injustice to their Government.

The phrase also resembles two Bible verses from the Gospel of Matthew:

For whosoever hath, to him shall be given, and he shall have more abundance: but whosoever hath not, from him shall be taken away even that he hath.

 

For unto every one that hath shall be given, and he shall have abundance: but from him that hath not shall be taken away even that which he hath.

"Ain't We Got Fun"

The phrase was popularized in 1921 in the wildly successful song "Ain't We Got Fun?", and the phrase is sometimes attributed to the song's lyricists, Gus Kahn and Raymond B. Egan. The line is sometimes mistakenly attributed to F. Scott Fitzgerald. It appears in The Great Gatsby, as

the rich get richer and the poor get—children!

The character Gatsby orders the character Klipspringer, sitting at the piano, "Don't talk so much, old sport... Play!" and Klipspringer breaks into the Whiting, Kahn and Egan song.

In economics

Thomas Piketty's book Capital in the Twenty-First Century (2014) presents a body of empirical data spanning several hundred years that supports his central thesis that the owners of capital accumulate wealth more quickly than those who provide labour, a phenomenon widely described with the term "the rich-get-richer".

In modern politics

In the United States, the phrase has been used frequently to describe socioeconomic trends under the Ronald Reagan and George H. W. Bush presidencies, and in the United Kingdom to refer to the Thatcher era. Thatcher famously retorted to a question posed by the Lib Dem MP Simon Hughes about wealth inequality in the United Kingdom by saying "he would rather that the poor were poorer, provided that the rich were less rich. ... What a policy. Yes, he would rather have the poor poorer, provided that the rich were less rich. That is the Liberal policy." It has also been used in the UK to refer to the 2010–2015 coalition and 2015–2016 governments led by David Cameron.

Other uses

In statistics, the phrase "the rich get richer" is often used as an informal description of the behavior of Chinese restaurant processes and other preferential attachment processes, where the probability of the next outcome in a series taking on a particular value is proportional to the number of outcomes already having that particular value. This is useful for modeling many real-world processes that are akin to "popularity contests", where the popularity of a particular choice causes new participants to adopt the same choice (which can lead to the outsized influence of the first few participants).

Markets with social influence

Product recommendations and information about past purchases have been shown to influence consumers choices significantly whether it is for music, movie, book, technological, and other type of products. Social influence often induces a rich-get-richer phenomenon (Matthew effect) where popular products tend to become even more popular.

Marilyn Monroe

From Wikipedia, the free encyclopedia

https://en.wikipedia.org/wiki/Marilyn_Monroe

Marilyn Monroe
Monroe in 1953
Born	Norma Jeane Mortenson June 1, 1926 Los Angeles, California, U.S.
Died	August 4, 1962 (aged 36) Los Angeles, California, U.S.
Cause of death	Barbiturate overdose
Resting place	Westwood Village Memorial Park Cemetery
Other names	Norma Jeane Baker
Occupation	Actress model singer
Years active	1945–1962
Spouse(s)	James Dougherty (m. 1942; div. 1946) Joe DiMaggio (m. 1954; div. 1955) Arthur Miller (m. 1956; div. 1961)
Awards	List of awards and nominations
Website	marilynmonroe.com
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Marilyn Monroe (/ˈmærɪlɪn mənˈroʊ/; born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress, model, and singer. Famous for playing comedic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s and was emblematic of the era's changing attitudes towards sexuality. She was a top-billed actress for only a decade, but her films grossed $200 million (equivalent to $2 billion in 2019) by the time of her death in 1962. More than half a century later, she continues to be a major popular culture icon.

Monroe was born and raised in Los Angeles. She spent most of her childhood in foster homes and an orphanage and married at age 16. She was working in a factory as part of the war effort during World War II when she met a photographer from the First Motion Picture Unit and began a successful pin-up modeling career. The work led to short-lived film contracts with 20th Century Fox and Columbia Pictures. After a series of minor film roles, she signed a new contract with Fox in late 1950. 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. She faced a scandal when it was revealed that she had posed for nude photos before she became a star, but the story did not damage her career and instead resulted in increased interest in her films.

By 1953, Monroe was one of the most marketable Hollywood stars; she had leading roles in the film noir Niagara, which focused on her sex appeal, and the comedies Gentlemen Prefer Blondes and How to Marry a Millionaire, which established her star image as a "dumb blonde". The same year, her nude images were used as the centerfold and on the cover of the first issue of Playboy. 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. 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.

When the studio was still reluctant to change Monroe's contract, she founded her own film production company in 1954. She dedicated 1955 to building the company and began studying method acting at the Actors Studio. In late 1955, Fox awarded her a new contract, which gave her more control and a larger salary. Her subsequent roles included a critically acclaimed performance in Bus Stop (1956) and her first independent production in The Prince and the Showgirl (1957). She won a Golden Globe for Best Actress for her work in Some Like It Hot (1959), a critical and commercial success. Her last completed film was the drama The Misfits (1961).

Monroe's troubled private life received much attention. She struggled with addiction, depression, and anxiety. Her marriages to retired baseball star Joe DiMaggio and to playwright Arthur Miller were highly publicized, and both ended in divorce. On August 4, 1962, she died at age 36 from an overdose of barbiturates at her home in Los Angeles. Her death was ruled a probable suicide, although several conspiracy theories have been proposed in the decades following her death.

Life and career

1926–1943: Childhood and first marriage

Monroe as an infant, c. 1927

Monroe was born Norma Jeane Mortenson at the Los Angeles County Hospital on June 1, 1926. Her mother, Gladys Pearl Baker (née Monroe, 1902–1984), was from a poor Midwestern family who had migrated to California at the turn of the century. At the age of 15, Gladys married John Newton Baker, an abusive man nine years her senior, and had two children by him, Robert (1917–1933) and Berniece (b. 1919). She successfully filed for divorce and sole custody in 1923, but Baker kidnapped the children soon after and moved with them to his native Kentucky. Monroe was not told that she had a sister until she was 12, and met her for the first time as an adult. Following the divorce, Gladys worked as a film negative cutter at Consolidated Film Industries. In 1924, she married Martin Edward Mortensen, but they separated only some months later and divorced in 1928. Monroe's father is unknown and she most often used Baker as her surname.

Although Gladys was mentally and financially unprepared for a child, Monroe's early childhood was stable and happy. Gladys placed her daughter with evangelical Christian foster parents Albert and Ida Bolender in the rural town of Hawthorne; she also lived there for the first six months, until she was forced to move back to the city due to work. She then began visiting her daughter on weekends.

In the summer of 1933, Gladys bought a small house in Hollywood with a loan from the Home Owners' Loan Corporation and moved seven-year-old Monroe in with her. They shared the house with lodgers, actors George and Maude Atkinson and their daughter, Nellie. In January 1934, Gladys had a mental breakdown and was diagnosed with paranoid schizophrenia. After several months in a rest home, she was committed to the Metropolitan State Hospital. She spent the rest of her life in and out of hospitals and was rarely in contact with Monroe. Monroe became a ward of the state, and her mother's friend, Grace Goddard, took responsibility over her and her mother's affairs.

"When I was five I think, that's when I started wanting to be an actress [...] I didn't like the world around me because it was kind of grim, but I loved to play house. [...] When I heard that this was acting, I said that's what I want to be [...] Some of my foster families used to send me to the movies to get me out of the house and there I'd sit all day and way into the night. Up in front, there with the screen so big, a little kid all alone, and I loved it."

—Monroe in an interview for Life in 1962

In the next four years, Monroe's living situation changed often. For the first 16 months, she continued living with the Atkinsons, and was sexually abused during this time. Always a shy girl, she now also developed a stutter and became withdrawn. In the summer of 1935, she briefly stayed with Grace and her husband Erwin "Doc" Goddard and two other families, and in September, Grace placed her in the Los Angeles Orphans Home. The orphanage was "a model institution" and was described in positive terms by her peers, but Monroe felt abandoned. 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. Monroe's second stay with the Goddards lasted only a few months because Doc molested her; she then lived brief periods with her relatives and Grace's friends and relatives in Los Angeles and Compton.

Monroe found a more permanent home in September 1938, when she began living with Grace's aunt, Ana Lower, in Sawtelle. She was enrolled in Emerson Junior High School and went to weekly Christian Science services with Lower. Monroe was otherwise a mediocre student, but excelled in writing and contributed to the school newspaper. Due to the elderly Lower's health problems, Monroe returned to live with the Goddards in Van Nuys in around early 1941. The same year, she began attending Van Nuys High School.

In 1942, the company that employed Doc Goddard relocated him to West Virginia. California child protection laws prevented the Goddards from taking Monroe out of state, and she faced having to return to the orphanage. As a solution, she married their neighbors' 21-year-old son, factory worker James Dougherty, on June 19, 1942, just after her 16th birthday. Monroe subsequently dropped out of high school and became a housewife. She found herself and Dougherty mismatched and later stated that she was "dying of boredom" during the marriage. In 1943, Dougherty enlisted in the Merchant Marine and was stationed on Santa Catalina Island, where Monroe moved with him.

1944–1949: Modeling and first film roles

Monroe photographed by Conover while working at the Radioplane Company in mid-1944

In April 1944, Dougherty was shipped out to the Pacific, and he would remain there for most of the next two years. Monroe moved in with his parents and began a job at the Radioplane Company, a munitions factory in Van Nuys. In late 1944, she met photographer David Conover, who had been sent by the U.S. Army Air Forces' First Motion Picture Unit to the factory to shoot morale-boosting pictures of female workers. Although none of her pictures were used, she quit working at the factory in January 1945 and began modeling for Conover and his friends. Defying her deployed husband, she moved on her own and signed a contract with the Blue Book Model Agency in August 1945.

As a model, Monroe occasionally used the name Jean Norman. She straightened her curly brunette hair and dyed it blonde to make herself more employable. Her figure was deemed more suitable for pin-up than fashion modeling, and she was featured mostly in advertisements and men's magazines. According to Emmeline Snively, the agency's owner, Monroe was 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. Camera, Laff, and Peek.

Through Snively, Monroe signed a contract with an acting agency in June 1946. After an unsuccessful interview at Paramount Pictures, she was given a screen-test by Ben Lyon, a 20th Century-Fox executive. Head executive Darryl F. Zanuck was unenthusiastic about it, but he gave her a standard six-month contract to avoid her being signed by rival studio RKO Pictures. Monroe's contract began in August 1946, and she and Lyon selected the stage name "Marilyn Monroe". The first name was picked by Lyon, who was reminded of Broadway star Marilyn Miller; the last was Monroe's mother's maiden name. In September 1946, she divorced Dougherty, who was against her having a career.

Monroe posing for a photo during her modeling career

 

Monroe in a studio publicity photo taken when she was a contract player at 20th Century-Fox in 1947. She appeared in two small film roles during the contract and was let go after a year.

 

Monroe had no film roles during the first six months and instead dedicated her days to acting, singing and dancing classes. Eager to learn more about the film industry, she also spent time at the studio lot to observe others working and to promote herself. Her contract was renewed in February 1947, and she was given her first film roles, bit parts in Dangerous Years (1947) and Scudda Hoo! Scudda Hay! (1948). 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". Despite her enthusiasm, her teachers thought her too shy and insecure to have a future in acting, and Fox did not renew Monroe's contract in August 1947. She returned to modeling while also doing occasional odd jobs at film studios, such as working as a dancing "pacer" behind the scenes at musical sets.

Monroe was determined to make it as an actress, and continued studying at the Actors' Lab. In October 1947, she appeared as a blonde vamp in the play Glamour Preferred at the Bliss-Hayden Theater, but it ended after only a few performances. To promote herself, she frequented producers' offices, befriended gossip columnist Sidney Skolsky, and entertained influential male guests at studio functions, a practice she had begun at Fox. 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.

While at Fox, Monroe was given "girl next door" roles; at Columbia, she was modeled after Rita Hayworth. Her hairline was raised and her hair was bleached platinum blonde. She also began working with the studio's head drama coach, Natasha Lytess, who would remain her mentor until 1955. 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. She also screen-tested for the lead role in Born Yesterday (1950), but her contract was not renewed in September 1948. Ladies of the Chorus was released the following month but was not a success.

Monroe then became the protégée of Johnny Hyde, the vice president of the William Morris Agency. Their relationship soon became sexual and he proposed marriage, but Monroe refused. He paid for Monroe to have plastic surgery on her jaw and possibly a rhinoplasty, and arranged a bit part in the Marx Brothers film Love Happy (1950), the New York promotional tour of which she also joined in 1949. Meanwhile, Monroe continued modeling, and in 1949 she posed nude for photos taken by Tom Kelley.

1950–1952: Breakthrough years

Monroe as gangster's moll Angela in John Huston's The Asphalt Jungle (1950), one of her first performances to be noted by the critics

In 1950, Monroe had bit parts in Love Happy, A Ticket to Tomahawk, Right Cross and The Fireball, but also appeared in minor supporting roles in two critically acclaimed films: Joseph Mankiewicz's drama All About Eve and John Huston's crime film The Asphalt Jungle. 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". In December 1950, Hyde was able to negotiate a seven-year contract for Monroe with 20th Century-Fox. He died of a heart attack only days later, which left her devastated.

The Fox contract brought Monroe more publicity, and she had supporting roles in four low-budget films in 1951: in the MGM drama Home Town Story, and in three moderately successful comedies for Fox, As Young as You Feel, Love Nest, and Let's Make It Legal. According to Spoto all four 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. Her popularity with audiences was also growing: she received several thousand fan letters a week, and was declared "Miss Cheesecake of 1951" by the army newspaper Stars and Stripes, reflecting the preferences of soldiers in the Korean War. In February 1952, the Hollywood Foreign Press Association named Monroe the "best young box office personality". 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. In early 1952, she began a highly publicized romance with retired New York Yankees baseball star Joe DiMaggio, one of the most famous sports personalities of the era.

Monroe as a mentally disturbed babysitter in the thriller Don't Bother to Knock (1952)

Monroe found herself at the center of a scandal in March 1952, when she revealed that she had posed for nude pictures in 1949, which were now featured in a calendar. The studio had learned of the upcoming publication of the calendar some weeks prior, and together with Monroe decided that to avoid damaging her career it was best to admit to them while stressing that she had been broke at the time. The strategy gained her public sympathy and increased interest in her films, for which she was now receiving top-billing. In the wake of the scandal, Monroe was featured on the cover of Life as the "Talk of Hollywood" and gossip columnist Hedda Hopper declared her the "cheesecake queen" turned "box office smash". Fox released three of Monroe's films —Clash by Night, Don't Bother to Knock and We're Not Married!— soon after to capitalize on the public interest.

Keith Andes and Monroe in Clash by Night (1952). The film allowed Monroe to display more of her acting range in a dramatic role.

Despite her newfound popularity as a sex symbol, Monroe also wished to show more of her acting range. She had begun taking acting classes with Michael Chekhov and mime Lotte Goslar soon after beginning the Fox contract, and Clash by Night and Don't Bother to Knock showed her in more nuanced roles. In the former, a drama starring Barbara Stanwyck and directed by Fritz Lang, she played a fish cannery worker; to prepare, she spent time in a fish cannery in Monterey. She received positive reviews for her performance: The Hollywood Reporter stated that "she deserves starring status with her excellent interpretation", and Variety wrote that she "has an ease of delivery which makes her a cinch for popularity". The latter was a thriller in which Monroe starred as a mentally disturbed babysitter and which Zanuck used to test her abilities in a heavier dramatic role. It received mixed reviews from critics, with Crowther deeming her too inexperienced for the difficult role, and Variety blaming the script for the film's problems.

Monroe's three other films in 1952 continued with her typecasting in comic roles that focused on her sex appeal. 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. In Howard Hawks' Monkey Business, in which she acted opposite Cary Grant, she played a secretary who is a "dumb, childish blonde, innocently unaware of the havoc her sexiness causes around her". In O. Henry's Full House, she had a minor role as a sex worker. 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. By the end of the year, gossip columnist Florabel Muir named Monroe the "it girl" of 1952.

During this period, Monroe gained a reputation for being difficult to work with, which would worsen as her career progressed. 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. Her dependence on her acting coaches—Natasha Lytess and then Paula Strasberg—also irritated directors. Monroe's problems have been attributed to a combination of perfectionism, low self-esteem, and stage fright. 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. To alleviate her anxiety and chronic insomnia, she began to use barbiturates, amphetamines, and alcohol, which also exacerbated her problems, although she did not become severely addicted until 1956. 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. Similarly, biographer Lois Banner has stated that she was bullied by many of her directors.

1953: Rising star

Monroe as Rose Loomis in the film noir Niagara (1953), which dwelt on her sex appeal

 

Performing "Diamonds Are a Girl's Best Friend" in Gentlemen Prefer Blondes (1953)

 

Monroe and co-star Jane Russell after pressing their hands in wet concrete at Grauman's Chinese Theatre

 

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. The first was the Technicolor film noir Niagara, in which she played a femme fatale scheming to murder her husband, played by Joseph Cotten. By then, Monroe and her make-up artist Allan "Whitey" Snyder had developed her "trademark" make-up look: dark arched brows, pale skin, "glistening" red lips and a beauty mark. According to Sarah Churchwell, Niagara was one of the most overtly sexual films of Monroe's career. In some scenes, Monroe's body was covered only by a sheet or a towel, considered shocking by contemporary audiences. 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.

When Niagara was released in January 1953, women's clubs protested it as immoral, but it proved popular with audiences. 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". Monroe continued to attract attention by wearing revealing outfits, most famously at the Photoplay awards in January 1953, where she won the "Fastest Rising Star" award. She wore a skin-tight gold lamé dress, which prompted veteran star Joan Crawford to publicly call her behavior "unbecoming an actress and a lady".

While Niagara made Monroe a sex symbol and established her "look", her second film of 1953, the satirical musical comedy Gentlemen Prefer Blondes, cemented her screen persona as a "dumb blonde". Based on Anita Loos' novel and its Broadway version, the film focuses on two "gold-digging" showgirls played by Monroe and Jane Russell. 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. As part of the film's publicity campaign, she and Russell pressed their hand and footprints in wet concrete outside Grauman's Chinese Theatre in June. Gentlemen Prefer Blondes was released shortly after and became one of the biggest box office successes of the year. 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".

In September, Monroe made her television debut in the Jack Benny Show, playing Jack's fantasy woman in the episode "Honolulu Trip". She co-starred with Betty Grable and Lauren Bacall in her third movie of the year, How to Marry a Millionaire, released in November. It featured Monroe as a naïve model who teams up with her friends to find rich husbands, repeating the successful formula of Gentlemen Prefer Blondes. It was the second film ever released in CinemaScope, a widescreen format that Fox hoped would draw audiences back to theaters as television was beginning to cause losses to film studios. Despite mixed reviews, the film was Monroe's biggest box office success at that point in her career.

Monroe was listed in the annual Top Ten Money Making Stars Poll in both 1953 and 1954, and according to Fox historian Aubrey Solomon became the studio's "greatest asset" alongside CinemaScope. Monroe's position as a leading sex symbol was confirmed in December 1953, when Hugh Hefner featured her on the cover and as centerfold in the first issue of Playboy. The cover image was a photograph taken of her at the Miss America Pageant parade in 1952, and the centerfold featured one of her 1949 nude photographs.

1954–1955: Conflicts with 20th Century-Fox and marriage to Joe DiMaggio

Joe DiMaggio and Monroe after getting married at San Francisco City Hall, January 1954

 

Posing for soldiers in Korea after a USO performance in February 1954

 

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. Her attempts to appear in films other than comedies or musicals had been thwarted by Zanuck, who had a strong personal dislike of her and did not think she would earn the studio as much revenue in dramas. In January 1954, Fox suspended her when she refused to begin shooting yet another musical comedy, The Girl in Pink Tights.

This was front-page news, and Monroe immediately took action to counter negative publicity. On January 14, she and Joe DiMaggio were married at the San Francisco City Hall. They then traveled to Japan, combining a honeymoon with his business trip. From Tokyo, she traveled alone to Korea, where she participated in a USO show, singing songs from her films for over 60,000 U.S. Marines over a four-day period. After returning to the U.S., she was awarded Photoplay's "Most Popular Female Star" prize. 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.

In April 1954, Otto Preminger's western River of No Return, the last film that Monroe had filmed prior to the suspension, was released. She called it a "Z-grade cowboy movie in which the acting finished second to the scenery and the CinemaScope process", but it was popular with audiences. 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. It was unsuccessful upon its release in late 1954, with Monroe's performance considered vulgar by many critics.

Posing for photographers while filming the subway grate scene in Manhattan for The Seven Year Itch

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. Although the film was shot in Hollywood, the studio decided to generate advance publicity by staging the filming of a scene in which Monroe is standing on a subway grate with the air blowing up the skirt of her white dress on Lexington Avenue in Manhattan. The shoot lasted for several hours and attracted nearly 2,000 spectators. 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.

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. The union had been troubled from the start by his jealousy and controlling attitude; he was also physically abusive. After returning from NYC to Hollywood in October 1954, Monroe filed for divorce, after only nine months of marriage.

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. Monroe stated that she was "tired of the same old sex roles" and asserted that she was no longer under contract to Fox, as it had not fulfilled its duties, such as paying her the promised bonus. This began a year-long legal battle between her and Fox in January 1955. The press largely ridiculed Monroe and she was parodied in the Broadway play Will Success Spoil Rock Hunter? (1955), in which her lookalike Jayne Mansfield played a dumb actress who starts her own production company.

Monroe at the Actors Studio

After founding MMP, Monroe moved to Manhattan and spent 1955 studying acting. She took classes with Constance Collier and attended workshops on method acting at the Actors Studio, run by Lee Strasberg. 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. She replaced her old acting coach, Natasha Lytess, with Paula; the Strasbergs remained an important influence for the rest of her career. Monroe also started undergoing psychoanalysis, as Strasberg believed that an actor must confront their emotional traumas and use them in their performances.

Monroe continued her relationship with DiMaggio despite the ongoing divorce process; she also dated actor Marlon Brando and playwright Arthur Miller. She had first been introduced to Miller by Elia Kazan in the early 1950s. The affair between Monroe and Miller became increasingly serious after October 1955, when her divorce was finalized and he separated from his wife. The studio urged her to end it, as Miller was being investigated by the FBI for allegations of communism and had been subpoenaed by the House Un-American Activities Committee, but Monroe refused. The relationship led to FBI opening a file on her.

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. Fox would pay her $400,000 to make four films, and granted her the right to choose her own projects, directors and cinematographers. She would also be free to make one film with MMP per each completed film for Fox.

1956–1959: Critical acclaim and marriage to Arthur Miller

Monroe's dramatic performance in Bus Stop (1956) marked a departure from her earlier comedies.

Monroe began 1956 by announcing her win over 20th Century-Fox. The press now wrote favorably about her decision to fight the studio; Time called her a "shrewd businesswoman" and Look predicted that the win would be "an example of the individual against the herd for years to come". 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."

In March, Monroe began filming the drama Bus Stop, her first film under the new contract. She played Chérie, a saloon singer whose dreams of stardom are complicated by a naïve cowboy who falls in love with her. For the role, she learned an Ozark accent, chose costumes and make-up that lacked the glamour of her earlier films, and provided deliberately mediocre singing and dancing. Broadway director Joshua Logan agreed to direct, despite initially doubting her acting abilities and knowing of her reputation for being difficult. The filming took place in Idaho and Arizona, with Monroe "technically in charge" as the head of MMP, occasionally making decisions on cinematography and with Logan adapting to her chronic lateness and perfectionism. The experience changed Logan's opinion of Monroe, and he later compared her to Charlie Chaplin in her ability to blend comedy and tragedy.

Arthur Miller and Monroe at their wedding in June 1956

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. With the marriage, Monroe converted to Judaism, which led Egypt to ban all of her films. Due to Monroe's status as a sex symbol and Miller's image as an intellectual, the media saw the union as a mismatch, as evidenced by Variety's headline, "Egghead Weds Hourglass".

Bus Stop was released in August 1956 and became critical and commercial success. The Saturday Review of Literature wrote that Monroe's performance "effectively dispels once and for all the notion that she is merely a glamour personality" and Crowther proclaimed: "Hold on to your chairs, everybody, and get set for a rattling surprise. Marilyn Monroe has finally proved herself an actress." She also received a Golden Globe for Best Actress nomination for her performance.

Laurence Olivier and Monroe during a press conference to announce their joint project, The Prince and the Showgirl (1957)

 

In August, Monroe also began filming MMP's first independent production, The Prince and the Showgirl, at Pinewood Studios in England. Based on a play about an affair between a showgirl and a prince in the 1910s, it was to be directed, co-produced and co-starred by Laurence Olivier. The production was complicated by conflicts between him and Monroe. He angered her with the patronizing statement "All you have to do is be sexy" and his attempts to get her to replicate Vivien Leigh's interpretation of the character in the stage version. He also disliked the constant presence of Paula Strasberg, Monroe's acting coach, on set. In retaliation, Monroe became uncooperative and began to deliberately arrive late, stating later that "if you don't respect your artists, they can't work well."

Monroe also experienced other problems during the production. Her dependence on pharmaceuticals escalated and, according to Spoto, she had a miscarriage. She and Greene also argued over how MMP should be run. Despite the difficulties, filming was completed on schedule by the end of 1956. The Prince and the Showgirl was released to mixed reviews in June 1957 and proved unpopular with American audiences. It was better received in Europe, where she was awarded the Italian David di Donatello and the French Crystal Star awards and was nominated for a BAFTA.

After returning from England, Monroe took an 18-month hiatus to concentrate on family life. She and Miller split their time between NYC, Connecticut and Long Island. She had an ectopic pregnancy in mid-1957, and a miscarriage a year later; these problems were most likely linked to her endometriosis. Monroe was also briefly hospitalized due to a barbiturate overdose. As she and Greene could not settle their disagreements over MMP, Monroe bought his share of the company.

With Tony Curtis and Jack Lemmon in Billy Wilder's Some Like It Hot (1959), for which she won a Golden Globe

 

Monroe returned to Hollywood in July 1958 to act opposite Jack Lemmon and Tony Curtis in Billy Wilder's comedy on gender roles, Some Like It Hot. She considered the role of Sugar Kane another "dumb blonde", but accepted it due to Miller's encouragement and the offer of ten percent of the film's profits on top of her standard pay. The film's difficult production has since become "legendary". Monroe demanded dozens of re-takes, and did not remember her lines or act as directed—Curtis famously stated that kissing her was "like kissing Hitler" due to the number of re-takes. Monroe herself privately likened the production to a sinking ship and commented on her co-stars and director saying "[but] why should I worry, I have no phallic symbol to lose." Many of the problems stemmed from her and Wilder—who also had a reputation for being difficult—disagreeing on how she should play the role. She angered him by asking to alter many of her scenes, which in turn made her stage fright worse, and it is suggested that she deliberately ruined several scenes to act them her way.

In the end, Wilder was happy with Monroe's performance and stated: "Anyone can remember lines, but it takes a real artist to come on the set and not know her lines and yet give the performance she did!" Some Like It Hot became a critical and commercial success when it was released in March 1959. Monroe's performance earned her a Golden Globe for Best Actress, and prompted Variety to call her "a comedienne with that combination of sex appeal and timing that just can't be beat". It has been voted one of the best films ever made in polls by the BBC, the American Film Institute, and Sight & Sound.

1960–1962: Career decline and personal difficulties

Yves Montand and Monroe in the musical comedy Let's Make Love (1960), which she agreed to make only to fulfill her contract with Fox

 

After Some Like It Hot, Monroe took another hiatus until late 1959, when she starred in the musical comedy Let's Make Love. She chose George Cukor to direct and Miller re-wrote some of the script, which she considered weak; she accepted the part solely because she was behind on her contract with Fox. The film's production was delayed by her frequent absences from the set. During the shoot, Monroe had an extramarital affair with her co-star Yves Montand, which was widely reported by the press and used in the film's publicity campaign. Let's Make Love was unsuccessful upon its release in September 1960; Crowther described Monroe as appearing "rather untidy" and "lacking ... the old Monroe dynamism", and Hedda Hopper called the film "the most vulgar picture [Monroe's] ever done". Truman Capote lobbied for Monroe to play Holly Golightly in a film adaptation of Breakfast at Tiffany's, but the role went to Audrey Hepburn as its producers feared that she would complicate the production.

The last film that Monroe completed was John Huston's The Misfits, which Miller had written to provide her with a dramatic role. She played a recently divorced woman who becomes friends with three aging cowboys, played by Clark Gable, Eli Wallach and Montgomery Clift. The filming in the Nevada desert between July and November 1960 was again difficult. Monroe and Miller's marriage was effectively over, and he began a new relationship with set photographer Inge Morath. Monroe disliked that he had based her role partly on her life, and thought it inferior to the male roles; she also struggled with Miller's habit of re-writing scenes the night before filming. Her health was also failing: she was in pain from gallstones, and her drug addiction was so severe that her make-up usually had to be applied while she was still asleep under the influence of barbiturates. In August, filming was halted for her to spend a week in a hospital detox. Despite her problems, Huston stated that when Monroe was acting, she "was not pretending to an emotion. It was the real thing. She would go deep down within herself and find it and bring it up into consciousness."

Estelle Winwood, Eli Wallach, Montgomery Clift, Monroe, and Clark Gable in The Misfits. It was the last completed film for Monroe and Gable, and they were both dead within two years.

Monroe and Miller separated after filming wrapped, and she obtained a Mexican divorce in January 1961. The Misfits was released the following month, failing at the box office. Its reviews were mixed, with Variety complaining of frequently "choppy" character development, and Bosley Crowther calling Monroe "completely blank and unfathomable" and stating that "unfortunately for the film's structure, everything turns upon her". It has received more favorable reviews in the twenty-first century. Geoff Andrew of the British Film Institute has called it a classic, Huston scholar Tony Tracy has described Monroe's performance the "most mature interpretation of her career", and Geoffrey McNab of The Independent has praised her for being "extraordinary" in portraying the character's "power of empathy".

Monroe was next to star in a television adaptation of W. Somerset Maugham's Rain for NBC, but the project fell through as the network did not want to hire her choice of director, Lee Strasberg. Instead of working, she spent the first six months of 1961 preoccupied by health problems. She underwent a cholecystectomy and surgery for her endometriosis, and spent four weeks hospitalized for depression. She was helped by ex-husband Joe DiMaggio, with whom she rekindled a friendship, and dated his friend, Frank Sinatra, for several months. Monroe also moved permanently back to California in 1961, purchasing a house at 12305 Fifth Helena Drive in Brentwood, Los Angeles in early 1962.

Monroe on the set of Something's Got to Give. She was absent for most of the production due to illness and was fired by Fox in June 1962, two months before her death

Monroe returned to the public eye in the spring of 1962; she received a "World Film Favorite" Golden Globe Award and began to shoot a film for Fox, Something's Got to Give, a remake of My Favorite Wife (1940). It was to be co-produced by MMP, directed by George Cukor and to co-star Dean Martin and Cyd Charisse. Days before filming began, Monroe caught sinusitis; despite medical advice to postpone the production, Fox began it as planned in late April. Monroe was too sick to work for the majority of the next six weeks, but despite confirmations by multiple doctors, the studio pressurized her by alleging publicly that she was faking it. On May 19, she took a break to sing "Happy Birthday, Mr. President" on stage at President John F. Kennedy's early birthday celebration at Madison Square Garden in New York. She drew attention with her costume: a beige, skintight dress covered in rhinestones, which made her appear nude. Monroe's trip to New York caused even more irritation for Fox executives, who had wanted her to cancel it.

Monroe next filmed a scene for Something's Got to Give in which she swam naked in a swimming pool. To generate advance publicity, the press was invited to take photographs; these were later published in Life. This was the first time that a major star had posed nude at the height of their career. When she was again on sick leave for several days, Fox decided that it could not afford to have another film running behind schedule when it was already struggling with the rising costs of Cleopatra (1963). On June 7, Fox fired Monroe and sued her for $750,000 in damages. She was replaced by Lee Remick, but after Martin refused to make the film with anyone other than Monroe, Fox sued him as well and shut down the production. The studio blamed Monroe for the film's demise and began spreading negative publicity about her, even alleging that she was mentally disturbed.

Fox soon regretted its decision and re-opened negotiations with Monroe later in June; a settlement about a new contract, including re-commencing Something's Got to Give and a starring role in the black comedy What a Way to Go! (1964), was reached later that summer. She was also planning on starring in a biopic of Jean Harlow. To repair her public image, Monroe engaged in several publicity ventures, including interviews for Life and Cosmopolitan and her first photo shoot for Vogue. For Vogue, she and photographer Bert Stern collaborated for two series of photographs, one a standard fashion editorial and another of her posing nude, which were published posthumously with the title The Last Sitting.

Death

Front page of the New York Mirror on August 6, 1962

During her final months, Monroe lived at 12305 Fifth Helena Drive in Brentwood, Los Angeles. Her housekeeper Eunice Murray was staying overnight at the home on the evening of Saturday, August 4, 1962. Murray awoke at 3:00 a.m. on August 5 and sensed that something was wrong. She saw light from under Monroe's bedroom door, but was unable to get a response and found the door locked. Murray then called Monroe's psychiatrist, Dr. Ralph Greenson, who arrived at the house shortly after and broke into the bedroom through a window, finding Monroe dead in her bed. Monroe's physician, Dr. Hyman Engelberg, arrived at around 3:50 a.m. and pronounced her dead at the scene. At 4:25 a.m., they notified the Los Angeles Police Department.

Monroe died between 8:30 p.m. and 10:30 p.m. on August 4, and the toxicology report showed that the cause of death was acute barbiturate poisoning. She had 8 mg% (milligrams per 100 milliliters of solution) chloral hydrate and 4.5 mg% of pentobarbital (Nembutal) in her blood, and 13 mg% of pentobarbital in her liver. Empty medicine bottles were found next to her bed. The possibility that Monroe had accidentally overdosed was ruled out because the dosages found in her body were several times over the lethal limit.

The Los Angeles County Coroners Office was assisted in their investigation by the Los Angeles Suicide Prevention Team, who had expert knowledge on suicide. Monroe's doctors stated that she had been "prone to severe fears and frequent depressions" with "abrupt and unpredictable mood changes", and had overdosed several times in the past, possibly intentionally. Due to these facts and the lack of any indication of foul play, deputy coroner Thomas Noguchi classified her death as a probable suicide.

Monroe's crypt at Westwood Memorial Park in Westwood Village

 

Monroe's sudden death was front-page news in the United States and Europe. According to Lois Banner, "it's said that the suicide rate in Los Angeles doubled the month after she died; the circulation rate of most newspapers expanded that month", and the Chicago Tribune reported that they had received hundreds of phone calls from members of the public who were requesting information about her death. French artist Jean Cocteau commented that her death "should serve as a terrible lesson to all those, whose chief occupation consists of spying on and tormenting film stars", her former co-star Laurence Olivier deemed her "the complete victim of ballyhoo and sensation", and Bus Stop director Joshua Logan stated that she was "one of the most unappreciated people in the world". Her funeral, held at the Westwood Village Memorial Park Cemetery on August 8, was private and attended by only her closest associates. The service was arranged by Joe DiMaggio and Monroe's business manager Inez Melson. Hundreds of spectators crowded the streets around the cemetery. Monroe was later entombed at Crypt No. 24 at the Corridor of Memories.

In the following decades, several conspiracy theories, including murder and accidental overdose, have been introduced to contradict suicide as the cause of Monroe's death. The speculation that Monroe had been murdered first gained mainstream attention with the publication of Norman Mailer's Marilyn: A Biography in 1973, and in the following years became widespread enough for the Los Angeles County District Attorney John Van de Kamp to conduct a "threshold investigation" in 1982 to see whether a criminal investigation should be opened. No evidence of foul play was found.

Screen persona and reception

Jean Harlow was a platinum blonde 1930s film star who was a major inspiration for Monroe's star image.

The 1940s had been the heyday for actresses who were perceived as tough and smart—such as Katharine Hepburn and Barbara Stanwyck—who had appealed to women-dominated audiences during the war years. 20th Century-Fox wanted Monroe to be a star of the new decade who would draw men to movie theaters, and saw her as a replacement for the aging Betty Grable, their most popular "blonde bombshell" of the 1940s. According to film scholar Richard Dyer, Monroe's star image was crafted mostly for the male gaze.

From the beginning, Monroe played a significant part in the creation of her public image, and towards the end of her career exerted almost full control over it. She devised many of her publicity strategies, cultivated friendships with gossip columnists such as Sidney Skolsky and Louella Parsons, and controlled the use of her images. In addition to Grable, she was often compared to another iconic blonde, 1930s film star Jean Harlow. The comparison was prompted partly by Monroe, who named Harlow as her childhood idol, wanted to play her in a biopic, and even employed Harlow's hair stylist to color her hair.

Monroe's screen persona focused on her blonde hair and the stereotypes that were associated with it, especially dumbness, naïveté, sexual availability and artificiality. She often used a breathy, childish voice in her films, and in interviews gave the impression that everything she said was "utterly innocent and uncalculated", parodying herself with double entendres that came to be known as "Monroeisms". For example, when she was asked what she had on in the 1949 nude photo shoot, she replied, "I had the radio on".

Monroe portrayed a sexually attractive and naïve "dumb blonde" in Gentlemen Prefer Blondes (1953)

In her films, Monroe usually played "the girl", who is defined solely by her gender. Her roles were almost always chorus girls, secretaries, or models; occupations where "the woman is on show, there for the pleasure of men." Monroe began her career as a pin-up model, and was noted for her hourglass figure. She was often positioned in film scenes so that her curvy silhouette was on display, and often posed like a pin-up in publicity photos. Her distinctive, hip-swinging walk also drew attention to her body and earned her the nickname "the girl with the horizontal walk". Monroe often wore white to emphasize her blondness and drew attention by wearing revealing outfits that showed off her figure. Her publicity stunts often revolved around her clothing either being shockingly revealing or even malfunctioning, such as when a shoulder strap of her dress snapped during a press conference.

In press stories, Monroe was portrayed as the embodiment of the American Dream, a girl who had risen from a miserable childhood to Hollywood stardom. Stories of her time spent in foster families and an orphanage were exaggerated and even partly fabricated. Film scholar Thomas Harris wrote that her working-class roots and lack of family made her appear more sexually available, "the ideal playmate", in contrast to her contemporary, Grace Kelly, who was also marketed as an attractive blonde, but due to her upper-class background was seen as a sophisticated actress, unattainable for the majority of male viewers.

Monroe arriving at a party celebrating Louella Parsons at Ciro's nightclub in May 1953

Although Monroe's screen persona as a dim-witted but sexually attractive blonde was a carefully crafted act, audiences and film critics believed it to be her real personality. This became an obstacle when she wanted to pursue other kinds of roles, or to be respected as a businesswoman. Academic Sarah Churchwell studied narratives about Monroe and has stated:

The biggest myth is that she was dumb. The second is that she was fragile. The third is that she couldn't act. She was far from dumb, although she was not formally educated, and she was very sensitive about that. But she was very smart indeed—and very tough. She had to be both to beat the Hollywood studio system in the 1950s. [...] The dumb blonde was a role—she was an actress, for heaven's sake! Such a good actress that no one now believes she was anything but what she portrayed on screen.

Biographer Lois Banner has written that Monroe often subtly parodied her status as a sex symbol in her films and public appearances, and that "the 'Marilyn Monroe' character she created was a brilliant archetype, who stands between Mae West and Madonna in the tradition of twentieth-century gender tricksters." Monroe herself stated that she was influenced by West, learning "a few tricks from her—that impression of laughing at, or mocking, her own sexuality". She studied comedy in classes by mime and dancer Lotte Goslar, famous for her comic stage performances, and Goslar also instructed her on film sets. In Gentlemen Prefer Blondes, one of the films in which she played an archetypal dumb blonde, Monroe had the sentence "I can be smart when it's important, but most men don't like it" added to her character's lines.

"I never quite understood it, this sex symbol. I always thought symbols were those things you clash together! That's the trouble, a sex symbol becomes a thing. I just hate to be a thing. But if I'm going to be a symbol of something I'd rather have it sex than some other things they've got symbols of."

—Monroe in an interview for Life in 1962

According to Dyer, Monroe became "virtually a household name for sex" in the 1950s and "her image has to be situated in the flux of ideas about morality and sexuality that characterised the fifties in America", such as Freudian ideas about sex, the Kinsey report (1953), and Betty Friedan's The Feminine Mystique (1963). By appearing vulnerable and unaware of her sex appeal, Monroe was the first sex symbol to present sex as natural and without danger, in contrast to the 1940s femme fatales. Spoto likewise describes her as the embodiment of "the postwar ideal of the American girl, soft, transparently needy, worshipful of men, naïve, offering sex without demands", which is echoed in Molly Haskell's statement that "she was the fifties fiction, the lie that a woman had no sexual needs, that she is there to cater to, or enhance, a man's needs." Monroe's contemporary Norman Mailer wrote that "Marilyn suggested sex might be difficult and dangerous with others, but ice cream with her", while Groucho Marx characterized her as "Mae West, Theda Bara, and Bo Peep all rolled into one". According to Haskell, due to her status as a sex symbol, Monroe was less popular with women than with men, as they "couldn't identify with her and didn't support her", although this would change after her death.

Dyer has also argued that Monroe's blonde hair became her defining feature because it made her "racially unambiguous" and exclusively white just as the civil rights movement was beginning, and that she should be seen as emblematic of racism in twentieth-century popular culture. Banner agreed that it may not be a coincidence that Monroe launched a trend of platinum blonde actresses during the civil rights movement, but has also criticized Dyer, pointing out that in her highly publicized private life, Monroe associated with people who were seen as "white ethnics", such as Joe DiMaggio (Italian-American) and Arthur Miller (Jewish). According to Banner, she sometimes challenged prevailing racial norms in her publicity photographs; for example, in an image featured in Look in 1951, she was shown in revealing clothes while practicing with African-American singing coach Phil Moore.

Monroe in a Lustre-Creme shampoo advertisement in 1953

Monroe was perceived as a specifically American star, "a national institution as well known as hot dogs, apple pie, or baseball" according to Photoplay. Banner calls her the symbol of populuxe, a star whose joyful and glamorous public image "helped the nation cope with its paranoia in the 1950s about the Cold War, the atom bomb, and the totalitarian communist Soviet Union". Historian Fiona Handyside writes that the French female audiences associated whiteness/blondness with American modernity and cleanliness, and so Monroe came to symbolize a modern, "liberated" woman whose life takes place in the public sphere. Film historian Laura Mulvey has written of her as an endorsement for American consumer culture:

If America was to export the democracy of glamour into post-war, impoverished Europe, the movies could be its shop window ... Marilyn Monroe, with her all American attributes and streamlined sexuality, came to epitomise in a single image this complex interface of the economic, the political, and the erotic. By the mid 1950s, she stood for a brand of classless glamour, available to anyone using American cosmetics, nylons and peroxide.

Twentieth Century-Fox further profited from Monroe's popularity by cultivating several lookalike actresses, such as Jayne Mansfield and Sheree North. Other studios also attempted to create their own Monroes: Universal Pictures with Mamie Van Doren, Columbia Pictures with Kim Novak, and Rank Organisation with Diana Dors.

Legacy

Publicity photo of Monroe, 1953

According to The Guide to United States Popular Culture, "as an icon of American popular culture, Monroe's few rivals in popularity include Elvis Presley and Mickey Mouse ... no other star has ever inspired such a wide range of emotions—from lust to pity, from envy to remorse." Art historian Gail Levin stated that Monroe may have been "the most photographed person of the 20th century", and The American Film Institute has named her the sixth greatest female screen legend in American film history. The Smithsonian Institution has included her on their list of "100 Most Significant Americans of All Time", and both Variety and VH1 have placed her in the top ten in their rankings of the greatest popular culture icons of the twentieth century.

Hundreds of books have been written about Monroe. She has been the subject of films, plays, operas, and songs, and has influenced artists and entertainers such as Andy Warhol and Madonna. She also remains a valuable brand: her image and name have been licensed for hundreds of products, and she has been featured in advertising for brands such as Max Factor, Chanel, Mercedes-Benz, and Absolut Vodka.

Monroe's enduring popularity is linked to her conflicted public image. On the one hand, she remains a sex symbol, beauty icon and one of the most famous stars of classical Hollywood cinema. On the other, she is also remembered for her troubled private life, unstable childhood, struggle for professional respect, as well as her death and the conspiracy theories that surrounded it. She has been written about by scholars and journalists who are interested in gender and feminism; these writers include Gloria Steinem, Jacqueline Rose, Molly Haskell, Sarah Churchwell, and Lois Banner. Some, such as Steinem, have viewed her as a victim of the studio system. Others, such as Haskell, Rose, and Churchwell, have instead stressed Monroe's proactive role in her career and her participation in the creation of her public persona.

Left panel from pop artist James Gill's painting Marilyn Triptych (1962)

Due to the contrast between her stardom and troubled private life, Monroe is closely linked to broader discussions about modern phenomena such as mass media, fame, and consumer culture. According to academic Susanne Hamscha, Monroe has continued relevance to ongoing discussions about modern society, and she is "never completely situated in one time or place" but has become "a surface on which narratives of American culture can be (re-)constructed", and "functions as a cultural type that can be reproduced, transformed, translated into new contexts, and enacted by other people". Similarly, Banner has called Monroe the "eternal shapeshifter" who is re-created by "each generation, even each individual ... to their own specifications".

Monroe remains a cultural icon, but critics are divided on her legacy as an actress. David Thomson called her body of work "insubstantial" and Pauline Kael wrote that she could not act, but rather "used her lack of an actress's skills to amuse the public. She had the wit or crassness or desperation to turn cheesecake into acting—and vice versa; she did what others had the 'good taste' not to do". In contrast, Peter Bradshaw wrote that Monroe was a talented comedian who "understood how comedy achieved its effects", and Roger Ebert wrote that "Monroe's eccentricities and neuroses on sets became notorious, but studios put up with her long after any other actress would have been blackballed because what they got back on the screen was magical". Similarly, Jonathan Rosenbaum stated that "she subtly subverted the sexist content of her material" and that "the difficulty some people have discerning Monroe's intelligence as an actress seems rooted in the ideology of a repressive era, when superfeminine women weren't supposed to be smart".