Bringing Up Baby (1938) is the essence of thirties screwball comedy. It is also quintessential Howard Hawks, treating many of the director's favorite themes, particularly the loving war between the sexes. Bringing Up Baby features Katharine Hepburn as a flaky heiress and Cary Grant as an absentminded paleontologist, roles in which they come into their own as stars and deliver particularly fine comic performances. Pauline Kael has called the film the "American movies' closest equivalent to Restoration comedy." The comparison is based on the quick repartee and witty dialogue, a hallmark of Hawks's work and well conveyed here by Gerald Mast's transcription from the screen.

Bringing Up Baby, directed by Howard Hawks in 1938, is one of the greatest screwball comedies and a treasure from the Golden Age of Hollywood. Cary Grant plays a naive and repressed palaeosaurologist who becomes entangled with (and ensnared by) a wilful heiress (Katharine Hepburn). Chaos ensues as romance blossoms and not one but two leopards are set loose in verdant Connecticut. All of Hawks's signature skills are to the fore: there is the wonderful ensemble cast, the characteristically refined but unselfconscious visual style, an endless succession of pratfalls, innuendo and jokes (written by Dudley Nichols and Hagar Wilde) and, underneath the chaos and good cheer, a serious dream of escaping life's troubles by dint of nothing more or less than nerve and luck. There are no human babies in Bringing Up Baby, but there are those leopards and the relentless terrier George – and, as Peter Swaab explores in his witty and original study, Hawks's film wonders profoundly why we want animals in our lives and why we sometimes need to behave as animals ourselves. Many screwball films have been seen as comedies of remarriage, but Peter Swaab argues that this one is not much interested in marriage and is instead more captivated by instinct, irresponsibility and the wild abnormalities of romance. The film is in its way an American dream of independence, and believes the real way to get on in life – for film-makers as well as scientists – isn't by deference and respectability but by having sexy fun with the right people. A thoroughly American fiction of the 1930s, Bringing Up Baby is also a timelessly classical comic narrative, exploring conflicts between civilisation and nature, rationality and insanity, middle-class inhibitions and aristocratic blitheness. And it is the epitome of film comedy, an anthology of comic types and devices, and one of the most seductively funny films ever made.

An easy-to-use reference for prospective fathers combines practical advice with entertaining information, illustrations, and sidebars as it offers a complete introduction to the art of parenting and covers such topics as common parenting myths, labor and delivery, diapers, and more. Original. 50,000 first printing.

Would they form an instant family? Devon Clarke, author of the popular column "Bringing Up Baby," was America's best-loved baby expert. That's why two fans bequethed her a tiny tyke named Amanda. How were they to know that Devon was living a lie—that she wasn't really married and didn't know a thing about babies! At least Devon's new carpenter, Colin O'Reilly, was a jack-of-all-trades. He could change diapers, burp babies and warm bottles. But would Colin go along with Devon's plans for matrimony? When an urgent call sent her reeling, she not only needed a baby and a daddy, she needed an instant husband, too!

This is an important text that synthesises diverse literatures and theories on infant development into a coherent framework that illuminates the essence of infancy for all those who have infants, study infants, teach about infancy, make policy with respect to infant welfare, and work medically or therapeutically with mothers and their infants. It brings together in one volume the principal theories of infant development, beginning with Freud's vision of the Oedipal infant, moving through the post-Freudian conceptualizations of the infant of Anna Freud, Melanie Klein, and the British Independents with Donald Winnicott as exemplar, then to the attachment theorists, the intersubjective theories, the cognitive developmental psychologists, examining the work of Jean Piaget and the neo-Piagetian cognitive theorists concluding with the modern infant of developmental neuroscience and an examination of the neurobiology of attachment, stress, and care giving.

A collection of facts about how many different animals behave in relation to courtship, mating, and caring for offspring.

"Bringing up Baby" is a social studies lesson that explores the attempts of governments to influence childbirth rates, with the emphasis on efforts to reverse the declining birthrate in Japan, intended for use with students in grades 6-12. Kari Kohl and Barbara Holmes Scott created this lesson, which is based on a "New York Times" article. The lesson includes objectives, procedures, and extension activities. The Learning Network, a service of the New York Times Co., provides the lesson online as part of the Daily Lesson Plan Teacher Connections educational tool.

Scientific Essay from the year 2013 in the subject Communications - Movies and Television, grade: 1,0, Pace University, language: English, abstract: The arts, especially films, have always functioned as mirrors of current conditions in society. Gerald Mast states that the reflection of social reality is the primary intention of commercial motion pictures (203). Film comedies, in particular, are able to deal with these conditions in an iconoclastic manner and can question or even expose “the shams of society,” because they use “the entertaining comic form” (21). After the imposition of the Production Code on American film productions in 1934, it appears the conservative values of gender, love and family become more consolidated in films. According to Jane Greene, the outcome of this suppression of, for example, explicit sexuality led to an all new genre - the “screwball comedy” (45). The iconoclastic quality of comedies during that time, hence, relied on a “unique aesthetic for destroying Hollywood assumptions while appearing to subscribe to them” (Mast 250). In particular, the screwball comedy Bringing Up Baby (Howard Hawks, 1938) breaks the classical gender roles and undermines male supremacy in the Hollywood conventions long before the second wave feminist movement of the 1960s. In particular, the female lead’s “screwball” actions can be read as a performance in sharp contrast to the Victorian role model of women. In the following analysis of specific scenes, the film’s use of the cinematic techniques of mise-en-scene, cinematography, and its opposing main characters in order to construct an equal gender image will be examined, drawing mainly on readings by scholars such as Gerald Mast, S.I. Salamensky, and Stanley Cavell.