and elaborating on older uses of queer camp per- personal, and political and cultural arenas that formance, the film contains a much greater came to underscore the very phenomenon of gay degree of sentimentality about, and admiration liberation. Evoking a spirit of ‘stranger sociabil- for, the many things it stages and indeed dresses. ity’, to borrow a term from Michael Warner, the Much more extensively developed as a form of film advances the construction of new kinds of live theatre, camp performance in the late ’60s social formation, by elaborating on experiences BIBLIOGRAPHY and early ’70s was very much about bringing par- and feelings that many male-desiring men had in ticipants into the fold of new kinds of social, cul- common, though could not always easily share in tural and political spaces, where the values a collective context due to the prohibitions and assigned to things in everyday life could be inven- anxieties of a repressive society. !' tively challenged and given new life and meaning Just as the film potently and provocatively through their re-configuration. addresses the audience through its complex Camp in Pink Narcissus is also an integral combination of the sexually direct and the polit- part of what might be described as the film’s ically sharp, it also, more simply, offers audi- world-making ethos. The film repeatedly uses ences the sheer pleasure of viewing, for its own camp to garner a feeling for the pleasure of sake, a glistening, endlessly unfolding display of gay male experiences of socialising, if not col- light, colour, texture and movement. In every Introduction Glenn, Susan, Female New American Culture, Mizejewski, Linda, lectivising, at this critical historical juncture. sense of the word, Pink Narcissus was an exper- Marketa Uhlirova Spectacle: The Theatrical Vintage Books, 1994. Ziegfeld Girl: Image and Characterised by groups and organisations such imental endeavour and Bidgood’s devotion to Roots of Modern Feminism, Icon in Culture and Lenne, Gérard, Le Cinéma Harvard University Press, Cinema, Duke University as the Effeminists, Gay Flames and, later and on using a trial-and-error approach to filmmaking Brakhage, Stan, Metaphors ‘fantastique’ et ses 2000. Press, 1999. a much larger scale, the Radical Fairies, playing resulted in a film unlike any other – it is a film on Vision, ed PA Sitney, mythologies, Éditions du with iconographies of gender and sex also func- that has continued to inspire generations of cul- Film Culture, 1963. Golden, Eve, Anna Held Cerf, 1970. Moon, Michael, ‘Flaming and the Birth of Ziegfeld’s Closets’, October, vol 51, tioned as a sort of rallying point, bringing scores tural practitioners. !* While Pink Narcissus is too Brewster, Ben, and Lea Lista, Giovanni, Loïe Broadway, University Winter 1989. Jacobs, Theatre to Cinema: Fuller and the Cinema’, of people together as they enjoyed and found expansive and inclusive to be reduced to any Press of Kentucky, 2000. camaraderie in the pleasure of transgressing single feature, it would be a mistake to overlook Stage Pictorialism and the Cinegrafie 19, June 2006. 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This expression does far more, publics, Zone Books, 2002: 121–2. ‘ “La Loïe” Talks of The Mechanical Smile: however, than simply communicate feeling and Her Art’, New York Times, !* While a number of films, photographs Modernism and the First 1 March 1896. desire. Like the many people who came in and and paintings appear to be informed Fashion Shows in France out of the ‘bedroom’ world of Bidgood’s studio by Bidgood’s work, two notable examples and America, $%## – $%)%, Leach, William R, Land over the greater part of a decade, it bespeaks the include the work of the French photo- Yale University Press, of Desire: Merchants, kind of merging of public and private, social and graphy team Pierre et Gilles and 2013. Power, and the Rise of a the hyperbolic set design and costuming that comprises the mise en scène of Rainer Werner Fassbinder’s 1982 film Frame enlargements from Pratermizzi, %!) Querelle. dir Gustav Ucicky and Karl Leiter, 1927. %!' 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%$$ %$% Stanley, May, ‘Jazzing Up McCarren, Felicia M, Jansen, Wolfgang, Glanz- Anger, Kenneth, ‘Interview Hutchison, Alice L, Suárez, Juan A, Bike Boys, ed T Elsaesser, British Siegel, Marc, ‘Documentary the Fashions’, Photoplay, Dancing Machines: reveuen der zwanziger with S.P.I.D.E.R. Kenneth Anger: A Drag Queens, and Film Institute, 1990. that Dare / N ot Speak its May 1920. Choreographies of the Age Jahre, Hentrich, 1987. Magazine’, Film Culture Demonic Visionary, Black Superstars: Avant-Garde, Name: Jack Smith’s Gruen, John, ‘The Under- of Mechanical Repro- no 40, 1966. Dog Publishing, 2004. Mass Culture, and Gay Flaming Creatures’, in Swanson, Gloria, Jaques-Dalcroze, Émile, ground’s M.M. – Mario duction, Stanford Identities in the 1960s Between the Sheets, In the Swanson on Swanson: Rhythm, Music, and Anger, Kenneth, and Interview with Jann Montez’, New York / World University Press, 2003. 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Ludlam, Applause Theatre by Gloria Swanson to of Cinema’, Vestoj no 2, Hackett, POPism: The of a Movie Scorpio’, in When Broadway was the and Cinema Books, 2002. Adela Rogers St Johns’, Patalas, Enno, Metropolis 2011. Lester, Elenore, ‘From Warhol Sixties, Harcourt, Wait for Me at the Bottom Runway: Theater, Fashion, Photoplay, February 1922. in/aus Trümmern: eine Underground: Kenneth Brace, Jovanovich, 1980. Leffingwell, Edward, of the Pool: The Writings of and American Culture, Barthes, Roland, Elements Filmgeschichte, Bertz, Anger Rising’, New York ‘Jack Smith: The Only Jack Smith, eds J Hoberman Veblen, Thorstein, The University of Pennsylvania of Semiology, trans Wolfe, Tom, The Kandy- 2001. Times, 19 February 1967. Normal Man in Baghdad’, and E Leffingwell, High Theory of the Leisure Class, Press, 2009. Annette Lavers and Colin Kolored Tangerine-Flake in Flaming Creature: Jack Risk Books, 1997. Viking Press, 1967. Prasteau, Jean, La Smith, Jonathan Cape, Loos, Adolf, Dicho en Streamline Baby, Farrar, ‘Women Dominate Hotel Smith, His Amazing Life Merveilleuse aventure du 1967. el vacío, 1897–1900, trans Straus and Giroux, 1965. Smith, Jack, ‘The Perfect Lobbies Now’, New York and Times, Serpent’s Tail, Casino de Paris, Denoel, Irma Huici, Colegio Oficial Filmic Appositeness Poetry in Motion: Times, 26 March 1922. Benjamin, Walter, Wollen, Peter, ‘Out of 1997. 1975. de Aparejadores y of Maria Montez’, in Wait Costume, The Arcades Project, the Past: Fashion / Arquitectos Técnicos de Markopoulos, Gregory, for Me at the Bottom of the Robinson, Kelly, ‘Flamboyant trans H Eiland and Orientalism / T he Body’, Choreography and Dance, Fashion la Región de Murcia, 2003. ‘Innocent Rivals’, Film Pool: The Writings of Jack Realism: Werner Brandes K McLaughlin, Belknap Raiding the Icebox: the Showgirl Revue and Music Hall Culture, vol 33, Summer Smith, eds J Hoberman and and British International Press of Harvard Mauss, Marcel, A General Reflections on Twentieth- 1964. E Leffingwell, High Risk in American Cinema Scenes in European Pictures in the Late 1920s’, University Press, 1999. Theory of Magic, trans Century Culture, Indiana Books, 1997. in the 1920s –40s Silent Films in Destination London: Robert Brain, WW Norton, University Press, 1993. McColgen, Gary, ‘The Blackman, Cally, German-Speaking Emigrés 1972. Superstar: An Interview Sontag, Susan, Against Lucy Fischer of the 1920s ‘Clothing the Cosmic and British Cinema, $%)*– with Mario Montez’, Interpretation and Other Karl Toepfer Counterculture: Fashion Nin, Anaïs, The Diary Fashion, Thrift $%*#, eds T Bergfelder Film Culture, vol 45, Essays, Delta, 1966. Ardmore, Jane, The Self- and Psychedelia’, of Anaïs Nin: $%"+ – $%**, Stores and the Space and C Cargnelli, Berghahn, Summer 1967. Enchanted, Mae Murray: ‘A Letter from London’, in Summer of Love: vol 5, Harcourt, 1974. Suárez, Juan A, Bike Boys, 2008. of Pleasure in the Image of an Era, McGraw- Close Up, vol 2 no 5, Psychedelic Art, Social Mekas, Jonas, ‘The Great Drag Queens, and Nochlin, Linda, ‘The 1960s Queer Hill, 1959. 1 May 1928. Brandenburg, Serran, Pascal, Le Music Crisis and Counterculture Pasty Triumph’, Film Superstars: Avant-Garde, Imaginary Orient’, Art in Hans, Der moderne Tanz, hall française: de Mayol in the 1960s, eds Underground Film Culture, vol 29, Summer Mass Culture, and Gay Castle, Charles, The Folies America, 71, May 1983. Bergère, Methuen, 1982. Müller, 1921 [1913]. à Julien Clerc, Orban, 1978. C Grunenberg and Ronald Gregg 1963. Identities in the $%,#s J Harris, Tate Liverpool Said, Edward, Underground Cinema, Castle, Charles, The Folies Toepfer, Karl, Empire Moon, Michael, ‘Flaming Duff-Gordon, Lady and University of Orientalism, Pantheon, Brakhage, Stan, ‘From Indiana University Press, Bergère, Watts, 1985. of Ecstasy: Nudity and Closets’, in Out in Culture: (Lucile), Discretions and Liverpool Press, 2005. 1978. Metaphors on Vision’, 1996. Movement in German Body Gay, Lesbian, and Queer Indiscretions, Jarrolds, Collier, Lionel, ‘Reviews of in The Avant-Garde Film: Culture, $%$# – $%&*, Cavendish, Richard, The Schneemann, Carolee, Essays on Popular Culture, Tavel, Ronald, ‘Notes on 1932. the Week’, The Kinemato- A Reader of Theory and University of California Black Arts, Perigee, 1983. ‘Kenneth Anger’s Scorpio eds CK Creekmur and Screen Test II’, Summer graph Weekly, vol 49 Criticism, ed PA Sitney, Fischer, Lucy, American Press, 1997. Rising’, Film Culture A Doty, Duke University 2001, [Online], http:// no 1093, 29 March 1928. De Brier, Samson, ‘On Anthology Film Archives, Cinema of the 1920s: no 32, 1964, reprinted Press, 1995. ronald-tavel.com the Filming of Inauguration 1978. Themes and Variations, Hagemann, Hedwig, in Film Culture Reader, (no longer functional). Kenneth Anger: of the Pleasure Dome’, Film Rutgers University Press, and Fritz Giese, Weibliche ed PA Sitney, Praeger, ‘Family of the f.p.: Notes Clothing, Queerness, Culture nos 67– 69, 1979. 2009. Körperbildung und 1970. on the Theatre of the Bewegungskunst auf Grund Magic Flügel, JC, La psicología Ridiculous’, The Drama Golden, Eve, Anna Held Smith, Todd D, ‘Gay Male des Systems Mensendieck, Juan A Suárez del vestido, trans Review, vol 13 no 1, Autumn and the Birth of Ziegfeld’s Pornography and the Delphin, 1922. A Kornblit, Paidós, 1964. 1968. Broadway, University East: Re-Orienting the Anger, Kenneth, with Press of Kentucky, 2000. Jacobsen, Wolfgang, and Fogg, Marnie, Boutique: Orient’, History of ‘Conflict Pictured as Spur Tony Rayns, ‘Dedication Werner Sudendorf, A $%,# Cultural Photography, vol 18 no 1, in Field of Style Creation’, Gunning, Tom, ‘The to Create Make-Believe. Metropolis: A Cinematic Phenomenon, Mitchell February 1994. 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%$( %$& Warhol, Andy, and Pat Community, $%"# – $%+#, Hackett, POPism: University of Chicago The Warhol ’,#s, Press, 2006. Harper & R ow, 1980. Murray, Stephen O, Watson, Steven, Factory American Gay, University Made: Warhol and the of Chicago Press, 1966. Sixties, Pantheon, 2003. Ramírez, Juan Antonio, NOTES ON CONTRIBUTORS West, Vera, ‘Dress Moods Architecture for the Screen: to Be Away From War’, A Critical Study of Set Los Angeles Times, Design in Hollywood’s 19 February 1941. Golden Age, McFarland & Company, 2004. West, Vera, ‘Hollywood Now Leading Style World’, Samuels, Steven, ed, Los Angeles Times, Ridiculous Theatre: Scourge 18 September 1940. of Human Folly. The Essays and Opinions of Charles West, Vera, ‘War Brings Ludlam, Sarabande Press, Practicality into Fashion 1992. Picture’, Los Angeles Times, 17 September 1941. Suárez, Juan A, Bike Boys, Drag Queens, and Lucy Fischer is Distinguished Professor of Ronald Gregg is Senior Lecturer in American Dressing Pink Superstars: Avant-Garde, Mass Culture, and English and Film at the University of Pittsburgh. Studies and Film Studies and Director of Film Narcissus Gay Identities in the $%,#s She serves on the editorial boards of Programming for the Whitney Humanities Ryan Powell Underground Cinema, Contemporary Film and Television Series at Center at Yale University. He has published arti- Indiana University Press, Benderson, Bruce, James 1996. Wayne State University Press and Online cles on topics ranging from MGM’s manage- Bidgood, Taschen, 1999. Bibliographies at Oxford University Press, and ment of the image of its 1920s gay star William Tinkcom, Matthew, Bird, William L, Holidays teaches graduate courses on subjects including Haines to queer representation in the competing on Display, Princeton Working Like a Homosexual: Architectural Press, 2007. Camp, Capital, Cinema, cinema and desire, the body in cinema, comedy, videos produced during Oregon’s 1992 anti-gay Duke University Press, the studio system and authorship. Her books rights ballot measure campaign. He has also Cohan, Steven, 2002. Incongruous Entertainment: on film include Jacques Tati (1983), Shot / curated film and video programming for festi- Camp, Cultural Value and Warner, Michael, Publics Countershot: Film Tradition and Women’s Cinema vals internationally including the San Francisco the MGM Musical, Duke and Counterpublics, Zone (1989), Designing Women: Cinema, Art Deco and International LGBT Film Festival, Chicago Gay Books, 2002. University Press, 2005. The Female Form (2003) and Body Double: The and Lesbian Film Festival and the South African Dennis, Jeffery P, We Boys Waugh, Thomas, Hard Author Incarnate in the Cinema (2012). Her arti- Gay & L esbian Film Festival. to Imagine: Gay Male Together: Teenagers in cles have appeared in publications such as Love Before Girl-Craziness, Eroticism in Photography Vanderbilt University and Film from their Camera Obscura, Cinema Journal, Screen, Sumiko Higashi is Professor Emerita in the Press, 2007. Beginnings to Stonewall, Modernism /Modernity and Wide Angle. Department of History and former Director of Columbia University the Women’s Studies Program, which she Duberman, Martin, Press, 1996. Stonewall, Plume, 1994. Inga Fraser is Assistant Curator of Modern British founded, at the State University of New York, Youmans, Greg, ‘Re-Visions Art at Tate Britain. Previously, she was Assistant Brockport. She is the author of Cecil B DeMille, Gerstner, David, ‘Queer of Orientalism: Téo Curator at the National Portrait Gallery, London, American Culture: The Silent Era (1994) and Modernism: The Cinematic Hernandez’s Salomé and Aesthetics of Vincente the Politics of Super-8’, and Associate Curator of Fashion in Film. Her Virgins, Vamps, and Flappers: The American Minnelli’, Modernity, given at the Society for research focuses on the uses of dress and interior vol 2, 2000, reprinted in Cinema and Media Studies in constructions of the self in art, film, literature Vincente Minnelli, The Art Conference, Philadelphia, and performance. She has spoken on these topics of Entertainment, ed 6 March 2008. J McElhaney, Wayne State at venues including the Museum of the Moving University Press, 2009. Image, New York, Museum Boijmans van http://castle.eiu.edu/~ Beuningen, Rotterdam and the British Film modernity/dgerst.html. Institute, London. Fraser has written for an anthol- Katz, Leandro, ‘Bedlam ogy on biography and the interior published by Days’, www.leandrokatz. com/Pages/BedlamDaysE. Ashgate in 2013 and for periodicals including html. Costume: the Journal of The Costume Society. Meeker, Martin, Contacts Desired: Gay and Lesbian Communications and

%$) %$' Silent Movie Heroine (1978). She has also written Italy he has recently been honoured with the Juan Antonio Suárez teaches US studies at the numerous essays on women in film and televi- prestigious title of Chevalier for his work in art University of Murcia, Spain. He has written on sion, film history as American cultural history scholarship and criticism. avant-garde literature and film, postmodern aes- and film as historical representation. She is cur- thetics, queer theory and film studies. His books rently working on a book about stardom and sub- Eugenia Paulicelli is Professor of Italian, include Bike Boys, Drag Queens, and Superstars: urban middle-class consumption in the 1950s. Comparative Literature and Women’s Studies at Avant-Garde, Mass Culture, and Gay Identities in Queens College and the CUNY Graduate Center the $%,#s Underground Cinema (1996) and Pop Catherine Hindson is a lecturer in theatre and where she directs Fashion Studies in the Master Modernism: Noise and the Reinvention of the performance at the University of Bristol and aca- Program of Liberal Studies. Her books include Everyday (2007). His articles and essays have demic advisor to the University of Bristol Fashion under Fascism: Beyond the Black Shirt appeared in the journals and magazines New Theatre Collection. Her research interests stem (2004); $%,#, Un anno in Italia tra cultura e spet- Literary History, Journal of American Studies and from a fascination with the popular perfor- tacolo (2010); Writing Fashion in Early Modern Grey Room among others, and in edited collec- mances that thrilled audiences during the late Italy: From Sprezzatura to Satire (forthcoming, tions such as Mixed Use, Manhattan: Photography nineteenth and early twentieth centuries and the 2014) and Italian Style: Fashion and Film from and Related Practices, $%+#s to the Present (2010) ways these performances intersected with con- 1914 to the Present (forthcoming, 2014). She is and Film Analysis: A Norton Reader (2013). sumer culture, domesticity and metropolitan also the editor /co-editor of Moda e Moderno day-to-day life. Hindson’s publications include (2006); The Fabric of Cultures: Fashion, Identity, Karl Toepfer is Professor of Theatre Arts at San Female Performance Practice on the Fin-de-siècle Globalization (2009); the special fashion issue Jose State University. He is the author of Empire Popular Stages of London and Paris: Experiment of the Journal of Modern Italian Studies (2014) of Ecstasy: Nudity and Movement in German and Advertisement (2007) and articles on topics and the Women’s Studies Quarterly on Fashion Body Culture, $%$# – $%&* (1997), The Voice of including celebrity culture and the Victorian (2013). Rapture (1991) and Theatre, Aristocracy, theatre, skirt dancing, poster art, stage illusion- Pornocracy ( 1 9 9 1 ) , a n d t h e e d i t o r o f Sexualerleben ism and theatrical ghosts. Ryan Powell is a Assistant Professor of Film und Körperkultur (2007). He has published Studies at Indiana University. He has written on numerous scholarly articles on postmodern per- Esther Leslie is Professor in Political Aesthetics independent, underground and queer cinema formance, film history, dance history and dra- at Birkbeck, University of London. She has and the sex film, and has explored political matic literature which have appeared in The research interests in Marxist theories of aes- movement theory in relation to the cinematic Journal of the History of Sexuality, The Drama thetics and culture, with a particular focus on elaboration of queer politics and social life. His Review, The Journal of Dramatic Theory and the work of Walter Benjamin and Theodor recent publications include ‘Nowhere Home: Criticism, Scandinavian Studies, Seminar, Adorno. Other research interests include liter- Radical Gay Rurality in Song of the Loon (Andrew Performing Arts Journal, Theatre Three, Gender ary and visual modernism, the aesthetics of sci- Herbert, 1970)’ in Little Joe (2010) and ‘Putting and Performance, and the Dictionary of Literary ence, the visual and the verbal, and madness and on the Red Dress: Reading Performative Camp Biography. expression. Leslie has published widely, includ- in Douglas Sirk’s All That Heaven Allows (1955)’ ing her critically acclaimed books Walter in Forum (2007). Marketa Uhlirova is Senior Research Fellow at Benjamin: Overpowering Conformism (2000), Central Saint Martins College of Arts and Hollywood Flatlands: Animation, Critical Theory Jody Sperling is a dancer, choreographer, and Design, University of the Arts London, and and the Avant-garde (2002), Synthetic Worlds: scholar based in New York City. She is the Director of Fashion in Film where she oversees Nature, Art and the Chemical Industry (2005) founder and Artistic Director of Time Lapse all of its programming. She is also the editor of and Walter Benjamin (2007). Dance, a company that presents visual kinetic Fashion in Film’s catalogues and books, includ- theater fusing experimental dance, circus arts, ing Fashion in Film Festival: Between Stigma and Giovanni Lista is Research Director at the Centre and fabric-and-light spectacles after the style Enigma (2006) and If Looks Could Kill: Cinema’s National de la Recherche Scientifique (CNRS). of Loïe Fuller. She has created more than 35 Images of Fashion, Crime and Violence (2008). Since 1988 he has been the managing editor of choreographic works for herself and the com- She has contributed articles, essays and inter- Ligeia, dossiers sur l’art, a journal dedicated to pany. Having lectured and performed interna- views on fashion, art and the moving image to modern and contemporary art (which he also tionally, Sperling has earned a reputation as the numerous journals and magazines including Art founded). He is the author of numerous books, leading contemporary re-interpreter of Fuller’s Monthly, Dějiny a současnost and Fashion Theory articles and catalogues as well as the curator of genre. Her writings have appeared in publica- and edited volumes including Fashion Media: international exhibitions on art and culture of tions including Dance Magazine, The Village Past and Present (2013). the twentieth-century avant-gardes. His books Voice, Conference Proceedings of the Society of include Futurisme: abstraction et modernité Dance History Scholars, and The International (1982), Cinema e fotogra!a futurista (2001) and Encyclopedia of Dance. Dada libertin & libertaire (2005). In France and

%$* %$" Asche, Oscar &$( – Shéhérazade &!', &'*, Béryl, Suzy [showgirl] processional manner; Ashden’s Walk on Møn #!" &$% XXVII revue; tableaux; [film] #'* – Thamar &!', &'* Biche au bois ou le processions and Ashton, Sylvia #&( Ball, Lucille #)# Royaume des fées, parades; fashion show assemblage )% Banchi, Vilma / ‘Orchidée’ La (The Doe in the – spatial extensions of, Assyrian references in [dancer] &$!, &'' Woods or the Kingdom through costume ##, theatre/cinema &$( III, Banton, Travis [costume of the Fairies) $) I, %#, '(, &*#, &&(, INDEX &'* designer] #!( [féerie] &*) &*'–&), &&!, &'(, #'& Astaire, Fred )&# Bara, Theda Bidgood, James &%, – eclipsed by costume astronomy !*, !&, !( – as vamp &!*–), &!$– #%" XI, )*$–&$ #*, %#, '#, '", Atlantide, L’ (Lost Atlantis) '*, &'), &'", &'$, &'' – and theatre )*!–' &%), #"! [film] &!(, &'', #** – films – designing costumes – see also movement; audiences and spectators Cleopatra &$ B, &$( I, and sets #%" XI, pose, posing – as portrayed in film &!) A, &!$, &!% H, )*$, )&*–&& Bolm, Adolph &!' N &$$ XVI, #)$, #)', &!'–'*, &') Big Julie [painting] )* Bologna, Jack &&' #"&, #"#, #") n$, #"(, Fool There Was, A Bilinsky, Boris [costume Borelli, Lyda &%*, &%&, #"$, #"%, #"!, #(& &!*, &'", &'$, &'' designer] &$( VI, &'*, &%#, &%), &%", &%$, &%%, – in live performances Salome &!$, &!% I, #)$, #)% B &C &'" #), $$, $%, %(, &!! J & K, &!'–'* bird [as motif] !", &**, Borton, Terry !( %$ –%, !*, !%, !!, Barbier, George &*!, &&( Boué Soeurs &$! &**, &*#, &*" –(, [illustrator and costume – exotic/fantastic &'), Bousquet, Henri &*$ A aerial dance see dance &''–#**, #*"–&$, #!*, #!# D–F, #'& &&(, &#), ##& designer] ##*, ##& #)*; see also bird boutiques see Aérogyne, Miss &*! ##&–%, #)$ Scorpio Rising #%!, – of cinema &%, )&, &'", Barefoot Contessa, The of paradise; shops and shopping abstract designs on aestheticism &!#, &'*, – musical ##%–)#, )*', #%', #!*, #!# C, &'(, &'$, #*%, #)", [film] #'% peacock; phoenix Bradin, Jean #"( costumes !", ##$–%, #!) )&# #'&, #'# #'$ Barrie, JM #*! bird of paradise [as motif] Bragaglia, Anton Giulio #!$ ‘aesthetic of opulence’ – Hollywood exotic surface quality of aurora borealis !% Barsacq, André [art &*( &'* Abyss, The (Afgrunden) ##, &*#– $ spectaculars of the #%', #!) Austrian cinema #)'– "& director] &$! Bird, William L )&& – and brother Arturo [film] &'( A'air of the Follies, An &')*s and ’"*s unity of sex, costume avant-garde #$, )(, &%(, bat [as motif] ##, !", '# C, Blake, John !) &** accessories &#$, &$$ XVI, [film] &$%, ##( )$–%, #'', )*), )*" and magic #'*–# #'", #'$ '(, &&(, &&$, &'), #&# Blake, Peter #!! Brakhage, Stan &%, )(, &!#–), &!$–'), #*%, A'airs of Anatol, The – see also underground: Anicet-Bourgeois, Avatar [film] !% Batcheff, Pierre #"! Blang, Annie [showgirl] #'", )*% #*!, ##"–%, ##%–)#, [film] &'), #&*, #&&, cinema Auguste &*! Avril, Jane #&! Batllori, Joan M Minguet &$% XXVII Brando, Marlon #!* #"" I &J, #"(, #"!, #&#, #&) Ameta [dancer] '$ animal symbolism &'*–( &&*, &&) Blang, Rosa [showgirl] Brandstetter, Gabriele #(&, #!&, )**, )*#; see Agamben, Giorgio #** Anderson, John Murray apotheoses [in féeries] B Baudelaire, Charles )(, &$% XXVII #** also fan: as accessory; ‘Aladdin’ [story of] &#( ##% &*", &*', &&(, &#&, &!&, #!( Blasco Ibañez, Vicente &$$ Brecht, Stefan )*) peacock: feathers used Aladin ou la Lampe Anderson, Percy [costume &#$, &#%; see also Babylonian references in Bauer, Yevgeni #)" Blom, August #)" Brent, Evelyn &!#, &!" B in costumes merveilleuse (Aladdin designer] %*, &$( $) for individual theatre /cinema &$( III, Bazin, André #** Blonde Venus [film] #'! Breton, André #', &*) actors/actresses and his Wonder Lamp) Andra, Fern &!* film titles &$$ XV, &'*, #*!, #&&, Beardsley, Aubrey Blow Job [film] )*' Bright Lights [film] – and fashionability [film] &#$ Andy Warhol’s Silver Arabian Nights [film] #"# &$$ XVI, &!#, &!(, &'* Blumer, Herbert #&$ &$% XIX &%, )&, $%–', %&–#, Alcy, Jeanne d’ [actress] Flotations [film] #'$, #'% Baccus, Diane #%"II Beatles, The #!!, #'* Blum, Ernest &&( British cinema #"(–%, &%* –&, &%), &%!, &!*, &*$, &*% )(– $ Arabian Nights ‘backstage’ musicals ##%, Beaumont, Harry ##' Blythe, Betty #" G, #(, #(&

&!$ XVIII, &'"– (, Ali Baba and the 40 Thieves angel [as motif/figure] [theme/tradition] #)* Beausoleil, Bobby #!! &$( III & IV, &!&, &!(, Broadway Melody, The &'$, &'', #*"–&$, [1902 film] )%, !$) ##, !%, '*, &*', &#$ n%$ $" X, &&!–', &#(, &$(, Bailey, Oliver D ### Belasco, David &!" &!$, &'), &'$ [film] ##' #&!, ##", #!* Ali Baba and the Forty – fallen #!) &!', )**–#, )*$, )&) Baker, Josephine #&!, Bel Geddes, Norman #** Bob Walter: danse des Broadway Nights [show] – designing own costumes Thieves [1944 film] Angelina [showgirl] Arabian references in #&'A, ##*, ##$, ##% Belle Otero, La [dancer] Papillons [film] &%, $) III #)* &%, %#, !*, '!, $"', %!$ &$% XXVII theatre / cinema )%, Bakst, Léon [costume &!$, &!%, #&! body Brooks, Louise ##*, ### &$$ XVIII, &$! XXXII, ‘Ali Baba and the Forty Anger, Kenneth &%, )$, &#), &!(, #*%, #'', )*# designer] &!', &'*, Bell, Monta &$%, ##( – choreographies see Brooks, Virginia %$ &'), &'"– (, #'%, Thieves’ [story] &#(, &$( #%%–'#, #'$ n&*, )*% Arctic Monkeys #'* #)$, #!) Benderson, Bruce choreography: of Brown, Clarence #%! #'', )*), )*" Allan, Maud [dancer] – as actor #%! Ardmore, Jane ##" ballet $!, %&, '", &*"n', )&&, )&) bodies; apotheoses; Browne, Porter Emerson Addio, Giovinezza! &!$–% – cinema À rebours [novel] &!# &*$, &*!, &#(, &!', #!", Benjamin, Walter )*, display: in &!& (Farewell, Youth!) allegorical dance and sartorial Argent, L’ [film] #!(, )*! &#%, #!", #'& [play] &%* see dance delirium #%! &$! XXXIII – Giselle, ou les wilis &*! Bennett, Arnold #(*–& Admirable Crichton, The allure and ornamentalism Ari, Carina #)( – in film $)VI, '%, &&(, Benny, Jack ##% [play] #*! – of costume &$–&%, #$, #!)– ( Arlington, Paul ##)D &#$, ##', #)#, #)(– $ Benoît, Pierre &$( Adrian, Gilbert [costume !&–#, &*#, &#( Eaux d’arti!ce #!& Arnaud, Étienne &&( – Mouche d’or, La &*! Berber, Anita #)' designer] &'$, ##*–&, – of film ', &%, #$, Fireworks #%!, #!* Arnold, Steven &%, – Papillon, Le &#&n(' Berkeley, Busby )%, #)*, ##(, ##', #)*, #%!, #!( )(–%, &*)– ", #'"; Ich Will! #!) #%" VIII–X – Phalène, La &*! #)&, #(#, #'%, #'' advertising and promotion see also surface Inauguration of the art deco #&&, ##' – Rêve, Le &&" Berlin, Irving ##*, ###, $', %#, &*" n&", &*% n##, – see also glamour; Pleasure Dome artifice )$–%, &*(, &#&, – Schaname [ballet in #)* &*', &&& n)&, &&', &##, fashion #%!, #!&, #!(, &!#, &'*, &'", #&&; film] #)(, #)$ Bernhardt, Sarah &!#, &#%, &!&, &!(, &!$, &'), Alraune [film] &'', #** #!$–%, #!' H see also decoration: – Sylphide, La &*! &!", &!$, &!%, &'), &'", &'(, #*! Always on Sunday [film] Invocation of My and excess; display: Ballet du Châtelet, Le &'%, #&! – as portrayed in film )*! Demon Brother of opulence [film] &*) n) Bertini, Francesca &%&, #"!, )&( American film #!&, #!! artificial silk )" Ballets Russes &$(, &!!– &%), &'" Ænea, Miss [dancer] – in the silent period Lucifer Rising #!) art nouveau %$, &*$, &'*, '*, #)$, #!), #!", #!( Bertram, Charles &*!, &*' &!*–#, &!$, &!'–'$, Puce Moment #%!, #&& – Cléopâtre &!' [magician] &#)

%%# %%! Bruce, Virginia #)* Chinese references Tulips, Les (Tulips) Cockettes, The [dance costume D butterfly )", $% C, De Brier, Samson #%', Brunelleschi, Umberto in theatre /cinema &## n$# troupe] #%"VIII, )&( – and colour see colour %* F, %$, !!I, '" #!&, #!" [costume designer] &&& n)&, &#), &!#, #*%, choreographers ##*, Cocoon, The [illusion] – and magic dadaists #$ ‘Dance of the Seven décor #*, &*)– ", &*(, &$% XXIV #(&, #!", #'' ##', #)*, #)#, #)', #"!; &*!–&&, &&) transformations Dagmar, Berthe Veils’ &%" C, &!$, &&(, &#(, &%(, #&&–&#, Bryant, Charles &!, &$$, Ching Ling Foo see also Fuller, Loïe Cocteau, Jean #!( ##, $) III, !*, !%, &$% XXXI, #"%, #"!, #(& &!' #&$, #&!, &)*–#, #'!, &'*, #)$ [magician] &#" choreography Cody, Lew #*% &*), &*'–##, &#$ Dalí, Salvador #)#, #%", electric !), !$ )**, )*$, )*'–&) Buel, Kenean &'# R, &') Chirico, Giorgio de – of actors )&& Cogniard brothers – and queer sensibility #!( ‘Electric Serpentine – (visual) unity with Burani, Paul &*! #)# – of bodies #*, $$–!, &*), &*" )$– "*, #%!–'#, Dalle Vacche, Angela &%% Dance’ !) C costume Burne-Jones, Philip &!& Chomón, Segundo de %#, %$, !%, !!, '*, Cohl, Émile &&#, &&) K, &&( #'"–)*", )*$–&$ Damita, Lili &'), #)', fan '" #*, &*(, #'' Butler, David ##% – and costume '", '(, '%, #&!, ##&, Cole, Bertha #%! – and visual pleasure #"*, #"& G farandole %", %( decoration butterfly phantasmagorias ##(, ##$, ##%, #)* Colette #&! #$–%, &*#, &#), &#%, dance fire !), !!, &&$, &&! – and excess &%, #), )%, – [as motif] ##, $) III, $) V, &&(–&$, &#&–# Christout, Marie-Françoise colour &'$, #'", )*", )&$ – as spectacle $$–%, kaléidoscopique &*#, &*(, &!#, &'*, %#, !*, !%, '", &**, – and female magicians &*), &*$, &*' – and costume spectacles – and visual unity with %%, !*–!, &*!–', &&* #*$, ##*–&, ##$, &*(, &&*, &%%, )&& &## n$# Chromo, Miss on stage #&, %(, décor see décor: &&$, &&!–##, &#$, magic-lantern ##'– )#, #)$, #!", – metamorphosis &*$, – and serpentine dance [performer] &&* D !*– ", !%–!, '!–&**, (visual) unity with ##"–!, #)$–(#, )&) !( n#* #'%, )**, )*', )&&–&) &*% B, &*! C, &*', &&* $) V, '%, &*', &&*, chromotrope !", !(, !! &&*, &&!, &#$ n%$ costume – in film ‘Serpentine – and modernism #!)– " – woman $) VI & IX, &&# G, &&(, &#& chronophotography – artistic possibilities – as extension of bodily Annabelle Butter-y Farandole’ – and orientalism #), !! I, '# B, '", '%, – colour effects '%, &**, &*) '%, &&*, &%!, #%" I, )&) volume ##, $) I, Dance '# B, '), '" %" n)* &##–%, &!*, &!#, &!(, &*$, &*%–&", &#* O & &&*, &&& n)), &#$ Chrysalide et le Papillon, La – in cinema #&–#, %#, '(, &*#, &&(, &*'– Annabelle Serpentine ‘Serpentine on a &!! J & K, &!', &'*, P, &#&–), ##! J & K, – films (aka Le Brahmane #) n&), '&, '!–', &), &&!, &'(, #'& Dance '), '", '( Globe’ $$ #**, #&$, #)(, #!)– ", ##', #"*–& Charmeur, Le et le Papillon; Brahmin &**, &*#, &*(, – as masquerade Ballet du Châtelet, skirt see #'%, )**, )&#–&) Byron, Bruce #!# (The Magician and and the Butter-y) &*'– &&, &#" n%), &', )$, &%), #&&; Le &*) skirt dance Decourcelle, Pierre &&( the Butter-y) &*$, &*% B, &*', &#&, &#) &#(– $, &%%–!, #)#, see also drag ‘Castle Walk’ ### veil '", '( de la Fontaine, Jean $) C &*', &#&, &#) Chu-Chin-Chow [film] #%', #!*, #!$, #'%, – as prefiguration of Danse de l’éventail ‘Vision of Salomé, Deleuze, Gilles Création de la &$(IV, &!' #'' abstract art '* (Fan Dance) $) III, The’ &!$ &'', #** Cabanne, Christy ##% serpentine Chumlum [film] )!, )' H, hand-colouring – as screen !*, !", &*', &&*, &&& E see also ballet; Delicious Little Devil, The cabaret, as portrayed (Beginning of the #%" IV & V, #'", #'$, #&–#, $$, '", '$, &*'–&(, &#%, &%( ‘Gaucho Dance’ costume: in [film] ##" in cinema &$$ XVII, Serpentine Dance) #'', )** G, )*), )*! &*)n), &&& n)), – designers see &'(, &'$ motion; Fuller, Delpho gown &%$ E, &%%, &$% XXII, #&!, ##", #!( '%, &&( Chung Ling Soo &#$, &%%; see also individual names Crissie Sheridan '( Loïe; revue; &%! Cabinet of Dr Caligari, The Danse du feu, La [magician] &#" individual film – displays of see display Danse du feu, La serpentine dance Demenÿ, Georges &*) [film] #!" (&'*') $) V, &&( cinema descriptions – electric !# (Haggard’s ‘She’: Daniels, Bebe &$$ XIII, DeMille, Cecil B Cabiria [film] &%&, &'*, Danse serpentine, La – and theatre &$, stencilling &%%, ##$; – in motion &(, #*, ##, The Pillar of Fire) &!#, &'), #*', #&&, – and the New Woman see #)(, #)% (&'*') &&( &'–#), #$, $(–%*, see also $), #), )&, )", $$, $%, %#, #) n&), &&$–&' #&# H, #&) I New Woman Cameron, James !% Écran du Rajah, L’ %$, !*, '*–#, &$(, &$% for %(, %$, !*, !", '*– Danse du feu, La D’Annunzio, Gabriele – and orientalism &!#, Cameron, Marjorie #!& (The Rajah’s '!–&**, &*#–#(, &%&, individual film &**, &*'–##, &%), &%", [1909] )% V, !!& &%&, &%% &'), #*", #*$, #*%, Cammell, Donald #'* Casket) &#$ &!*, &!#, &!', descriptions &%%, &%!, &'(–#**, Danse du papillon, La Dante’s Inferno [film] #!& #*!, #*', #&$ camp )*!, )&(, )&$ Fée aux pigeons, La #&!–)#, #)"– (#, Technicolor ##%, #)", #)(, #)' (Butter-y Dance) Daphnis et Chloé [film] – and conspicuous Capellani, Albert (Pigeon Fairy) )*!–', )&$ &$$ XI, &$% XXV, – poetics of &$, &*(, &%) $) III, &&* &'* consumption $), &*#, &#$, &'' &&(, &#) – see also film stills; ##%, #)#, #'%, )*) – see also capes; cloaks; Danse serpentine dans D’Arcy, Roy #% #*"–', #&)–&$ capes &&(–&$ Légende du fantôme, frame enlargements; Comasio, Sandro &%* light: effects in la cage aux fauves, D’Auban, John $! – films Carli, Mario &%), &%% La (The Black Hollywood; silent Comerio, Luca '$ costume spectacles; La %( J Davidson, Shane )&* A'airs of Anatol, The Carmencita [dancer] #&! Pearl) &&$ cinema; underground Compson, Mary ##' magicians’ Danse serpentine de Davies, Marion ### &'), #&&–&#, #&) I Carmen (Gypsy Blood) Métempsychose cinema; spectacle: Connor, Steven &&$, &&! costumes; wings Loïe Fuller, La '" Day, Richard ##$, ##% Don’t Change Your [film] &'( (Transformation) and cinema history Conrad, Tony )*#, )*) ‘costume slides’ !", Danse serpentine, La Dazie, Mlle ##* Husband Carmilla [novella] &!& &&*, &&# H & I, ‘cinema of attractions’ consumption and !%, &&*, &&) [1897] "% D Dean, James #!* &$$ XIV, #*", Carroll, Earl #)& &## n$# #(– $, $$, &*#, #)#, #'" spectacle $', %%, counter-culture #!(–'*; Danse serpentine, La death )*, )$, &'", #** #*$B, #*!, Casino de Paris #&! Œufs de Pâques, Cines, Società anonima &##, &#%, &'", #*"–', see also underground [1909] !!& – as portrayed in film #&* n#$, #&" Castle, Irene ###, ##) Les (Easter Eggs) (Italiana) '%, &#& #&)–&$; see also DeMille, Courrèges, André )&( Lina Esbrard: Danse &%), &%%, &%!, &'(, For Better, For Worse Castle, Vernon ### &## n$#, &#) Circe, the Enchantress Cecil B: and conspicuous Cox, David ##' serpentine $) II #"(, #%', )*" #*" Cavell, Stanley #&* Papillons japonais, [film] &$$ XII consumption; shops Crane, Stephen #!( Serpentine Dance Cavendish, Richard #'& Les (Japanese Clairin, Georges &!( and shopping Crary, Jonathan &%( by Annabelle $) I censorship #*, #%, #)#, Butter-ies) &*', Clark, Herbert F %* Conte de la grand-mère Crawford, Joan &$%, ##( Serpentine Dance '$ #'" &&*, &&# G, &## n$#, Cleopatra [figure] &!*, et Rêve de l’enfant Création de la serpentine ‘Spider and the Moth’ Chamberlain, John #%' &#) &!#, &!(, &!% [Grandmother’s Story] (Beginning of the &$( IX Charbonnier &#& Scarabée d’or, Le (The Cleopatra [film] &$ B, $) VI, &## Serpentine Dance) [film] ‘Spider Dance, The’ Chardonnay silk )" Golden Beetle) &#&, &$( I, &!) A, &!$, &!% H, Conway, John #*" '%, &&( &'$ Charleston #"! &#) &!'–'*, &') Cook, Virginia &$% Crosland, Alan ##% see also individual Charmeur, Le (The Magician Sorcier arabe, Le (An Cléopâtre [play] &!$ Cooper, Gary )*" Crowley, Aleister #!&, film descriptions and the Butter-y) [film] Arabian Magician) cloaks '", &&(–&$ Cooper, Michael #'* #!), #!!, #'& for details of &*', &#&, &#) &#) close-up )#, )", &'' Cordova, Leander de Cruze, James ##' fictional acts and Chase, Edna Woolman Spectre rouge, Le Cluzaud, Jacques !% &!( Curtiz, Michael &'), #)', routines #'' (The Red Spectre) Cobra [film] &'$, &'% W, Cornell, Joseph #"*, #"& – on stage Chéret, Jules &&! &&$, &&% M, &## &'', #** '(, #'% aerial &*! Chiens savants: la danse Troubadour, Le Cobra Woman [film] Cortez, Ricardo #"! allegorical styles serpentine [film] %" H &&" L, &&( #'%, )&# cosmetics see make-up '", '(

%%$ %%% Madam Satan ##' Dolly Sisters [dancers] &!$, &!% H & I, &!! J & K, – as motif &&*–&&(, féeries &$, #*, &*#–(, – woman '( – dances Gautier, Théophile Male and Female &$! XXXIII &'& P, &') &$% XXVIII &*!–&&, &&(–&$, &&', &##, Flügel, JC #!& ‘Archangel, T he’ &*", &*(, &#$ &$$ XV, &'), &'$, Dolores [showgirl] Effeminists )&$ fan dance see dance &#(– $; see also apotheoses fly [as motif] &*! (L’Archange) Gay Flames )&$ #*% C, #*!–', #), #( H, ##* Egyptian references in fan magazines &%, &%), Fejos, Paul ##% flying woman see flight, '*, '& A Gay Girls Riding Club )*! #&(–&$ Don’t Change Your theatre /cinema &#), #*!–', #&"–&(, #'% femininity $', &*$, #&), flying: flying woman ‘Ballet of Light’ gay liberation movement Old Wives for New Husband [film] &$$, &$( I & II & III, &!(, Fantasia [film] !% #&(, #!) Fokine, Michel &!', #!" !*, !", !(, !%, !! )*$, )&( #&* n#$ #*", #*$–!, #&*, #&", &!$, &'*, &'), #&#, #%!, fantastic, the ##, &*); femme fatale &#&, &%&, &%", Folies Bergère ‘Butterfly Dance’ gender &', #*', #&), #&", Something to Think #&(, #&$ #!), #!$, #!! see also the marvelous &!*, &!#, &!(, &'), &'", – and interwar revue (Le Papillon) )&#, )&$ About #*" Dorey Sisters [dancers] electric costumes see – beings see supernatural #"&–#, #"( #&'–#*; ##$ $$ C, 67 Genina, Augusto &%* Ten Commandments, ##$ costume: electric beings and femme volante see – and popular dance ‘Danse fluorescente, Geography of the Body The &$( II, &!# Douglas, Donald ##' ‘electric dancing’ see phenomena flight, flying &!$, #&! La’ '* [film] )( Why Change Your Dove, Billie &$% XX, ###, dance ‘fantastic views’ Ferguson, Elsie #&" – and serpentine dance ‘Fire Dance’ !", !!, George White’s Scandals Wife? #*$, #*', ##( electric light [as &*#–), &*( Ferrier, Paul &&( $%, !& A, &&! &&$, &&! [revue] &$% XXXI, ##*, #&* n#$, #&( Dracula [novel] &!& decoration or ‘special ‘fantasy cloth’ )' fetishism #%, #'&–# – in film &$% XXIV & XXV ‘Firmament, Le’ ##) D demons and devils in drag )$, #%"VIII, effect’] )!, $$, $%, farandole see dance Feyder, Jacques &!(, & XXVII & XXVIII & !*, !), !", !%, !! George White’s Scandals theatre /cinema ##, )*" n)', )*!, )&( %(, '&, &*', &&$, Far Eastern references &'! X, &'', #** XXX, ##(–%, #)% ‘Lily Dance’ (Le Lys) [film] ##*, #)& !", &*$, &&" n"(, &&(, dragon [as motif] &&(, &$( IX, )&( in theatre/cinema Fifth Avenue [film] &$% XXI – see also revue %#, %) G, !" German cinema &'$, #'', &&$, &&% M, &&', &#$, #"#, #!" entfesselte Kamera &!#, #*$, #&$, #!", )&# Fig Leaves [film] ##( Follow Me [play] ## ‘Mirror Dance’ #)$–%, #"#–), #"( &%&, &%%, #!! dragonfly [as motif] (mobile camera) #(* Farfalle, Le (Butter-ies) film Fool There Was, A [film] !&, &$! Gernreich, Rudi #!( Dennis, Jeffery P )&# &**, &*$ Epstein, Jean &!' M, &'* [film] '%, &#& – as froth )$– "* &!*, &!&, &'", &'$, &'' ‘Nuit, La’ (Night) !*, Gerstner, David )*' department stores see Drakula’s Death [film] eroticism &'(, #)$, #'&, Fascination [film] ##" – colouring see colour For Better, For Worse [film] !&, !# B, !), !%, !! ghosts see phantoms and shops and shopping &!& )**, )&) fashion – illusions see trick film #*" ‘Serpentine Dance’ ghosts Deren, Maya #'# Dreams that Money Can Erotikon [film] #)( – and actresses see – proximity to textile, Fortuny, Mariano &%&, (La Danse Gibbons, Cedric [set Derval, Paul ##* Buy [film] #'–)* Erté [illustrator and actresses dress )#, )"–(, &%%, &%! serpentine) '! designer] &$! XXXII, Deslys, Gaby #&!, ##$ Dreyer, Carl )' costume designer] – and consumption )!– "*, &%" –(, )&), ")nd Street [film] #)* ‘Snake Dance, The’ ##%, ##', #)* Desni, Xénia #"! Dr Mabuse, The Gambler ## E, &$% XIX & XXIX & $', %&, #*$, #&)–&$ )&$; see also fabric; Foucault, Michel #!" &!% n#& Gibbs, Christopher #'* Dexter, Elliot #*% (Dr Mabuse, der Spieler – XXX & XXXI, #&', – and the New Woman surface: layering Fox, James #'* ‘Tempête, La’ '* Gilbert, John ##" deus ex machina &*'; Ein Bild der Zeit) [film] ##*, ##% see New Woman film revue ##%, #)# Fox Studios &!*, &!&, ##% ‘Tragédie de Salomé, Gilded Lily, The [film] see also flight, flying #)%, #)' – and cinema – and postwar youth film stills #"–(, &'( Fradkin, Joanne #%" La’ &!% n#& &$$, ##" diableries &&(, &&$ Druks, Renate #%!, #!" &$% XIX, ##*, ##% styles #!(– $ fire [as motif] !", !%, &&$, fragmentation Le Lys de la vie [film] !% ‘Gioscope, Le’ &&* D Diaghilev, Sergei Duberman, Martin )&( Esbrard, Lina [dancer] – and the vamp &!&, &&!–'; see also smoke – in revue format futurism #$, &**, &&!, )&( Girl from the Street, The &!', #!) Ducom, Jacques &*) $) II &'"– (, &'' ‘Fire Dance’ see Fuller, #)", #"! (Child of the Big City / Diane of the Follies [film] duel d’Hamlet, Le [film] Evans, Caroline &#& n$* – and wartime #''–)** Loïe; see also dance: in – of identity #&$ G Ditia bolshogo goroda) ##( #&! Éventail animé, L’ – as film costume &%, %#, film: La Danse du feu – of image in cinema [film] #)" Dieterle, William #%! Duff Gordon, Lady see (Magic Fan) [film] !*, '!, &$$ XVIII, fireworks and pyrotechnics )(, &$! XXXIV Gad, Urban &'( Gish, Lillian ##( Dietrich, Marlene Lucile &&) K, &&( &$! XXXII, &%&, (as ‘special effect’) &*$, Fragment of Seeking [film] Gaiety Theatre $!, $', glamour #"(, #!( )%, #!(, #'!, #'' Duflos, Huguette &$!, #"% exoticism see orientalism &%%–!, &'), &'"– (, &#&, #!* #'$ %*, %# – Hollywood Dijkstra, Bram &!& Dulac, Germaine Ezra, Elizabeth &&', &#&, #'%, #'', )*), )*" Fireworks [film] #%!, #!*, frame enlargements #"–( Galeen, Henrik &'' &%, &$% XVIII, #*", Dillingham, Charles &$( VII & VIII &## – as inorganic )*–& #!), #'& France, Claude #"% Galitzy, Thaïs &!' L #)*, #!(, #'$, ### Dupont, Ewald A )) E, – as stage costume Fischer, Lucy &&!, &&' Francesca da Rimini [play] Galland, Antoine &#( #'$ n&*, )*" Dior, Christian #!( #"" I &J, #"(, #"$, F $$–%, $' Fischer, Margarita &!* &%! Gallé, Émile '% – as deception &#& Disney !% #(*–& – see also Benjamin, Fish, Michael #!$ Francine, Francis #%", )*# Garland, Judy #)*, #)&, Glaum, Louise &%, &'), display Durand, Jean &$% XXXI, fabric Walter; haute couture/ Fitzmaurice, George ##" Francis, Joe #)# N, )&# &'", &'(, &'$ – and skirt dance !*, #"$ K, #"%–! – analogy with film fashion houses; hippy Flaming Creatures [film] &$% XXVIII, ##( Garnett, Tay #'' Glenn, Susan &' !&, !), !% Duval, Paulette &$% XXIX )"– "*; see also style; Hulanicki, #%", #'", #'(, #'%, #'', Fraser, Robert #!!, #'* Garvin, Jay #%", )&# glitter in make-up )*); – in processional manner Dwan, Allan &$$ XI film: proximity Barbara; Johnson, )*#– ", )*!, )*', )&# Freeland, Thornton Gaudreault, André see also surface: shine ##*, ##$, #)*, #)', to textile; surface: Betsey; shops and Flammarion, Camille !*, #)*, #)& #(, #$, &*# Glorifying the American #"(, #"%, #"! E layering; veil and shopping; Simmel, !& French cinema '$–!, Gausman, Russel A Girl [film] &$% XX, ##%, – of opulence &%, #*–&, veiling Georg; Stephen, John; flapper &!#, #*$, #&", #!*; &*#–#%, &'', #**, ##(– )** ##! J, ##' )$, $', &*#– (, &*$, Eagle, The [film] #%! – and fabrication of street style; see also New Woman %, #"%–(* &*!–&(, &#&–%, Earl Carroll Vanities movement )" Westwood, Vivienne Flaubert, Gustave &!% French Doll, The [film] &!'–'", #&'–#&, ##$, [revue] ##*, #)* – as screen see fashion show #%! Flaum, Franz &!& &$$ XVIII #)(– $, #"*, East, the [representations costume: as screen – as a theme in the revue Flemming, Harry French Way, The [film] #%( XI, #'%–)**, of] see orientalism fairgrounds #$, &*!, &&*, and cinema &$! XXXI, #"!, #(& ##$ see also ‘aesthetic Eaton, Mary ###, ##' &##, &#" &$% XXVII, ##( flight, flying '", &*!–', Freud, Sigmund #'& of opulence’; Eaux d’arti!ce [film] fairies in theatre/cinema – proximity to cinema / &#&, #"& ‘From Chrysalis to apotheoses #%!, #!& ##, $) IV&VII, $)– " X, theatre #*, #), $', – flying woman (femme Butterfly’ [illusion] &*' – shop window see Écran du Rajah, L’ (The !*, !", '", &*) n), &#*, &'$, #*$, #&'–#& volante) &*! Fuller, Loïe [dancer] window display Rajah’s Casket) [film] &*$, &*', &&" n"*, &&(, Fassbinder, Rainer Werner – see also deus ex machina; – and cinema #&–#, )", diva (in Italian cinema) &#$ &&', &#&, #%! )&$ insect !*, !", !%, !!, &%*, &%), &'" Edison Manufacturing Faithfull, Marianne Fatima [dancer] #&! flower [as motif] $) VI, '*–&**, &*#, &&*, &&(, Doane, Mary Ann Company #&, ##, $), #'* Faye, Julia &$( II, #*!, !*, !", '", '$, &&), &&! &#&, &%), &%" %$, ')–(, '!, #&! fan #&# &!$, #&#, #)*, #'%, – costumes %#, !*, '!; Doll, The (Die Puppe) Edwards, J Gordon – as accessory &!(, &'), Fée aux pigeons, La (Pigeon )&&; see also lily, lotus, see also serpentine [film] #)$ &$ B, #" G, &$( I, &!) A, &'', ##(, #"%, )*# Fairy) [film] &&(, &#) orchid, rose dance: costumes

%%( %%& gloss see surface: shine – colouring as disguise Hollywood &%, )%, Irene [film] ##( Kosloff, Theodore Leonard, Robert Z Ludlam, Charles )*), )*! – use of silk see silk Glover, Amelia [dancer] )* #*"–&#, ###–)#, #!*, Iribe, Paul [illustrator #&&, #%! &$$ XII & XVII & XVIII, Lumière frères #&, ##, $), – see also mana; trick film %#, %( – styles #&&, #&$, #)', #!(, #'", #'$, #'%, #'', and set designer] Kracauer, Siegfried )#, ##& &$% XIX, &$! XXXII, &$', %", '$, &&* magicians $) IX, &*$, &*', Goddard, Paulette ### #%"c IX )*#, )*", )*' #&& Kuchar, George )*! &'), ###, ##", ##( H, Luminous Procuress [film] &&(–&$, &&', &#&– ", #!!, go-go boots )&( – stylists &*( – costume designers see Island of Love (L’Ile Kuhn, Annette &!* #)*, #)& M #%" VIII #'&, #'#, )** Gold Diggers of 1933 [film] hand colouring see colour individual names d’amour) [film] Kuhn, Edmund [wife of] LeRoy, Mervyn #)* Lupe [Rodriguez-Soltero] magic lantern projections #)*, #'% Handschiegl colour Hollywood Revue of $%)% &$% XXXI, #"%–! '" Leslie, Earl [dancer] #%" VI & VII, #'", #'$, $) I, &*#, &&' Golden Butter-y, The (Der process #&*, #&& [film] ##% Italian cinema '%, &#&, Kustom Kar Kommandos &$%, ##$ )*& H, )*), )*" – onto costumes !)– $, goldene Schmetterling) haptic spaces &%*, &%$ homoeroticism #'*, #'&, &%* –!, &!*, #)( [film] #'& Leslie, Lew #)* Lupe [Warhol] )*) !%, !!, &&* [film] #"*–& Harkrider, John [costume )**, )*$, )*! Lester, Elenore #%! luxury see display: of Magill, Sonia #%" X Golden, Eve #) n&! designer] Hopkins, Albert A &&!, &#" J L Leyton, Marie [dancer] opulence; see also make-up )$, )!, &'$, #**, Golden Fly (Mouche d’or, ##&, ##! J, ##' Hopkins, George James !#, !) C ‘aesthetic of opulence’ ##', #%" I &VIII & X, #!&, La) &*! Harrington, Curtis (Neje) [production and Jacobs, Ken )!, )' Lachman, Harry Liberation of the Mannique – democratisation of #&) #!!, )*#, )*), )*", )&# Goldwyn, Samuel #)* #!", #'$ costume designer] &$( I, Jagger, Mick #!&, #!$, #)&, #!& Mecanique, The [film] Lynd, Helen #*$ Male and Female [film] gothic art and fiction &!& Hasselquist, Jenny #)$ &!$, &!! n#( #!!, #'* ‘Laceland’ (tableau) #%" X Lynd, Robert #*$ &$$, &'), &'$, #*% C, Goudal, Jetta &!* haute couture / fashion Hopper, Hedda &!) Japanese see Ziegfeld Follies light Lyonnaise silk &*' #*!, #&( Goulding, Edmund houses &%&, &!$, &!', Horne, Lena ##* – influences &!#, &') Lagrange, Louise – and shadows in cinema lynx [as attribute of the Malthête, Jacques &*), &$$ XVII #%', #!( Hubert, Alexander – references in theatre / &$! XXXIV, #"$, #"!, ', )#, )(, '', &&!, vamp] #** &*%, &*!, &## grand spectacle, le &*(, – and film costumes [costume designer] &'( cinema !", &&*, #"' M, #(* )&&, )&) Lys de la vie, Le [film] !! Malthête-Méliès, &*% n#) &$! XXXIV, &%&, &%%–! Hubert, Ali [costume &&) n)(, &&", &#) Lajthay, Károly &!& – effects in costume Madeleine &*', &&) Grant, Beverly #%" V, )*# – and stage costumes designer] #)$ Jarman, Derek #'*, #'&, Lalique, René &!( spectacles %$, %%, M mana #'# Gravenites, Linda #!$ $%, $', ##* Hubert, René [costume #'# Laloue, Ferdinand &*! !*– ", !%–!, '!–&**, Mankiewicz, Joseph L #'% Gray, Eve #"( – see also Boué Soeurs; designer] &$$ XI Jay, Martin &*) La Marr, Barbara &&(; see also colour: Maas, Willard )(, )% F, mannequins [as inanimate Gray, Gilda ###, #(*, #(& Fortuny, Mariano; Hulanicki, Barbara #!( Jazzmania [film] &$( IX & X and costume #'$ bodies] #', )*, )& Great Gabbo, The [film] Lucile; Poiret, Paul; Huppertz, Gottfried #") &$! XXXII Lamarr, Hedy #)* spectacles on stage machinery in theatre see Manoir du diable, Le (The ##' Schiaparelli, Elsa; Hutchison, Alice #!! Jensen, Emil G &'' Landis, Bill #!! – in underground films stage machinery Devil’s Castle) [film] Great Ziegfeld, The [film] Worth, House of; Huysmans, Joris-Karl &!# jewellery &(, ## E, #%, )*, Landolff [costume )%, )!, )&*, )&&, )&) MacKenzie, John &!# &&" n"( #)*–)& Hawks, Howard ##( )&–#, $%, &$$ XVI, &!(, designer] &*", &&" – see also sun/light rays Madame Peacock [film] Man Ray see Ray, Man Green, Alfred E ##( Hawley, Wanda #&& I &!$, &'), #*%, #&&, #)(, Lang, Fritz &'$, #)%, lily [as motif or accessory] &') Manson Family #!! Greenberg, Clement #!) Haworth, Jann #!!, #!', #%" X, #!&, #!% G, #'' #"#, #") H )$, $%, %#, %) G, !", &** Madam Satan [film] ##' manteau magique (magic Greenwich Village Follies, #'* Iampolski, Mikhaïl !* Jofen, Jerry )' Lanner, Katti [dancer] $! Lind, Letty [dancer] magic mantle) see ‘costume The [revue] ##* Haworth, Ted #!! Ich Will! [film] #!) Johnson, Betsey #!( lanterns see magic lantern $!, $', %* E – and costume slides’ Greer, Howard [costume Heise, William %$, '#B, illusions see colour: and Johnson, Kay ##' projections Lindsey, Miss [dancer] %& transformations see Manuel, Jacques designer] &$(, ##& '", '( costume spectacles on Johnston, Julanne &$( Laurent, Hugues [chef Lion of the Moguls, The costume: and magic [costume designer] Greville, Victor ##% Held, Anna ##, #), #&! stage; light: effects in Joplin, Janis #!$ décorateur] &#$ [film] &!' M, &'* transformations &$! XXXIII Grey, Sylvia [dancer] Helen of Troy &!( costume spectacles; José, Edward &'$ Laurent, Joseph &*! Lista, Giovanni $), '*, – and orientalism see Mardrus, Joseph-Charles $!, $', %& Heller, Robert [magician] magic lantern projections; Journey to Avebury [film] LaVey, Anton #!! &**, &&! orientalism: in &#( Griffith, DW &$$, &'', &#) mirrors; shadows; stage #'* layering see Littell, Deanna #!( magic theatre Mario Banana I and II ##( Helm, Brigitte &'$, #"#, illusions; stereopticon Joyless Street, The (Die surface: layering Little Tich [comedian] – artifice, rituals and [films] #%" Guazzoni, Enrico #)( #") H Images in the Snow [film] freudlose Gasse) [film] Leach, William #), &## %" I, %$ clothing ##, $) VII, Markman, Joel )*#, )*) Guilbert, Yvette #&! Henabery, Joseph &'$, #'$ #)" Léar (Albert Kirchner) ‘living screen’ &*'–&&(; &*'–&*, &&& n)&, &&(– Markopoulos, Gregory Guinan, Texas #)& n#& &'% W Inauguration of the Pleasure $) see also costume: &##, #%', #!$, #!!–'# #'$, )*) Gunning, Tom #(, #$, Henley, Hobart &!#, &!" B Dome [film] #%!, #%', K Leary, Timothy #!$ as screen – as visual spectacle see Marquis, Yvonne $$, &*#, &*), #)#, #'", Herbier, Marcel L’ #!&, #!"– (, #!$–% G, Lebel [costume designer] Lobster Films $), &&& stage illusions #!*, #!&, #!# #'$ &$! XXXIII #!!, #!', #'* Kaplan, Joel $' &*( Lochakoff, Alexandre/Ivan – clothing /costume on Martini, Fausto &%& Guy, Alice $) II, '$ Her Gilded Cage [film] Incognita [comic opera] Kappel, Caroline J &&! Lee, Lila #*' [set designer] &$( VI, screen as ‘magical’ Martin, Roxane &*" Guy, Edmonde &$(VII, #$, &$% XXII %( Karsavina, Thamar Lee, Robert E ##' #)$, #)% B & C )#, )", %%, '! marvellous, the &$, ## VIII Hernandez, Téo )&# Indian references in [dancer] &!' N Le Fanu, Joseph Sheridan Loïe Fuller [film] '# C, – theatre &$, #*, #$, &*#, – and the fantastic Hérodiade [opera] &!% theatre/cinema $" X, Kellar, Harry [magician] &!& '(, &&( &*', &&*, &&(, &&', &#) &*) n" H Hérodias [novel] &!% &#), &#", &!", ###, #%! &*', &#) Farfalle, Le (The Loïe Fuller et ses imitatrices Herrmann, Adelaide Indira Gandhi’s Daring Kelly, Gene )&# Butter-ies) [film] '%, &#& [film] &** Haggard, H Rider &&$, [magician] Device [play] #'$ Kelman, Ken #%' Leffingwell, Edward #'% Loos, Adolf #!), #!" &&!, &!( &&) n)(, &#" insect [as motif] !", &*$, Kendall, Bobby #%" XI, Légende du fantôme, La Lorraine, Lillian [dancer] Haggin, Ben Ali #&' Herrmann, Alexander &*!–', &&', ##' )*$, )*% A, )&*–&#, (The Black Pearl) [film] #)* Half-Naked Truth [film] [magician] &*', &#" – woman '(, )&", )&( &&$ Lotty, Mlle [dancer] !" )*# Herrmann, Leon &*$ –&), &&'–## kinetoscope %$, '# Léger, Fernand #'–)& lotus [as motif] #!$ Hallier, Hélène ##( [magician] &&) n)( – see also butterfly; King Hou Chang #(& Leisen, Mitchell [as Love, Bessie ##' Halper, Jonathan #!* hippy style #!$ dragonfly; fly; moth; King of Jazz [film] ##% costume designer] &$( V, Loy, Myrna &$% XXV Hammond, Paul #(, &*) His Tiger Lady [film] scarab; spider Kipling, Rudyard &!& #*% C, #*!, #)& Lubin, Arthur #'%, )&# hair &!#, &!" B integrated film musical Klimt, Gustav #!) Leiter, Karl #"& Lubitsch, Ernst &!', &'(, – analogous to fire &&$ Hoffmann, Gertrude ##%, #)# Koenigsmark [film] LeMaire, Charles #)$ – and light &(, )&, &!$ Intolerance &$$ &$! XXXIV [costume designer] Lucifer Rising [film] #%!, $$ XVIII, &$$–% XVIII Hold Me While I’m Naked Invocation of My Demon Kolta, Buatier de #&', ##' #!), #!!, #!', #'* – and the vamp &!*, &!&, [film] )*! Brother [film] #%!, #!&, [magician] &*! C, Lemarchand, Louis ##* Lucile [Lady Duff Gordon] &'", &'(, &'$, #** Hollister, Alice &!& #!$, #!!, #'*, #'& &*', &&&, &&), &#" Lenne, Gérard &$, &% #), #&', ##*, ##&, ###

%%) %%' – and orientalism (The Wonderful Living Midsummer Night’s Dream, moth N On with the Dance [film] P peacock &##–%, )&& Fan) &&), &&( A [film] #%!, #!& – [as motif] )(, )$ E, ##" – [as motif] ##, #), #" G, – in theatre /cinema Miracles du brahmane, Minnelli, Vincente #)&, &*! C, &*' Nadar, Paul '$ On with the Show! [film] Pabst, GW #)" #( H, &&(, &$( I, &*#–#% Les &#) )*', )&# – woman &*!, &*', &$( IX Nadja [novella] #' ##% Page, Anita ##' &$$ XVI, &'*, &'& P & – see also ‘aesthetic of Palais des mille et Miracles du brahmane, Les Mothlight [film] )(, )$ E Nagel, Conrad ##% opera &*", &*(, &#( pageants see processions Q, &'), &'$, #*!, #*', opulence’ une nuits, Le $) IV, [film] &#) motion Naldi, Nita &!#, &'$, Oppenheim, Meret #!( and parades ##* B, ##", ##( H, #)', Mascagni, Pietro &%&, &%! $)– " X, &#(, &#$ Miralés [showgirl] – and stasis &'(–#*& #"&, #"# optical devices and Page, Jimmy #!! #"$ K, #"%, )*% A Maskelyne, John Nevil Papillon fantastique, &$% XXVII – as technological wonder Name, Billy )*" illusions see colour: Palaces [film] #"$ K, #"% – feathers used in [magician] &#" Le (The Fantastical mirrors &&*, &%%, &%!, &*) Napierkowska, Stacia and costume spectacles Palais des mille et une nuits, costumes #" G, Massenet, Jules &!% Butter-y) $) IX #*', #&#, #%" X, #!", – captured in photographs &!(, &'! X, &''–#** on stage; light: effects Le (The Palace of the &!(, &!% n#&, &'*, mass entertainment #&, Rosier miraculeux, )*", )&& '*, &&! n(# narrative #(–%, &%), in costume spectacles; Arabian Nights) [film] &'& P & Q, &'), &'$, ##–), #$, $$, $!–%#, Le (The Wonderful – in costume spectacles – of costumes and fabrics #)"–( magic lantern projections; $) IV, $)– " X, &#(, &#$ #*%, #*!, #)' %%, !&–!, &*#, &*(, &*', Rose–Tree) %&, %(, '!, see costume: in motion Nature, La [journal] &#" mirrors; shadows; stage Paléologu, Jean de !& A – woman &', &'" &##– " &&(, &##, &#) &$! XXXIV Moulin Rouge #&!, ##$ Nazimova, Alla &%, &! D, illusions; stereopticon Pallenberg, Anita – see also Madame Masson, André #!" Tchin-Chao, The ‘Mirror Dance’ see Fuller, Moulin Rouge [film] &$$ XVI, &'*, &'), opulence see display: #!!, #'* Peacock [film] Mata Hari [dancer] &!$ Chinese Conjuror &#) Loïe; also see Danseuse #"" I & J, #"(–%, #(*, &'', #)$, #)! D, #)' of opulence; see also Pandora [actress] ‘Peacock, The’ / The Mathison, Paul #%!, #!&, Toile d’araignée orchidée, La [film] #(& Negra, Diane &!), &'' ‘aesthetic of opulence’ #%" IX Legend of the Peacock #!" merveilleuse, La Mistinguett [actress/ movement see costume: Negri, Pola &!#, &!), &'(, Orazi, Manuel &!(, &'! X Pandora’s Box (Die Buchse [dance] &'* Matisse, Henri #!) (The Marvellous singer] &$%, #&!, ##$ in motion; choreography; &'$, &'', #)$ orchid [as motif] !*, !&, der Pandora) [film] #)" Peacock Alley [film] Mauss, Marcel #'*, #'# Spider’s Web) $) IX Mizejewski, Linda ##* fabric: and fabrication Negri, Teresina [dancer] #(* Panofsky, Erwin )# &$$ XVII, &'), ##", ##( H Mayer, David %$ Trip to the Moon, A !% Monroe, Marilyn )% of movement; motion ') D, '$, '% Orchid Dancer, The (La Papillon fantastique, ‘peacock effect’ #) McCardell, Claire #!( Menichelli, Pina &'" montage )" ‘moving screen’ !*, New Woman #*", #&)–&$ Danseuse orchidée) Le (The Fantastical ‘peacock walk’ ##" McDowell, Curt )*! Menken, Marie )( Montalbert, Mlle [dancer] !", &*', &&) n)"; see New York Peacock, The [film] &$! XXXIV, #"$, Butter-y) [film] $) IX Pearson, Virginia &!& McLaren, Malcolm #%! Menzies, William Cameron %& F also costume: as screen; [film] &') #"!–(* Papillons japonais, Les Pechêur de perles, Le (The Mead, Taylor )' [set designer] &$( V Montez-Creations )*) ‘living screen’ Niblo, Fred &'), &'$ orientalism (Japanese Butter-ies) Pearl Fisher) [film] $) IV Meerson, Lazare [art Mérode, Cléo de #&!, ##" Montez, Maria )$, #'$, Moynet, Georges Nielsen, Asta &'" U, &'(, – and the marvellous see &*', &&*, &&# G, &## n$#, Peine du talion, La (Tit for director] &$! XXXIII Merry Widow, The [film] #'%, #'', )*# I, )*), &*", &*(, &*', &&" &'$ the marvelous: &#) Tat) [film] &#* O & P, &#& Meighan, Thomas &(, #$–%, ##"–( )*", )*' Mulvey, Laura #% n#(, Nietzsche, Friedrich &%) and orientalism Paramount &!&, #*$, #)* Pennington, Ann &$%, ##( &$$ XV, #*' Merveilleux Éventail vivant, Montez, Mario #'! D &'(, &'$, #** Nijinsky, Vaslav [dancer] – and the vamp &!*, Parlo, Dita #)$, #)% Performance [film] #'* Meingard, Vladimir Le (The Wonderful Living – and Maria Montez Munch, Edvard &!& #!" &!#, &!(, &!$, &!!, Pascaud of Paris [costume performance and queer [set designer] Fan) [film] &&), &&( )*)– " Murder at the Vanities Nikolska, Lila [dancer] &!', &'*, &'), &'" designer] #( H identity )$– "*, )*)– ", &$( VI, #)$, #)% B metamorphic potential of – and Montez creations [film] #)& ##$ – Arabian Nights see Pase de Modelos (The #'$–%, #'', )*!–', )&$ Mekas, Jonas #'' costume ##; see also )*) Murnau, FW &!& Nin, Anaïs #%', #!" Arabian Nights Fashion Show) [film] Perret, Léonce &$$ XI, Melandri [photographer] costume: and magic – and ‘thrift store couture’ Murray, Mae )& Nissen, Aud Egede #)% [theme / tradition] &$% XXVII &$! XXXIV, #"!, #(* &'" transformations )*" – allure of &(, &%, #%, )&, Nissen, Greta &!* – archaic cultures see Passing Show, The [revue] Perrin, Jacques !% Méliès, Georges Métamorphoses du – films &$$ XVII, &$! XXXII Nochlin, Linda #!" Arabian; Assyrian; &$%, #&!, ##* Petit chaperon rouge, Le – and ‘aesthetic of Papillon (A Butter-y’s Chumlum #'' – as vamp &') Nodier, Charles &!& Babylonian; Chinese; Pastrone, Giovanni &%&, (Little Red Riding Hood) opulence’ Metamorphosis) Flaming Creatures )$ – costume and dance in Nonguet, Lucien '( Egyptian; Far &'*, #)( [féerie] &&( &*#– ", &*( &*', &&*, &&& F, &&) Lupe #%" VI & VII, silent film era Normal Love [film] Eastern; Indian; Pathé, Charles &*" n&( Petrova, Olga &!*, &!& – and costume ‘Métamorphoses du #'", #'$, )*& H, ###, ##" &% C, )!, #%" I–V, #'", Japanese; Tibetan Pathécolor (Pathéchrome) Pfundmayr, Hedy #"# transformations see vampire, Les’ [poem] )*" – films #''–)*), )*! references in ##$ phantasmagoria costume: and magic &!& Normal Love &$ C, )!, Circe, the Enchantress Norton, Frederick &$( theatre /cinema Pathé Frères – as theatrical /cinematic transformations Métempsychose #%" I & III, #'", #'$, &$$ XII Nosferatu [film] &!& – ornamentalism see – and early ‘marvellous’ genre and effect $)V, – and serpentine dance (Transformation) [film] #'', )**F, )*#, Delicious Little Devil, Noverre, Maurice &*$, &*% decoration: and cinema &*#, &*" –%, '", '!, &*#, &&(–## ##, '#, &*#, &&(, &&*, &&# H & I, &## n$# )*), )*! The ##"– ( orientalism &&*, &&&, &&(, &#$ – of modern city &#% &&$–&', &## ‘Metempsychosis’ aka – plays French Doll, The O – in dance &%%, &!(–'), – and serpentine dance phantoms and ghosts – and theatrical ‘The Blue Room’ [stage Turds in Hell )*! &$$ XVIII #)(– $, #"(, #%" VII, #&, ##, %$, '(, '% '), &&(, &&$, &&% M, &&' conventions &*" – $ illusion] &&*, &&) – posing and self- Jazzmania &$! XXXII obscenity and pornography )&#–&) Pavlova, Anna [dancer] Philippe, Pierre #"$ – costume atelier and Metro Pictures [film fashioning &%, Merry Widow, The #%!, #'", )*$, )&), )&( – in DeMille’s films see #&! phoenix [as motif] &*( wardrobe &*(– $ studio] &!& #'%–', )*#– " &(, &$, #$–%, ##"– ( occult, the &#&, &#), &#", DeMille, Cecil B: – films Metropolis [film] &'', Moon, Michael #), #'", Peacock Alley &#(, #!!, #'*, #'&; see and orientalism Chrysalide et le #**, #"#, #"), #"( )*) &$$ XVII, ##"– ( also magic – in magic theatre &##–( Papillon, La &*$, metropolitan visual Moore, Annabelle musical comedy $!, $', Oceans [film] !% – in queer underground &*% B, &*', &#&, &#) culture see urban Whitford [dancer] )", %( octopus [as motif] cinema )$–', Conte de la grand-mère spectacle $) I, %$, '# B, '), '", #&! musicals ##%–)#, )*', $) IX, &'), #&# #!)–(, #'%–)**, et Rêve de l’enfant Metropolitan Studios morbidity )&#; see also integrated Œufs de Pâques, Les (Easter )*#– ", )&&–&" (Grandmother’s &$% XXI – and dance in silent film musicals Eggs) [film] &## n$#, &#) Orientalism [Said] #), #!" Story) $) VI, &## MGM (Metro-Goldwyn- cinema #"&– ( musical theatre &*", &*(, Offenbach, Jacques &#& n(' ornament and Danse du feu, La Meyer) &$% XIX, ##%, – and the vamp see vamp: &&'; see also féeries; Old Wives for New [film] ornamentalism see #) n&), &&$–&' #)*, )*', )&# morbidity revue #&* decoration Manoir du diable, Le Middle Eastern references Moreau, Gustave &!# Music Box Revues ##* Oller, Joseph #&! Orry-Kelly [costume (The Devil’s Castle) in cinema &#), &$( V, Morse, Tiger #!( music hall %&, %$, !*, !", Ondine, Mlle [dancer] %" designer] #)* &&" n"( #*$, #&$ Most Wonderful Fans of &*!, &#"; see also revue Ondra, Anny #"& Osolsobě, Ivo ## Merveilleux Midnight Frolics [revue] the World, The [film] Musser, Charles ##, #&* Onri, Adele Purvis Oxilia, Nino &%*, &%&, &%", Éventail vivant, Le #), #( H, #&! &$% XXVIII mutoscope %$ [dancer] $$–% &%!

%%* %%" Photoplay [magazine] punk #%! – as Apollonian / Roth, Lillian ###, ##' Schweinitz, Jörg &!# sexuality – in Europe #'–)&, %$ –%, – films &$(, #&", #&( Putti, Lya de )&, &!&–#, Dionysian ##& Rouskaya, Norka [dancer] Schweitzer, Marlis $', – and orientalism #", '$–!, &*#–#%, &%* –!, Flaming Creatures physique photography &'', #** – French ## E, #&!–#&, #"$ K, #"% ##*, ##) &$$ XIV, &%%, &!#, &!&, &!#, &!(, &'*, )$–%, )', #'", #'%, )*$, )*%, )&$ ##(–%, #)"; see also Rubinstein, Helena &'% Scienti!c American &!(– $, &'), &'' n"!, &'", &'(– $, &'', #**, #'', )*# Piccadilly [film] )) D, Q Folies Bergère; Rubinstein, Ida &!$, &!!, [journal] &#" #*$, #*!–', #)$, ##(– $, #)"–(# Normal Love &% C, #(* N, #(*–& Casino de Paris, &!', #!" Scorpio Rising [film] #!)–(, #'$–%, )**, – ‘pictorial delirium’ of )!, #%" I–V, #'", Pierre et Gilles )&$ Quack MD [play] $% Moulin Rouge Runyon, Scott #%" #%!, #%', #!*, #!# C, )&#–&" &% #''–)*), )*! Pilules du diable (Devil’s Quant, Mary #!( – Miss 1917 ### Russell, Countess %& #!), #'&, )*' – and queer underground – see also Austrian; – orientalism #)– ", )$, Pills) [féerie] &*!, &&$ Queen of Sheba, The [film] – performers and Russell, Mrs Dick %& screen see costume: as cinema #!)–(, British; French; #'%–)**, )&# Pink Narcissus [film] #" G, &$( III, &') creators recruited by Ruy Blas and the Blasé screen; ‘living screen’; #'*–#, #'$–%, )**, German cinema Smithson, Robert #%' #%"– ( XI, )*(–&$ queer underground cinema film studios ##&–# Roué [play] %* ‘moving screen’ )*$, )*!–', )&#–&", silk, use of )", $%, $!, $', smoke Pirate, The [film] )&# – and orientalism see – portrayed in cinema Secrets of the Orient )&$ %&, %#, !*, !!, '!, &**, – as theatrical / cinematic pochoir orientalism: and ##&–)#, #)'– "#, S (Geheimnisse des – of the vamp &!*, &*', &&& n)&, &%!, ##*, effect $) IV, &&$, – and Mariano Fortuny’s queer underground #"(–%, #"!– (*, Orients/Shéhérazade) &!#, &!(– $, &'*, &'), #)*, )&# &&!–&', &#$, #'& textiles &%%–! cinema )*', )&#; see also Said, Edward #), #!" [film] &$( VI, &'*, #)$, &'$ Silver, Marcel ##% – cigarette &'$, &'' – see also colour: in – and the ‘space of &$(–! for individual ‘Salomania’ &%%, &!$ #)% B & C Sgt Pepper’s Lonely Hearts Simmel, Georg snake cinema: stencilling pleasure’ #')–)*" film descriptions Salome Sedgwick, Edie )*" Club Band [album] – on fashion, ornament, – [as motif] $) II, %#, Poiret, Paul &%&, &!$, &!', – and the spectacle of – proximity to the fashion – and dance see dance: Seguin, Jean-Claude &&& #!! surface and modernity &&), &!*, &!) A, #!), #!( dress #!*, #'", show #*, ##* on stage: ‘Dance Seifert, Lewis C &#$, &#% shadows, cast onto )&, )#, )% &!$, &') Polidori, John William &!& #'%, #**–)**, – showgirl #*, #&!, ##*, of the Seven Veils’ Seldes, Gilbert #&!, ##& costumes or bodies – ‘trickle-down theory’ – embodied &%%, &'% W, Pollard, Harry A ##% )*#– ", )*$, )*'–&) ###, ##", ##$, ##', – and queer underground Selenka, Emil &'( &&! n(&, &'$ #&), #&( &'', #**, #&&, )*#; popular entertainment – see also performance #)*, #)&, #)# cinema #!" Selig, William &!& Sharaff, Irene #)& Simpson, Mark &#& – see also Cobra [film]; see mass entertainment and queer identity – see also Ziegfeld Follies – and transgression &', Sennett, Mack #*" Shawn, Ted #!) Sinatra, Nancy )&( Cobra Woman [film] porn and pornography Querelle [film] )&$ and other individual &!(– $, #)$, #!" sensuality #), #', )(, !%, She [film] &!(, &!$ Siodmak, Robert #'%, )&# ‘society of the spectacle’ #'", )*$, )&), )&(–&$ Quo Vadis? [film] #)( revue titles – and Ziegfeld Follies ##* B &#&, &%&, &%", &!#, &!(, Shearer, Norma Sirène des tropiques, La $#" pose, posing #*, "*, $', Revue Mistinguett, La #&! – costumes &! D, &$$ XVI, #!", #'*, )*$ &$%, ##( (Siren of the Tropics) Something to Think About !*, '*, '#, &*$, &'", &'$, R Reynolds, James [costume &%%, &!$, &!! J & K; Sept Châteaux du diable, Shepard, David #&* [film] ##$ [film] #*" #**, ##*, ##", ##', #)*, designer] #&' &!'–'*, #)$, #)! D Les (Seven Castles of Sheridan, Crissie [dancer] Sitney, P Adams #%" Son of the Sheik, The [film] #)#, #"*, #"&, #'', )*# Rabbit’s Moon [film] #%! Rice, Ron )!, )' H, – Ida Rubinstein dancing the Devil) [film] &*$, )", '( Sixpack France #%!, #'* &'' Poudre de perlimpinpin, La Radical Fairies )&$ #%" IV & V, #'", #'$, &!' &&(, &#$ Sherpix )*!, )&" skirt dance Sontag, Susan #&&, #'", [féerie] &*" Rambova, Natacha #'', )** G, )*! – Loïe Fuller dancing sequins )#, )(, $)II, !&, shine see surface – and serpentine dance )*), )*" Poule aux oeufs d’or, La [as costume designer] Richards, Keith #!! &!% n#& !#, &$( IV, &$% XXXI, Shohat, Ella &!) $$–%% Sorcier arabe, Le (An (The Conjuror’s Lottery) &! D, &$$ XVI, &'*, #)$, Richter, Hans #' – Lyda Borelli performing &$! XXXIII, &!#, &!$, Shook, Bernice &$% – costumes and fashions Arabian Magician) [film] [féerie] $) VII #)! D Richter, Kurt #)$ &%" C, &%% &'), &'$, ##", ##', shops and shopping $$–%#, %( &#) Powell, Frank &!*, &!& Rapsodia Satanica [film] Ridiculous Theatrical – Maud Allan dancing #)*, #)&, #%* X, #!*, – boutiques #*', #&(, slide projections onto Sorrows of Satan, The Powell, Michael )&# &%* –! Company, The #'%, &!$–% )*), )&# #!( costumes see magic [film] &'', #** Powell, William #)*, #)& Rawlins, John #'% )*), )*!, )*' D, )&( Salome [&'&! film] &!$, Sargeant, Jack #%" I – department stores lantern projections: onto Soudeikine, Sergei Pratermizzi, Die [film] Ray, Man &&), #!( Rigaut, Jacques &$$ &!% H, &!! J & K; &!'–'* serpent see snake $', &##, &#%, #*", costumes [costume designer] #"&–#, )&% Raymond, Hippolyte &*! Rivera, Rene )*# Salomé [&'## film] &! D, [as motif] ##*, #'$, )&& Smallwood, Ray C &') &'* Preobrajenska, Vera Red Heels (Das Spielzeug Robert-Houdin, Jean &$$ XVI, &'*, #)$, serpentine dance – thrift stores #'$, #'%, Smith, Harry #'# spectacle [costume designer] &'* von Paris) [film] Eugène [magician] &##, #)! D, #)' [dancing style] )*#, )*), )*" Smith, Jack – and the city see Pretty Ladies [film] &'), #)'– "* &#), &#" Salomé [&'%$ film] )&# – as analogous to cinema – see also consumption – allure of movies ', &% urban spectacle &$% XXV, ##( Reid, Wallace #&& Robertson, Étienne- Salomé [opera] &!$ )", $%, !*, '&–#, and spectacle – and James Bidgood )*% – and dance see Prince soleil, Le (The Sun Reinhardt, Max #%! Gaspard [magician] &&' Salomé [play] &%%, &!#, !", &** Show Boat [film] ##% – and Chumlum )!, dance: and spectacle Prince) [féerie] Reisner, Charles ##% Roberts, Theodore &!(, &'* – as cinematic experience showgirl revue see revue #%" IV, #'', )** G – and emancipation / &*!, &&( Revue des revues, La &$( II, #&& Salvatorelli, Camilla #!& ''–&**, &*# Show is On, The #)* – and ‘space of pleasure’ oppression &' Princesse Mandane [film] (Parisian Pleasures) Robinson, William Samuelson, GB &!( – as theatrical experience Shubert brothers #'"–)*" – and film history &$( VII &VIII ##(–% [magician] &*', &&), Sandowa, Miss $$ $$, %(, %%, !", '! &$%, ##*, #)* – designing costumes &', #(– $ Princess Tam Tam [film] revue film see film revue &#" San Francisco Oracle – costumes #*–&, Siegel, Marc #'" #'%, #'' – and narrative #(–% ##$, ##% revue Rochefort, Charles de [magazine] #!$ $) I & II & IV & V; silent cinema processions and parades – African-American &$( II Sangue blu (Blue Blood) $$–%, %#, %)–%, !*, – and consumption #*, #& E, &*$, &*', #&', (all-black) Rodriguez-Soltero, Jose [film] &%& !#, '"–&**, &*#, &##, &#%, &'", ##$, #)*, #)', #%" VIII, Blackbirds ##* #%" VI & VII, #'", #'$, Sarria, José )&( &&*, &&(, &&$–&', #*"–', #&)–&$ #!); see also display: Chocolate Dandies, The )*& H, )*)– " Sarris, Andrew #'% &#& – and fashion '$, &#%, in processional manner ##* Roeg, Nicholas #'* Sascha-Film #)' – on a revolving globe &%*, &%), &%%–!, Proctor’s Palace of Hot Chocolates ##* Rolling Stones, The scarab [as motif] &#& )) &'"–(, #*"–&$, #)", Pleasures $$ Revue nègre, La ##*, #!), #'* Scarabée d’or, Le (The – relation to skirt dance #"& promenade see walk ##$ Roman Springs on Mrs Golden Beetle) [film] see skirt dance – and the marvelous see Psychedelic Review, The Shu'le Along ##*, Stone, The [film] )*! &#&, &#) – see also dance: in marvelous [journal] #!$ ##) rose [as motif] $%, &## Scheherazade [figure] film & on stage for – debates about spectacle / publicity material see – American #&!–#* Rose, Billy #)* #!", )*" individual titles narrative #$ advertising and – and the impresario Rose, Helen #)& Schiaparelli, Elsa #!( Seven Sinners [film] #'' – in America '#–(, promotion figure #)*–# Rosier miraculeux, Le (The Schneemann, Carolee #%' Sex [film] &'), &'"V, &'(, &!*–#, &!$, &!'–'$, Puce Moment [film] #%!, – and Siegfried Kracauer Wonderful Rose-Tree) Schröpfer, Johann Georg &'$ &''–#**, #*"–&$, #!*, #!&, #!# D–F, #'& ##& [film] &&(, &##, &#) [magician] &&' Sex Pistols #%! ##&–%, #)$

%(# %(! – and visual pleasure – Legend of the Peacock, The #%* X, #%', #!(, #!$, texture see surface: Tschechowa, Olga – as medium in dance West, Clare [costume Wood, Sam #$, &$% XXII #$–%, &*#, &#), &#%, [dance – drama] &'* #'#, )**; see also texture #"" I & J, #"(, #"$ %#, '*, '#, '"–&**, designer] &$( II & X, Woolf, Virginia &!*, #*& &'$, #'", )*", )&$ – ‘Radha’ [dance] &!( glitter; sequins Thaïs [film] &!' L, &'* Tschernoff, Ivan %$ &&$, &&!–&', &!', &'$ &$$ XIII & XV, &!#, Worth, House of $% – of costume see colour: Stein, Gertrude #&" – texture ', )&, )#, Thaumaturge chinois, Le Tulips, Les [film] &## – convergence of the #*$, #&# Wyckoff Process see and costume stencilling see colour )$– "*, '!, &'*, #%" X, (Tchin-Chao, The Chinese Turds in Hell [play] )*! cinematic and the West, Mae )) C Handschiegl colour spectacles on stage; Sténégry, Professor &&) #%', #!), #!$, #'&, Conjuror) [film] &#) Turner, Lana #)* sartorial )(, )', West, Vera #'', )** process colour: in cinema; Stephen, John #!( &'%, #'!, )*$, )&) theatre &%), #**, #'% Westwood, Vivienne #%! Wygant, Amy &#& n$* costume: and magic stereopticon !"; – superimpositions )$, – machinery see stage U – in Nietzsche’s writing Whirl of Life, The [film] transformations; light: see also magic lantern )!, #%" V, #%', #!&, machinery &%) ### Y effects in costume Sternberg, Josef von )%, #!), #'', )*" – relations with cinema Ucicky, Gustav #"& – see also ‘Dance of the Whistler, James A McNeill spectacles; mirrors: #!(, #'% – see also veil and see cinema: and Uncle Celestin [play] $% Seven Veils’; layering; &!# Yolanda and the Thief in costume spectacles; Stiller, Mauritz #)( veiling; fabric theatre Uncle Tom’s Cabin [film] serpentine dance; silk Whistler, Margaret [film] )&# queer underground St Johns, Adela Rogers surrealism #$, #)#, #!( – underground / #&! veil dance see dance [costume designer] Youmans, Greg )&# cinema: and the #*" Swain [film] #'$ experimental see underground Velez, Lupe #%", )*# J, )*" &$( III Young Physique, The spectacle of costume; Stoker, Bram &!& Swanson, Gloria underground: theatre – cinema &%, &', )$, Velle, Gaston $), &*#, White, George [magazine] )*$ revue; revue: as Stonewall riots )&( &%, )&, #*"–&( – see also choreography; #%", #%!–'#, &*', &&(, &#&, &#$ &$%, ##*, ##), #)& portrayed in cinema; Stoullig, Edmond &&" – as fashion icon dance; féries; #'"–)*", )*$–&$; – films Whitehall, Richard #'& Z vamp: as spectacle Stowell, Sheila $' #*", #*!–' magic: theatre; see also obscenity Écran du Rajah, L’ White Moth, The [film] – see also consumption Straight Way, The [film] – fans #*", #*!, #&) revue; variety and and pornography (The Rajah’s Casket) &$( IX & X Zaïre [figure] &!# and spectacle; &'" – films vaudeville – theatre #'$, #'%, )*), &#$ Whitman, Walt #!( Zamora, José de [costume le grand spectacle; Strauss, Richard &!$ A'airs of Anatol, The Théâtre, Le [magazine] )*", )*!–', )&( Fée aux pigeons, La Whitney, Joan #!" designer] ##*, ##$ orientalism; ‘society street style #!)– ( &'), #&&–&# $$ Universal Studios (Pigeon Fairy) Whoopee! [film] #)* Zecca, Ferdinand of the spectacle’ Stroheim, Erich von Don’t Change Your Theodora [figure] &!# ##%, #'%, #'', )**, )*# &&(, &#) Why Change Your Wife? $) IV & VIII, &*#, &*$, Spectre rouge, Le (The &(, &$, #%, ##", ##$ Husband &$$ XIV, Thief of Bagdad, The Urban, Charles #) n&) Métamorphoses du [film] #*$, #*', #&*, &&", &&( n"", &#$ Red Spectre) [film] Studlar, Gaylyn #*", #*$, #*!, [1924 film] !)&, !*" Urban, Joseph #&!, ##& Papillon #&&, #&( Ziegfeld, Florenz ##, #), &&$, &&% M, &## &!&, &!#, &'" #&* n#$, #&" Thief of Bagdad, The urban spectacle &', )&, %%, (A Butter-y’s Wieland, Clara [dancer] #(, #%, &$%, #&!–#*, Sperling, Jody !(, &&) n)" Suárez, Juan A For Better, For Worse [1940 film] %!$ &#%, )*'–&* Metamorphosis) !$ G ###, ##%, ##', #)* Sphinx [figure] &!# &', )%, #'" #*" Thomas, Jameson #(& &*', &&*, &&& F, &&) Wiene, Robert #!" Ziegfeld Follies [film] #)*, spider and spiderweb [as Sumurun [film] &!', #)$ Her Gilded Cage Thomas, Olive ### V Peine du talion, La Wilcox, Herbert &$( IV, &!' #)&–#, )*', )&# motifs] $) IX, &$( IX, sun / light rays [as motif] #$, &$% XXII Thompson, Kristin #( (Tit for Tat) Wilde, Oscar Ziegfeld Follies [revue] &!*, &'), &'" V, &'$, !), &*$, &&(, &#%, &)( IV, Male and Female thrift stores see Vaccaro, John )*# &#* O & P, &#& &%%, &!#, &!(, &!$, &'* – costumes #%, ##', #"&; see also dance: &$% XXX, #"! &$$ XV, &'), &'$, shops and shopping Vacche, Angela Dalle &%% Veroli, Patrizia &&! Williams, Esther #)# &$% XXIX, #&!–#& in film: ‘Spider and superimpositions #*$ C, #*!–', Thundercrack [film] )*! Valentino [couturier] Vignola, Robert G Williams, Linda &'' – ‘Laceland’ [tableau] the Moth’ & ‘Spider see surface: #&(–&$ Thurston, Howard #%! &$%, &!& Willis, Edwin #)* #%, ##! K Dance, The’ superimpositions Something to Think [magician] &#) Valentino, Rudolph ‘Vision of Salomé, The’ Willkomm, Aenne – links with cinema stage illusions supernatural beings and About #*" Tibetan references in &'$, ##" see dance [costume designer] &$% XX, XXV, XXXI; – magic theatre &*', phenomena see angel Stage Struck &$$ XI theatre/cinema #!" vamp &%' –#*& visual pleasure &'', #"#, #") H ###, ##'–#)# &&*, &&', &#), &#"; [as motif / figure]; Why Change Your Wife? time &(, #&, #$, &**, &%*, – and dance &!(–'* see spectacle window display – personalities see also demons and devils in #*$, #*! E, #*', &%&, &%), &%", &%%, &%!, – animal symbolism and Volkoff, Alexandre &$( VI, )*$, )*', )&*, )&&, )&" &$% XXV, #&!–#&, phantasmagoria theatre /cinema; fairies #&* n#$ & F, #&( #**, #*& attributes &!#, &'*, #)$, #)% B & C wings ##, )(, %%, '", ###, ##", ##( – popular theatre #&, #%, in theatre /cinema; Sweet and Low [show] #)* Todorov, Tzvetan &*) &'*– ", &'(, #** voyeurism #%, #&( &*$ –&), &&$, &'), #&), – see also Midnight %%, !&–!, &*#, phantoms and ghosts Sylvia, Estrella [dancer] Tofani, Oswaldo $$ A – as spectacle &!(–'*, vues fantastiques &*#–) #"& Frolics [revue] &*" – (, &*', &&*, &&% Suratt, Valeska &%, &!*, %#, %( Toile d’araignée &')–#*& Wolfe, Tom #!( Ziegfeld Girl [film] stage machinery &*)–(, &!&, &'# R, &'), &'", Symbolism %$ merveilleuse, La – between stasis and W Wollen, Peter #!) #)*, #)*–&, #)# N &*!, &#% &'(, &'( (The Marvellous Spider’s motion &'(–#*& Wonderful Performing Dog ‘Ziegfeld Walk’ ##* Stage Struck [film] &$$ XI surface T Web) [film] $) IX – morbidity &!&, &!#, Walker, Jimmy #)& aka Skirt Dog Dance Zouzou [film] ##$ Stanek, Emmanuel &&* D – and superficiality )# Torr, AC %* &!$, &'", &'$, #** Walsh, Raoul &!' [film] %$ Stanlaws, Penrhyn – as a convergence tableaux #*, &&&, )&& Tourneur, Maurice vampire [as motif] ##, Walter, Mme Bob [dancer] Wong, Anna May )) D, [artist and costume between the tableaux vivants &*', #&' &$( IX & X &&(, &!*–&, &!#, &'$, )*# )", $) III, '$ &$( V, #(* N, #(& designer] #&$ cinematic and the Talmadge, Norma #&( transformation of costumes – ‘de lux’ &'$ Warhol, Andy )$, "*, Stanley, May #&" sartorial principle tank slides !", !(, !! see costume: and magic – squid &') #%", #!(, )*), )*", )*% Stanwyck, Barbara ### )!–', #%'–!&, #!), Tarbell, Ida #&$ transformations Vampire, The [film] &!& Warner Brothers ##%, #)* star [as motif on costumes] #!", #!$, #'', )&) Tarot [film] #'* transportation [as ‘Vampire, The’ [poem] Warner, Michael )&$ $%, !# B, !", !% – in Georg Simmel’s Tartaglia, Jerry )' theatrical experience] &!& Watch Your Step [Broadway stardom &%, )$, $%, &!&, writing see Simmel Tashman, Lilyan !&, !), !% Vampyr [film] )' musical] ### &'", #*", #&"–&(, ###, – in Kenneth Anger’s &$% XIX & XXV, ###, ##( Treville, Georges #)' ‘Vampyre, The’ [story] &!& Waugh, Thomas )*% #!*, #'$–%, )*" cinema #%', #'&–# Tavel, Ronald #'$, )*" Trexler, Todd #%" VIII variety and vaudeville Wayburn, Ned &$%, ##* Star Films see – layering $) III, %#, !&, Technicolor see colour trick film &*#, &*)– (, #$, $%, %$, #&! Webb, Ira S )** Méliès, Georges &*'–&*, &$! XXXIV, Temptations of a Great City &*'–&$, &&'–##, &#(– $ Vaughan, Kate [dancer] $! Webb, Millard Starke, Pauline &$% &%*, &%), &'$ (Ved Faengslets Port) ‘trickle-down’ theory Veblen, Thorstein #&) &$% XX, ##(, ##% St Denis, Ruth [dancer] – shine &(, &$, #%, [film] #)" (fashion) #&)–&( veil and veiling Wegener, Paul #)$ &!(, &'& Q, #!) )&, )#, )$, )!, $) II, Ten Commandments, The Trip to the Moon, A [film] – and queer sensibility Weissmuller, Johnny )*" – ‘Arabic Suite’ &!( $)– " X, !&, !), &#(, [film] &$( II, &!#, &'$ !% )$, )%, )', #%"VII, Weldy, Max [costume – ‘Cobras, The’ &!( &$! XXXIII & XXXIV; textiles see fabric; silk; Troubadour, Le [film] #!!, #'%, )**, )&#–&) atelier] ##, &$%, ##* – ‘Egypta’ &!( &'$, ##", #)*, #)(, surface &&" L, &&(

%($ %(% Copyright © 2013 Marketa Uhlirova and contributors All rights reserved

Publisher: Koenig Books Ltd At the Serpentine Gallery, Kensington Gardens, London W# !XA www.koenigbooks.co.uk

Editor: Marketa Uhlirova

Design: Typeface: Color Seperation, Studio Laurenz Brunner, Berlin Magister, A. Novarese Printing and Binding: (Hanna Bergmann, (1966) / L. Brunner, Druckerei zu Altenburg Laurenz Brunner, Fabian Harb) F. Harb (2013) GmbH, Altenburg

This Publication is Made Possible Through the Generous Support From University of the Arts London (Central Saint Martins College of Art and Design; London College of Fashion), Arts Council England, British Council and Film London.

British Library Cataloguing-in-Publication Data: Birds of Paradise: Costume as Cinematic Spectacle / edited by Marketa Uhlirova Includes Bibliographical References and Index: 1. Film Costume – Symbolic Aspects – History; 2. Theatre Costume – History; 3. Fashion – History; 4. Dance Costume – History

Printed in Germany

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the publisher.

Distribution:

Buchhandlung UK & Eire Outside Europe Walther König, Köln Cornerhouse Publications D.A.P. / Distributed Art Ehrenstrasse " 70 Oxford Street Publishers, Inc. D-$%&'# Köln GB-Manchester M) $NH 155 6th Avenue, 2nd Floor T +"( (%)##) #% $( &$! T +"" (%))&) #%% )$ %! New York, NY )%%)! F +"( (%)##) #% $( &&% F +"" (%))&) #%% )$ %" T +) #)# &#' )((( verlag@buchhandlung- [email protected] F +) #)# &#' ("*" walther-koenig.de [email protected]

ISBN ('*-!-*&!!$-#)*-(

!"" From Charles Baudelaire to Walter Benjamin to Jack Smith, fashion made the dream world of modernity visible – just like the movies. In this volume, the role of fashion in film goes beyond the talented studio designers and glamorous stars to reveal a fantasia of new media, reinvented identities and refashioned genders. Colour, light, movement, screens and veils make up a world as powerful as it is ephemeral. In this book, fashion takes full flight into a new critical spotlight. — Tom Gunning Edwin A and Betty L Bergman Distinguished Service Professor, Department of Art History, Department of Cinema and Media Studies, and the College, The University of Chicago

This richly illustrated volume brings together popular and experimen - tal cinema and theatre to highlight the role of costume within and, in so doing, shed new light on the iconographic elements of the films discussed. With an international cast of skirt dancers, vamps, show- girls and actors of queer underground films revealed in a wonderful collection of stills, frame enlargements and photographs, the contri butors reanimate the cinema of fifty and a hundred years ago. Given the book’s particular focus on fabrics which decorate bodies or are manipulated by them, the reader becomes fascinated by the signifi cant contribution made by costumes to performance on screen. — Jane Pritchard Curator of Dance, Victoria and Albert Museum, London

An intellectual and publishing tour de force: this exciting collection of richly illustrated essays casts new light on the historical evolution of spectacular relationships between costume and cinema. There is much here to fascinate readers across a wide range of subject specialisms. — Tag Gronberg Reader in the History of Art and Design, Department of History of Art, Birkbeck, University of London

Cover image sequence: Serpentine dance by Annabelle, Edison, 1896 © Nouveau muse national de Monaco Photos Mauro Magliani & Barbara Piovan.