DOCSLIB.ORG

Redalyc.ESCRITORAS EN LA GRAN PANTALLA. LA LEGIÓN DE LA

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Redalyc.ESCRITORAS EN LA GRAN PANTALLA. LA LEGIÓN DE LA Aposta. Revista de Ciencias Sociales E-ISSN: 1696-7348 [email protected] Luis Gómez Encinas ed. España Ballesteros García, Rosa María ESCRITORAS EN LA GRAN PANTALLA. LA LEGIÓN DE LA DECENCIA VS. LA FÁBRICA DE SUEÑOS Aposta. Revista de Ciencias Sociales, núm. 50, julio-septiembre, 2011, pp. 1-30 Luis Gómez Encinas ed. Móstoles, España Disponible en: http://www.redalyc.org/articulo.oa?id=495950246001 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto aposta http://www.apostadigital.com/revistav3/hemeroteca/ballesteros6.pdf revista de ciencias sociales nº 50, Julio, Agosto y Septiembre 2011 ISSN 1696-7348 ESCRITORAS EN LA GRAN PANTALLA. LA LEGIÓN DE LA DECENCIA VS. LA FÁBRICA DE SUEÑOS [1] Rosa María Ballesteros García Universidad de Málaga Introducción El sociólogo e historiador de cine Pierre Sorlin [2] escribió que “la memoria funda la historia” y que el historiador es, en el fondo, “el escribano de la historia colectiva”. Sabias palabras de uno de los autores de referencia obligada en los trabajos de investigación sobre la relación cine/historia. Lillian Hellman (1905-1984), dramaturga de Louisiana y compañera del escritor Samuel Dashiell Hammett (1894-1961) [3], ejerció como escribana al detallar el “tiempo de canallas” que ambos padecieron durante los años de la caza de brujas dirigida por Joe McCarthy (1908-1957). Fueron años en que el propio Hammett creador de personajes tan famosos como “Sam Spade”, el detective encarnado por Bogart en El halcón maltés [4] y otros muchos compañeros, acusados de simpatizar con el comunismo, dieron con sus huesos en la cárcel (como el propio Hammett) o soportaron la persecución, los despidos, el desprecio o el odio de los buenos patriotas norteamericanos. Eran tiempos que ya anticipaban escritores “malditos” como F. Scott Fitzgerald (1896- 1940), William Faulkner (1897-1962) o el Nobel Ernest Hemingway (1899-1961), autores todos que han sido llevados a la gran pantalla [5], como también lo fue el 1 dramaturgo, y también Nobel Eugene O´Neill (1888-1953), suegro de Chaplin (a su pesar), todos ellos retratistas poco halagadores del sistema en su denuncia del puritanismo victoriano. Pero es quizás otro Nobel, Sinclair Lewis (1885-1951), uno de los escritores que mejor describió aquellos tiempos. A través de sus personajes satiriza a la burguesía norteamericana y sus entresijos (mercantiles y religiosos), como los retratados en la considerada por sus críticos su mejor obra, Babbit (1922), llevada al cine en dos ocasiones: Harry Beaumont dirigió la primera versión muda en 1924, con Willard Louis y Mary Alden y William Keighley la segunda, sonora, en 1934, con Aline MacMahon y Guy Kibbee. Sin abandonar esta línea no podemos olvidar a la gran periodista Ida Tarbell (1857- 1944), pionera de lo que hoy conocemos como periodismo de investigación, y verdadero martillo con sus crónicas de denuncia social [6]. Fueron tiempos, en fin, en los que muchos de los profesionales del cine se vieron atrapados en una violenta espiral. Las delaciones, el rechazo y, en el “mejor” de los casos, el ostracismo, determinaron sus vidas, en algunos casos poniendo fin a una brillante carrera dentro de aquella industria y, en otros, obligados a travestirse bajo el disfraz de uno o varios pseudónimos para poder seguir trabajando. Con estos antecedentes se puede ya intuir que nuestra propuesta va a tratar de cine y censura, dos aspectos a los que sumaremos un tercer componente: “el segundo sexo”, como lo bautizó Simone de Beauvoir; una muestra de mujeres de aquella industria: directoras, guionistas, editoras…, profesionales en suma, que se vieron envueltas por la ola inquisidora de La Legión Católica de la Decencia [7]. Vamos pues, utilizando ese juego cinematográfico denominado flashback [8], a dar un salto atrás en el tiempo para recuperar, como ya apuntamos, algunas de las figuras más representativas del colectivo y las películas que sufrieron los rigores de los centinelas de la moral [9]. Para elaborar el presente trabajo, dedicado a las profesionales que trabajaron en lo que se conoce por “La Meca del cine”, es decir, Hollywood, nos hemos inspirado en lo que la investigación feminista ha venido denunciando desde sus inicios: “hacer visible lo invisible”, fundamental preocupación de la Feminist Film Theory [10]. Especialistas como Annette Khun, Ann Kaplan o Teresa de Laurentis, por citar algunas, llevan ya décadas contribuyendo al reconocimiento público de muchas de las mujeres que 2 trabajaron en la industria cinematográfica, bien a partir de la vía fílmica utilizando la semiótica y el psicoanálisis bien a través de la vía sociológica. Por esta última transita la profesora Sharon Smith quien, gracias sus trabajos historiográficos, y a su implicación para rescatar del olvido o lo que es mas lacerante, del ninguneo y del silencio a mujeres de la talla de la francesa Alice Guy (1873-1968) [11], podemos conocer muchos de estos nombres olvidados. Smith viene reivindicando para la Historia a aquéllas que habían contribuido a hacer del cine lo que hoy es aunque, todo hay que decirlo, tanto el cine como la televisión han reforzado y legitimado todo tipo de estereotipos sobre la mujer, de forma que algunas de las actrices que se hicieron famosas apenas son conocidas por sus trabajos tras las cámaras. Ellas mismas cuidaban generalmente de pasar inadvertidas para no perjudicar su imagen y sus intereses, reforzando con ello las palabras de la profesora Begoña Siles cuando indica que “las mujeres pululan entre imágenes ancladas en el juego binario de la representación occidental” [12]. Y en ese juego dual las mujeres, las actrices, representadas en la pantalla por dignas hijas de Clara Bow, Louise Brooks, Mary Astor, Lili Damita (amante de Diettrich) o Corinne Griff, por citar sólo unos nombres, ejemplo inadecuado y espejo prohibido para la novia ejemplar, la buena esposa y la mejor madre en oposición a las recatadas y contenidas “Novias de América” (por aquello del Ideal y dignas “hijas de María”), encarnadas en Mary Pickford, Lillian Gish o Mary Miles (ésta última, por cierto, se vio apeada del podio de chica buena cuando la prensa descubrió que mantenía un romance con un maduro y casado productor al que asesinaron). Por otra parte, durante aquellos “locos años veinte” que anteceden y dan paso a la creación de la Legión Católica de la Decencia en 1933, varios escándalos azotaron el “mundillo” hollywoodiense; historias siniestras asociadas a temas escabrosos y relacionados con drogas, alcohol o sexo que acabaron en algunos casos en muertes trágicas, como fue el caso del popular cómico Roscoe Arbuckle [13], envuelto en un caso de violación con desenlace de muerte de la chica, una joven aspirante a actriz de nombre Virginia Rappe. También el asesinato del director William Desmond Taylor y las revelaciones acerca de su bisexualidad soliviantaron a la opinión pública, así como la muerte relacionada con el consumo de drogas del actor Wallace Reid, o las de otras actrices por la misma causa: Olive Thomas (1894-1920), la primera flapper , envenenada, al parecer accidentalmente, al confundir un preparado de cloruro de mercurio destinado a su marido, enfermo de sífilis; Bárbara La Marr (1896-1926), 3 muerta por una sobredosis de heroína a la que se aficionó, se dijo, para poder soportar el ritmo de vida a que se veía sometida; Jeanne Eagels (1890-1929), quien falleció de manera súbita, sin que se aclarasen las causas exactas del fallecimiento, aunque se apunta al alcohol o la heroína, o también Alma Rubens (1897-1931), con continuas entradas y salidas en clínicas de desintoxicación por su adición a la cocaína. Chicas malas, malas; malas en definitiva, que se habían saltado todas las reglas escritas y por ello habían pagado un alto precio; eso sí, después de haber inflado los bolsillos de sus productores. Finalmente, incidiendo en la línea del castigo femenino, en Estados Unidos la represión contra el lesbianismo se acentuaba, hasta tal punto, que algunas actrices fueron encarceladas por ello, como fueron los casos de Helen Menken (1901-1966), casada en tres ocasiones (la primera con Humphrey Bogart) detenida y llevada a prisión mientras representaba en Broadway la obra La cautiva , de Edouard Bourdet; o la mismísima superestrella Mae West. Diana McLellan, antigua columnista de publicaciones como Washington Star , The Washington Post o Washington Times trata holgadamente la cuestión (McLellan, 2009), revelando las complejas e íntimas conexiones ocultas entre las míticas Greta Garbo, Marlene Dietrich o Tallulah Bankhead con Mercedes de Acosta, Salka Viertel o Alla Nazimova, considerada ésta última por muchos críticos como “la actriz más grande del mundo” [14]. Son sólo algunos de los nombres de las implicadas, una especie de red sáfica o “hermandad”, en el sentido más amplio del término, que se tejió en los medios artísticos, intelectuales y cinematográficos norteamericanos de los años 30 y cuyos pormenores detalla Mercedes de Acosta en sus memorias [15]. Galería de damas curiosas (e insumisas) Como ya adelantamos, fueron muchas las actrices que trabajaron paralelamente en otras actividades tras las cámaras. Este es el caso de Lillian Gish (1893-1993), famosa estrella del cine mudo, autora del argumento y directora del filme de 1920 Remodeling her husband (¡inspirador título!) [16] donde aborda, en clave de humor, la infidelidad marital. Fue su ópera prima como directora y contó con su hermana Dorothy como protagonista. Lillian aún conserva el record de haber sido la actriz con la carrera cinematográfica más larga de la historia hasta el momento: 75 años. Mujer de gran 4 inteligencia y conciencia de género, no dudaba a la hora de expresarse públicamente sobre la infravaloración de las actrices.
Load more

Recommended publications
  • Quentin Tarantino Retro
    ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director.
    [Show full text]
  • Eva Le Gallienne Led a Private Life Troubled by Her Personal Struggle with Les- Bianism
    Harbin_Text.qxd 12/3/2004 12:50 PM Page 252 Laurents’s ability to direct is more often lauded than his writing. He regularly unites all elements of the production—music, voice, setting, movement, and picturization—to create vibrant dramatic moments. The understanding of structure and character honed in his writing assists in drawing out fully human characterizations. His ability to ‹nd new or Laurents underutilized talent—Jane Fonda in Invitation to a March, Lansbury in 252 Anyone Can Whistle, George Hearn in La Cage aux Folles—signi‹es an astute eye and ensures his lasting in›uence. A very sexual man—his ‹rst gay experience was at thirteen and he was more interested in quantity of partners than quality for many years— Laurents struggled with his homosexuality in psychotherapy, keeping it out of his play Heartsong (1946) and claiming that he would have excluded it as a subtext from Home of the Brave (Laurents, 65, 53). At the same time, he accepted his homosexuality and is proud of how “truth- fully” it was treated in his ‹rst movie, Rope (131). There are biographical aspects of his work to explore (particularly in The Enclave), as well as the- matic obsessions, such as the ‹gure of the complicated, boyish blond (i.e., the major in Home of the Brave, the disillusioned artist in Time of the Cuckoo, the characters played by Hatcher, and Robert Redford’s Hubbell in The Way We Were). Laurents has identi‹ed his own recurrent themes as discovery, acceptance, prejudice, and betrayal (4)—themes with which any homosexual can empathize.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bieedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. HOORAY FOR HOLLYWOOD: GENDER AND SEXUAL NON-CONFORMITY LN THE CLASSICAL HOLLYWOOD ERA by Brett Leslie Abrams submitted to the Faculty of the College of Arts and Sciences of The American University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy [Education] in History i I Chair:lir: / a .
    [Show full text]
  • Historic Context Statement for LGBT History in New York City
    Historic Context Statement for LGBT History in New York City PREPARED FOR MAY 2018 Historic Context Statement for LGBT History in New York City PREPARED BY The NYC LGBT Historic Sites Project: Jay Shockley, Amanda Davis, Ken Lustbader, and Andrew Dolkart EDITED BY Kathleen Howe and Kathleen LaFrank of the New York State Office of Parks, Recreation, and Historic Preservation PREPARED FOR The National Park Service and the New York State Office of Parks, Recreation, and Historic Preservation Cover Image: Participants gather at the starting point of the first NYC Pride March (originally known as Christopher Street Gay Liberation Day) on Washington Place between Sheridan Square and Sixth Avenue, June 28, 1970. Photo by Leonard Fink. Courtesy of the LGBT Community Center National History Archive. Table of Contents 05 Chapter 1: Introduction 06 LGBT Context Statement 09 Diversity of the LGBT Community 09 Methodology 13 Period of Study 16 Chapter 2: LGBT History 17 Theme 1: New Amsterdam and New York City in the 17th and 18th Centuries 20 Theme 2: Emergence of an LGBT Subculture in New York City (1840s to World War I) 26 Theme 3: Development of Lesbian and Gay Greenwich Village and Harlem Between the Wars (1918 to 1945) 35 Theme 4: Policing, Harassment, and Social Control (1840s to 1974) 39 Theme 5: Privacy in Public: Cruising Spots, Bathhouses, and Other Sexual Meeting Places (1840s to 2000) 43 Theme 6: The Early Fight for LGBT Equality (1930s to 1974) 57 Theme 7: LGBT Communities: Action, Support, Education, and Awareness (1974 to 2000) 65 Theme
    [Show full text]
  • Motion Picture Reviews (1939)
    MOTION PICTURE REVI m WOMEN'S UIIIWMirmUB LOS ANGELES CALIE Vo l. XIII 1939 MOTION PICTURE REVIEWS JANUARY 19 3 9 CONTENTS A Christmas Carol The Dawn Patrol Exposed The Girl Downstairs Going Places Heart of the North His Exciting Night Kentucky Little Orphan Annie Little Tough Guys in Society Pacific Liner Paris Honeymoon Pygmalion Ride a Crooked Mile Secrets of a Nurse Sweethearts Swing That Cheer Thanks for Everything Tom Sawyer, Detective Trade Winds Zaza THE WOMEN'S UNIVERSITY CLUB LOS ANGELES CALIF ORNIA 10c Per Copy $1.00 a Year Digitized by the Internet Archive in 2016 with funding from Media History Digital Library https://archive.org/details/motionpicturerev00wome_8 — MOTION PICTURE REVIEWS Three MOTION * PICTURE * REVIEWS Published, monthly by THE WOMEN'S UNIVERSITY CLUB LOS ANGELES BRANCH AMERICAN ASSOCIATION OF UNIVERSITY WOMEN Mrs. Palmer Cook, General Co-Chairman Mrs. John Vruwink, General Co-Chairman Mrs. Chester A. Ommanney, Preview Chairman Mrs. Thomas B. Williamson, Assistant Preview Chairman Mrs. Francis Poyas, Subscription Chairman Cooperating Branches Long Beach Glendale Santa Monica Whittier EDITORS Mrs. Palmer Cook Mrs. J. Allen Davis Mrs. George Ryall Mrs. John Vruwink Address all communications to The Women’s University Club, 943 South Hoover Street, Los Angeles, California 10c Per Copy - - $1.00 Per Year Vol. XIII JANUARY, 1939 No. 1 Copyright 1938 by Women's University Club of Los Angeles FEATURE FILMS A CHRISTMAS CAROL O O THE DAWN PATROL O O Reginald Owen, Gene Lockhart, Kathleen Errol Flynn, David Niven, Basil Rathbone, Lockhart, Terry Kilburn, Barry Mackay, Donald Crisp, Melville Cooper, Barry Fitz- Lynne Carver, Leo G.
    [Show full text]
  • Post-War America, the Hollywood Left and the Problem with Film Noir
    Re-examining the Maladjusted Text: Post-war America, the Hollywood Left and the Problem with Film Noir Robert John Manning PhD Thesis University of East Anglia School of Film, Television and Media Studies October 2015 “This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution.” Re-examining the Maladjusted Text: Post-war America, the Hollywood Left and the Problem with Film Noir Film noir is a term created after fact and applied back to films from a previous period and studies have often conflated very different films and privileged some facets over others in an endeavour to structure a definition. Some scholars have identified that a relatively small group of films came to be seen by the Hollywood Left as highly significant; and that their discussions of these films were the products of deeper anxieties faced by this group in the immediate post-war period. Subsequent conclusions were made that the Hollywood Left was opposed to this generalised categorisation similar to contemporary understandings of film noir. The thesis examines those films now considered as film noir in their original contexts. Studying the reception of films generally considered to be representative of contemporary understandings of film noir, such as Boomerang (Elia Kazan, 1947) The Big Sleep (Howard Hawks, 1946) and Crossfire (Edward Dmytryk, 1947) shows how they were parts of very different cycles at the time and not seen critically as a homogeneous group.
    [Show full text]
  • Film Actors: Lesbian by Teresa Theophano
    Film Actors: Lesbian by Teresa Theophano Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com From the days of silent films through the present, lesbian actresses have played a significant role in Hollywood--both in the movies themselves and outside of them--but their contributions have rarely been recognized or spoken of openly. Bisexual actress Alla Nazimova in Marionettes While female bisexuality and homosexuality are gradually becoming more acceptable (1911). Nazimova was both a successful actress in the film world--and sexual identity more of a pressing issue--many queer actresses and Hollywood power still fear that openness will damage their careers. The "lavender marriage," a term broker until her company coined to describe nuptials between gay male and lesbian stars for reasons of career released an all-gay film insurance and social approval, is by no means only a relic of the past. version of Oscar Wilde's Salomé (1922), a financially ruinous Early Films and the Advent of the Hays Code project. The private lives of early film stars Alla Nazimova, Greta Garbo, Marlene Dietrich, and Tallulah Bankhead have long been fodder for public speculation and gossip. Many actresses of the 1930s, 1940s, and 1950s were part of what were then termed in gay argot "sewing circles," a phrase allegedly coined by Nazimova to describe discreet gatherings of lesbians in Hollywood. Unable to be open about their sexuality, these women--with varying degrees of secrecy--nevertheless formed romantic and sexual relationships with each other. The bisexuality of Nazimova, a Russian stage actress who moved to New York City shortly after the turn of the twentieth century to pursue a career in acting, was fairly well-known in the film community, despite her long-term involvement with (gay) actor Charles Bryant.
    [Show full text]
  • In Intercultural Academic Contexts in America To- Day
    n intercultural academic contexts in America to- dices, which invariably spread to the terminology used: day, from small private colleges to large universi- peaceful, righteous (English) settlers vs. bloodthirsty, Ities, a question about the origin of the dollar rapacious conquistadors (knights, soldiers, and sign—this most iconic emblem of U.S. currency—will explorers from the Spanish and Portuguese empires). likely provoke collective shrugs and head-scratching. Henry VIII married his Spanish sister-in-law “What is the meaning of an S with a bar through it, Catherine of Aragon and thought he drew the wrath and how does this symbol relate to the word dollar?” of God upon his offspring. By divorcing Catherine The answer is that the dollar sign is a symbol for the and deeply offending her nephew Charles V of Spain, Spanish peseta, one of the few legal currencies ac- Henry struck a fissure into Christendom, resulting in cepted in colonial America. Other questions along this line include: “Why is there a colonial building (the Pontalba) with a Spanish name in the French Quarter of New Orleans? Why is the shape and style of homes in the Quarter of Spanish design? Why does the Quarter have a market on one side and a Cathe- dral facing the river, a typical Spanish arrangement?” The answer to all these questions is that the so-called French Quarter was built by Spaniards. But perhaps the most important question of all is, “Why are Ameri- cans so uninformed about the Spanish heritage of the United States?” Most Americans embrace a foundational myth about Protestant English settlers fleeing religious per- secution and landing on the shores of an almost pris- tine wilderness where amiable natives shared their food and taught grateful settlers how to farm the land.
    [Show full text]
  • Ernest Hemingway
    CONTENTS 01 featured Terms and Conditions 18 All books are first editions unless indicated otherwise. film All items in wrappers or without dust jackets advertised have glassine covers, and all dust jackets are protected by new archival covers. In many cases, more detailed physical descriptions for archives, manuscripts, film scripts, and other ephemeral items can be found on our website. 28 screenplays Any item is returnable within 30 days for a full refund. Books may be reserved by telephone, fax, or email, and are subject to prior sale. Payment can be made by credit card or, if preferred, by check or money order with an invoice. Libraries and institutions may be billed according to preference. Reciprocal courtesies extended to dealers. films with We accept credit card payments by VISA, MASTERCARD, AMERICAN EXPRESS, DISCOVER, and 35 PAYPAL. Shipments are made via UPS Airmail or Fedex Ground unless other arrangements are requested. All shipments are fully insured. Shipping is free within the literary sources United States. For international destinations, shipping is $55 for the first book and $10 for each thereafter. Overnight shipment by Federal Express or USPS, as well as international shipment shipment by FedEx, can be also arranged. 47 We are always interested in purchase or consignment of french cinema libraries or individual titles. We maintain an open store in midtown Baltimore, with hours from 10AM to 6PM Monday through Friday and Saturday by appointment or chance. The Royal Books Crew 65 first editions Kevin Johnson, Amber Fricke, John McDonald, Christopher Maffei, Erin Barry-Dutro, Tracy Holden, Jenné Matthews Catalog design and layout by Kathryn Setzler 76 photographs 32 West 25th Street, Baltimore, Maryland 21218 • PH 410.366.7329 FAX 443.524.0942 • royalbooks.com • [email protected] 94 women’s interest featured featured Original treated photograph and maquette for a legendary album Stanley Mouse 1 Workingman’s Dead 1970.
    [Show full text]
  • WILLIAM WELLMAN, TRA MUTO E SONORO William Wellman, Between Silent and Sound
    WILLIAM WELLMAN, TRA MUTO E SONORO William Wellman, between Silent and Sound Programma a cura di / Programme curated by Peter von Bagh Note di / Notes by Gina Telaroli, Peter von Bagh e Paola Cristalli 224 Dopo gli omaggi a von Sternberg, Capra, Ford, Hawks, Our American Masters’ retrospective adds William Wellman Walsh e Dwan, quest’anno la retrospettiva dedicata ai mae- (1896-1975) to the company of von Sternberg, Capra, Ford, stri del cinema americano celebra William Wellman (1896- Hawks, Walsh and Dwan, once again presenting all the silents, 1975) proponendone tutti i film muti, i primi sonori e al- the early sound films and some of the later masterpieces. cuni capolavori della maturità. The scarcity of silent Wellman prints is a sad fact:You Never Le copie disponibili dei muti di Wellman sono purtroppo Know Women, in 1926 already his 12th film, shows an insid- molto poche: You Never Know Women (1926, e già il suo er’s view, like Wings (1927) about fliers and war;Beggars of dodicesimo) è un film sullo spettacolo che offre un punto Life (1928) is a touching prelude to the Depression-era roads, di vista dall’interno del mestiere, come accadrà con Wings leading to great Wellman territory in the period ‘before the (1927), film di piloti e di guerra. Beggars of Life (1928) in- Code’, when he created many of the era’s lasting, most hard-hit- troduce al grande territorio wellmaniano dei film pre-Hays. ting films. His was a personal moral, outside the fake morality Wellman seguiva una morale personale, estranea al morali- that society was preaching.
    [Show full text]
  • Acosta, Mercedes De (1893-1968) by Patricia Juliana Smith
    Acosta, Mercedes de (1893-1968) by Patricia Juliana Smith Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Mercedes de Acosta. Photograph by Arnold Genthe created in 1919 Mercedes de Acosta was a poet, playwright, screenwriter, and costume designer, and or 1920. she was a devotee of Eastern mysticism, the occult, and vegetarianism long before Library of Congress any of these pursuits became fashionable. But if she is remembered at all today, she is Prints and Photographs remembered for her love affairs with some of the most glamorous and visible women Division. of her time. Acosta was born in New York City on 1 March 1893, to a wealthy Spanish-Cuban émigré family. Her mother, a descendant of the Duke of Alba, raised her as a boy, calling her "Rafael" and dressing her in boy's attire. After the death of her father in 1907, however, Acosta's mother became concerned about her lack of femininity and dispatched her to a convent school in France, from which she was removed after an incident involving two nuns who were apparently lovers. While in her early twenties, Acosta became involved in the lesbian theatrical circles of Broadway, particularly the salon of Bessie Marbury, a powerful producer and literary agent, and Marbury's lover Elsie de Wolfe, the prominent interior decorator. Among Acosta's early lovers were actresses Maude Adams, Alla Nazimova, and Katherine Cornell, as well as dancer Isadora Duncan. In 1920, Acosta married the wealthy socialite and dilettante painter Abram Poole, whose proposal her mother, concerned with appearances, accepted before she could reject it.
    [Show full text]
  • Music, Film, and Education
    Music, Film, and Education ^ LACMA Public Programs November 2014 Talk: Samurai Life during the Teen Night Pierre Huyghe in Conversation with Film Independent at LACMA Edo Period Emma Lavigne Free Screening: Chinese Box TALKS & COURSES Art and Life in the Yoruba Cosmological Model Sunday, November 2, 2014 | 2 pm LACMA, Brown Auditorium Free and open to the public. Drawing on works of art on view in African Cosmos: Stellar Arts, Dr. Babatunde Lawal presents profound interconnections of art and life among Yoruba peoples of West Africa. The Yoruba creation stories describe the human body as a work of sculpture molded by the artist-deity Obàtálá to incarnate the soul on earth; they also assert that Obàtálá and other deities ( òrìsà ) assumed human bodies to accompany the first mortals to the newly created earth, where they helped lay the foundations of Yoruba culture. This lecture sheds light on dynamic forms and meanings in Yoruba art and explains how the deities play vital roles in the workings of the universe, serving as intermediaries between humanity and Olódùmarè, the Supreme Being and source of existence. Dr. Babatunde Lawal is professor of African, African American, and African diaspora art at Virginia Commonwealth University. Artists’ Conversation: Lari Pittman and Sam Durant on Marsden Hartley and More Tuesday, November 4, 2014 | 7:30 pm LACMA, BCAM Free and open to the public; reservations required. Tickets: 323 857-6010 or reserve online. L.A.-based artists Sam Durant and Lari Pittman discuss with Stephanie Barron, LACMA senior curator and department head of Modern Art, the lasting impact of Marsden Hartley's abstract paintings, which are featured in the exhibition Marsden Hartley: The German Paintings 1913–1915, as well as its connections to the installation of Durant's own work, Proposal for White and Indian Dead Monument Transpositions, Washington, D.C.
    [Show full text]