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In Between and : Te Queerness of Gender- Bending Stardom SARAH FELLOWS

Te star personas of Greta Garbo and Marlene Dietrich serve as beacons of queer representation in classical Hollywood cinema. Marlene Dietrich is a vision of glamour, seduction, and exoticism in her films and in her star persona, constantly straddling the mother/whore dichotomy.1 Greta Garbo also holds a persona of beauty, mystery, and charm in her films and in her star persona, constantly evading questions from the press and upholding the allure of exotic secrecy.2 Attached to both women’s star personas of sex, exoticism, and glamour, is the mystery of queerness. Both Dietrich and Garbo’s sexualities were interrogated and questioned by audiences, fans, and journalists. A queer subtext

11 reveals itself within both their star personas and in all of their films, consistently nodding to queer potentiality, queer sexuality, and queer desire. Tis article will argue that the queer star personas of Dietrich and Garbo are balanced between male and female, and therefore serve to denaturalize gender and sexuality entirely in the process. In line with Judith Butler, I will reveal the performativity of gender through a comparative and contrasting analysis of Dietrich and Garbo by taking the pre-code Hollywood films Morocco (1930)3 and Queen Christina (1933)4 as my case studies to investigate Dietrich and Garbo’s negotiations of gender. Furthermore, I will interrogate the construction of both Dietrich and Garbo’s star personas as upholding their potential queerness in demonstrating both male and female qualities. Finally, this article concludes with an analysis of Meeting of Two Queens (1991)5 to demonstrate the queer potentiality ingrained within Dietrich and Garbo’s presences onscreen. Tere will always be suspicion and mystery surrounding the sexualities of Garbo and Dietrich, but their actual sexualities ultimately do not matter and are not the point of interrogation for this essay, as they will always be queer icons for queer communities of the past, present, and future. Dietrich and Garbo both engage in high forms of gender performativity in their star personas and professional careers. In turn, both stars then participate in Judith Butler’s theory of gender performativity in “Imitations and Gender Insubordination.”6 Butler explains gender as a set of repeated acts and learned characteristics within a regulatory, disciplinary, and naturalized frame; only these repeated acts and performances define gender, instead of gender defining performance.7 Butler’s goal becomes to denaturalize these repeated and traditional roles in the routine productions of gender rooted in biology, as she believes gendered identities are not a true reflection of one’s core self, but are culturally coded performances.8 Gender is then not determined by biological essentialism, but instead determined by the repeated performance of gendered acts.9 According to Butler, the performance of gender negotiates a paradox of identity, as

12 the “I” of the individual and the gender can only attain stability through repetition and performance.10 Te “I,” however, is never stable, as nothing precedes the “I.”11 Te “I” then possesses no core essence of being, biology, or gender that precedes its performance. 12 Both Dietrich and Garbo participate in Butler’s theory of gender performativity. Both perform male and female coded actions, traits, and roles. According to , Dietrich and Garbo both inhabit the gendered labour of the male and female roles in filmic narratives; they are the passive female spectacle and object of the narrative, as well as the active male protagonist and subject of narrative agency.13 Dietrich and Garbo both perform at once the female coded traits of glamour, exoticism, beauty and seduction, and the male coded traits of active sexuality and narrative agency. Dietrich and Garbo then inhabit a space between genders that destabilizes the notion of gender as a whole. Dietrich’s star persona was crafted through the tabloids and magazines of the to paint her as a glamorous, poised, and sophisticated goddess, as well as a demure and loving mother and wife. Tese tabloid articles serve to reaffirm her femininity and heterosexuality in her American star persona. In the article “Meet Marlene Dietrich,” Robin Irvine portrays Dietrich as a vision of feminine glamour and beauty.14 More importantly, however, Irvine discusses his encounter with Dietrich on the set of Morocco, during which she is cross-dressing in a tuxedo for her famous queer scene, and forcibly defines her as a feminine beauty:

I turned, and there stood the most amazing vision—a girl in a black tailor made suit, collar and tie, and brogues, with hair seraped off her forehead and the most provocative tip-tilted nose I had ever seen. Imagine, if you can, a girl dressed like this and yet looking twice as feminine as any ordinary woman in frills and crèpe de Chine. Astounding contrasts are very typical of Marlene.15

Although Irvine touches on Dietrich’s performance of gender as denaturalizing in her use of “astounding contrasts,” Irvine

13 resoundingly points to Dietrich’s beauty, glamour, and femininity as “twice” that of “any ordinary woman.”16 Irvine effectively dismisses Dietrich’s troubling of feminine gender norms in her cross-dressing in a tuxedo by instead portraying her as a vision of incredible feminine beauty. Irvine continues to affirm Dietrich’s femininity and heterosexuality as he states, “I was invited to Marlene’s home to meet her husband and their beautiful little girl, Haidédé.”17 Irvine ends his section on Dietrich with the resounding statement that “Marlene is not, by any means, the super-vamp she plays so well in celluloid, though she is an entirely fascinating woman… Tough she is sophisticated she is an unaffected, genuine person with a great sense of humour.”18 Again Irvine confirms Dietrich’s glamorous, sophisticated, and kind persona and directly disavows her roles as the super-vamp, the femme fatale, and her queer role in Morocco in discussing instead the reality of her glamour and femininity. Irvine’s desperate attempts to prove Dietrich’s unabashed femininity and heterosexuality only serve to highlight her queerness more: she wears men’s clothes and she constantly plays the seductive femme fatale, entirely agentic over her own sexuality. Tese are not female-coded traits, but male ones, entirely overwritten by Irvine in his attempt to prove Dietrich’s heteronormativity and femininity. Dietrich’s queerness, however, shines through Irvine’s heteronormative article. Alongside Dietrich’s persona as the natural, glamorous, and loving mother and wife in her private life, there exists another layer of Dietrich’s crafted persona: the seductive and powerful femme fatale. Dietrich is characterized by confidence, seduction, manipulation, and power, which are all masculine coded traits. Dietrich’s star persona can then be shown to split into two dichotomies: the loving and glamorous mother (feminine), and the confident and manipulative woman (masculine). Te star persona of Dietrich is defined by the mother/whore dichotomy, as Dietrich is both the immaculate loving mother, and the seductive and manipulative whore in her star persona and the roles she plays on the screen.19 Dietrich’s glamorous and feminine star

14 persona is reclaimed and praised, whereas her femme fatale and masculine persona is cause for gossip, drama, and condemnation. Te article “Films of the Day: Marlene is Marlene Again” by George Campbell illustrates Dietrich as the femme fatale “in all her corrupt and dazzling beauty.”20 Campbell states,

Te hussy of the shabby Berlin Cabaret was no dramatist’s creation. She was Woman (…) the living symbol of all that has ensnared and enraptured, enslaved and betrayed foolish man since the dawn of time (…) She just looked from those wide eyes reflecting the innocence which is apart of the natural, unconscious sinner’s heritage; and the poor old professor (…) succumbed like a rabbit to a snake.21

Campbell illustrates the mother/whore dichotomy exemplified in Dietrich’s persona as both the glamorous mother and the femme fatale whore; he paints Dietrich as an illusion of innocent beauty who in reality is corrupt to the core with sin. Dietrich lures poor innocent men into her snares of manipulation and deceit as the femme fatale, playing the active and coveted masculine role. Dietrich therefore embodies and performs both masculine coded traits of sexual agency, power, and confidence, and the feminine coded traits of passivity, innocence, glamour, motherhood, and marriage. Dietrich’s star persona then inhabits a space in between male and female, mother and whore, glamorous star and femme fatale. Dietrich’s queerness inevitably comes to the forefront of this in-between and destabilized space of gender. Greta Garbo’s femininity and heterosexuality are both upheld and proven in a similar way to Dietrich’s in her star persona. Garbo’s star persona also encompasses glamour, sexuality, sophistication, and exoticism. In “Garbo Vindicated,” Peter Burnup delves into both Garbo’s hyper-femininity and her androgyny. Te article pictures Garbo in (1931),22 dancing provocatively in a gold-sequined cutout body suit, a golden headpiece atop her head, and a giant tiki-man looming in the background.23 Her picture in Mata Hari takes up half a page of the article space, privileging photographic evidence of her exotic glamour and sex appeal as a star.24 Further down there is

15 another picture of her in Te Rise of Helga (1931),25 in which she wears a revealing and glamorous gown covering only her breasts with star-shaped sparkling fabric.26 Both images serve to prove Garbo’s hyper-femininity, to counter any inklings of queerdom or masculinity from her star persona. Burnup continues along these lines of hyper-femininity in claiming that “Allure is—Greta Garbo,” and he plays into her exotic sexuality, stating, “Garbo is an enigma who provokes you.”27 In line with Dietrich, Garbo’s exoticism and glamour creates an air of mystery and ambiguity surrounding her star image, contributing to the mystery of her sexuality. Burnup asks, “What is the truth about Greta Garbo?”28 Te simple question alludes to the mystery of her exoticism and her queer potentiality. Garbo “enchants you,” holding “sway [...] over the hearts and minds of men and women alike.”29 She is an image of both male and female desire and pleasure, her image always then queer in some way. Peter Burnup also discusses Garbo’s androgyny and her masculinity. Burnup claims Garbo’s “strange face,” is “not a beautiful face, perhaps...curiously, she has an almost sexless quality.”30 Burnup continues that Garbo possesses “some quality other than just an embarrassing excess of sex-appeal.”31 Although Burnup spends the majority of his article pointing to Garbo’s hyper-femininity and her undisputed heterosexuality in her potential romance with Clarke Gable, these moments of queer, androgynous, and masculine acknowledgment exist within his article.32 Garbo’s star persona is at once male and female, glamorous and exotic, androgynous and queer. Furthermore, in “Te Private Life of Greta Garbo,” Rilla Page Palmborg discusses Garbo’s stance against marriage.33 Palmborg’s article then also delves into the androgyny and queerness of Garbo’s star persona, in her male coded sexual agency and confidence. When confronted with her rumored romance with Jack Gilbert, Garbo offers this answer: “Many things have been written about my friendship with Mr. Gilbert. But it is only friendship. I will never marry. My work absorbs me. I have time for nothing else.”34 Here, Garbo inhabits the sexual agency and freedom of

16 masculinity, claiming she cares more for her work in the public space and her own passion for film than succumbing to feminine ideals of domesticity, marriage, motherhood, and wifeliness. Although Burnup attempts to display Garbo’s heterosexuality and hyper-femininity, her queerness peeks through in her androgyny and her adoption of male-coded gendered traits. In the process, Garbo’s star persona breaks the binaries of male and female codes of gender, destabilizing the concept of gender itself and allowing Garbo to inhabit a queer space in-between gender. Andrea Weiss interrogates the queer rumour and gossip that constitutes the unrecorded history of gay subculture.35 Weiss discusses both Dietrich and Garbo’s star personas in terms of their queer potentiality and their importance to the gay subculture of the 1930s. Weiss states that oral history is the history of those denied control over the printed record; gossip is then the history of those who cannot speak.36 Gossip and rumour account for half of Dietrich and Garbo’s star personas, constituting a queer oral history that is strategically controlled, repressed, and repudiated in the printed records of their star personas. Gossip allows those who are powerless and without a voice in printed history to assume the power of representation, reinterpretation, and resistance.37 Homosexuality was both invisible and unspeakable in the early 1930s, in the heyday of both Dietrich and Garbo’s stardom, and thus locates their queer history in rumour, innuendo, gossip, gestures, coded language, and signs.38 In terms of Dietrich, her sophistication, foreign accent, and exotic, elusive manner stood in stark contrast to the homegrown American image of other stars of her time, such as Doris Day.39 According to Weiss,

Te studios went to great lengths to keep the star’s image open to erotic contemplation by both men and women, not only requiring and gay male stars to remain in the closet for the sake of their careers, but also desperately creating the impression of heterosexual romance—as MGM did for Greta Garbo in the 1930s.40

Te studios then carefully crafted Dietrich and Garbo’s star

17 personas as both heterosexual and potentially queer. Te possibility of lesbianism “provoked both curiosity and titillation[;] Hollywood marketed the suggestion of lesbianism, not because it intentionally sought to address lesbian audiences, but because it sought to address male voyeuristic interest in lesbianism.”41 Te use of queer innuendo, however, worked for female spectators as well, “enabling them to explore their own erotic gaze.”42 Dietrich’s rumored lesbianism was exploited in exactly this way in Morocco through Paramount’s publicity slogan for the film: “A woman all women want to see.”43 In terms of Garbo, she often implemented male-coded gestures, metaphors, and images within her films, portraying sufficient sexual ambiguity so that her movements, voice, and manner became codes for lesbian spectators, such as in Queen Christina.44 Dietrich and Garbo both inhabit an in- between space of gender and sexuality in their films and their star personas. Tey portray heterosexual and lesbian desire, androgynous, feminine, and male traits, and create queer gossip forever attached to their names. Marlene Dietrich is known for her breakout American role in Joseph von Sternberg’s Morocco; more specifically, she is known for the queer scene of the film—the cabaret scene. Dietrich walks onstage in a nightclub, wearing a tailored male tuxedo, complete with a top hat and a cigarette perched between her lips.45 Dietrich introduces herself as a queer icon in this integral scene, cross-dressing as a man, performing masculinity, and becoming an icon of desire for both men and women. Not only is she performing masculinity through her traditionally male apparel, but she also performs sexual agency, confidence, bravado, and power onstage, captivating the attention and desire of every audience member, both male and female. Te cigarette perched between her lips signifies sex as she puffs smoke onstage; she inhabits male agency and confidence in her entire performance. Furthermore, Dietrich heightens her performance of masculine power, sex, and agency as she flirts with a woman in the audience and her on the mouth.46 Although Dietrich captures the attention of both male and female audience members, she moves

18 away from her male admirers, removing her arm from a man’s tender caress, and moving on from a man’s offer of a drink to flirt with the woman beside him. Dietrich is inevitably read as queer, masculine, and sexy in this scene, performing male-coded gender to the highest extent. She is dressed in a beautiful sleek tuxedo smoking a cigarette, and she is full of masculine bravado, confidence, and agency. Yet, her face still signifies her femininity, in the glamour of her eyes roaming through the audience and the beauty she radiates to all. Dietrich here embodies both the femininity of spectacle and the masculinity of agency, only further pointing to the instability of gender in her performance and her embodied queerness. Later in the film, Dietrich performs another cabaret number, but this time she predominantly performs femininity. She is dressed in a black corseted bodysuit, with a feather boa draped around her.47 Dietrich performs her number much more coyly, moving significantly less than the previous number, and holding a basket of apples in her hand instead of a cigarette. Here, Dietrich inhabits the spectacle of the female object, but her queerness remains as she captivates every member of the audience, male and female. Dietrich’s feminine cabaret scene acts as a buffer for the inherent queerness and male performance of her past cabaret scene. Te film also attempts to rein in her queer performativity and destabilization of gender through the heterosexual romance narrative drawn out between the characters played by Dietrich and . Dietrich, however, often still inhabits a masculine role of agency and subjectivity in the narrative of the film, further queering her performance. She captivates Cooper at the cabaret and initiates the relationship between them in offering him a flower. Dietrich constantly flips between performances of passive femininity and active masculinity in Morocco, both glamorous and confident, subject and object, sexual spectacle and sexual agent. In the process, Dietrich completely destabilizes gender and inhabits a space in between gender, marking her performance, her star persona, and her presence in film as queer from this moment forth.

19 Greta Garbo embraces both masculine and feminine attributes in Queen Christina. To begin, Garbo is almost completely coded as male throughout the first half of the film. Characters often mistake her as a man, including her male love interest, due to the fact she cross-dresses in male drag. Garbo wears a Renaissance-style pantsuit for the majority of the film, completely juxtaposing her female counterparts dressed in gowns and hoop skirts.48 Her male lover, Antonio ( Jack Gilbert), even identifies Garbo as a fellow gentleman during their entire conversation in the pub, and goes so far as to share a room with Garbo in his sureness of her gender as male. Antonio only realizes Garbo is a woman when she undresses and reveals the slightest contours of her feminine body.49 Tere is queerness then even in Antonio and Garbo’s seemingly heterosexual relationship throughout the rest of the film, as Antonio’s base of attraction for Garbo stems from his introduction to her as a man. Garbo also takes on the active male narrative traits of power, confidence, bravado, and intelligence as the Queen of her kingdom; she navigates and plans wars and aims for peace. In the first scene of the film, she is even introduced as a boy: “Her father, our king, brought up this child as a boy, accustomed her ears to the sound of canon fire and sought to mold her spirit after his own.”50 Garbo also possesses the male trait of sexual agency, as she flaunts her numerous potential male suitors and past sexual conquests without any means to marry. Garbo even kisses a woman in the film dressed in male drag, grabbing her chin and kissing her quickly on the lips.51 Garbo’s queerness is then evident in her male drag and this potential lesbian relationship. During the second half of Queen Christina, however, Garbo takes on feminine qualities to prove both her heterosexuality and her womanhood. Garbo begins dressing in gowns, dripped in jewels, trains, and fabric, proving her femininity, glamour, and beauty.52 Garbo also becomes involved in a heterosexual relationship with Antonio, proving her heterosexuality.53 Furthermore, Garbo begins to lose her masculine narrative agency as she decides to give up the throne. Garbo steps down as

20 Queen in order to pursue her lover, as the kingdom disapproves of him as a suitor. Garbo gives up her power and duty as Queen to escape and become a woman able to enjoy the happiness of heterosexual love. Garbo states, “It was so enchanting to be a woman, not a queen, just a woman in a man’s arms.”54 Even after Antonio’s death, Garbo proves her femininity again, deciding still to leave her kingdom and start a new life on an isolated island with the Spanish royal party. Te first half of the film then displays Garbo in all her masculine and butch glory, through cross-dressing, kissing women, flaunting her power, confidence, bravado, and sexual agency as Queen. Te second half of the film shifts Garbo back into the constraints of femininity, pushing her into gowns, heterosexual love, domesticity, and passivity, as she steps down from the throne and leaves her kingdom for a simpler life as merely “a woman.”55 Garbo’s shift from male to female gender performance proves the instability of gender itself, allowing her to inhabit a space of queerness in between gender. Mary Desjardins interrogates Meeting of Two Queens, and she discusses the queer star personas of Dietrich and Garbo as symptomatic of cultural ideals and repressions.56 Meeting of Two Queens clearly displays both the recycling of star personas as well as the cultural anxieties and identity politics rehearsed within the personas of Dietrich and Garbo. Desjardins argues the significance of Meeting of Two Queens in terms of identity politics lies less in its self-conscious exposure of cinematic meaning, but instead focuses on the “interpellation of a spectator who identifies with the images as a fan and responds to their strategies of affect.”57 Te film’s use of close-ups of the star’s face to signify melodrama is central to the production of lesbian affect in the film.58 Te affective response of the fan spectator is then conceptualized both historically and meta-psychologically, as the film acknowledges the existence of a historical queer spectator defined through sexual fluidity.59 Furthermore, Desjardins argues that “we get more pleasure from the fictionalized meeting between Garbo and Dietrich if we read them against gossip,” taking Meeting of Two Queens not as fiction, but as truth.60

21 Meeting of Two Queens works through editing and found-footage to create a lesbian relationship between Garbo and Dietrich. Meeting of Two Queens uses shot/reverse-shot editing to create conversations between Garbo and Dietrich, drawing from scenes set in similar spaces in which they appear in their respective films, such as on the lake, in the hospital, and at the train station. Te film constructs eyeline matches between the two women to suggest their meaningful gazes and desire for each other, cutting out the match to their heterosexual male love interest in each film. Furthermore, Meeting of Two Queens constructs dialogue between Dietrich and Garbo, whether it is through the telephone and shot/reverse-shots, or through dissolve-editing to mesh Dietrich and Garbo onscreen within the same space. Te film also displays both their performances of femininity and masculinity. One section of the film focuses on their glamorous hats, displaying both stars in multiple hats and beauty shots; this section displays the femininity and sexual spectacle of each star onscreen. In other sections, both Dietrich and Garbo take on male positionality, as Dietrich performs her male drag for Garbo in the audience, and Garbo performs male drag as Queen Christina and kisses her female suitor. Finally, the film even constructs a sex scene between Dietrich and Garbo, featuring them both undressing through shot/reverse-shots. Dietrich takes off her dress layer by layer, while Garbo takes off her male drag as Queen Christina. Te shots taken of Dietrich in this scene are from Te Song of Songs (1933),61 an attempt on the part of Universal and Paramount to paint Dietrich as a wholesome, feminine, innocent woman to counter her queer performance in Morocco.62 Positioned beside a masculine-dressed Garbo, however, Dietrich coyly undresses, acting out a femme- lesbian roleplay to Garbo’s butch lesbian.63 Te film serves to construct a lesbian relationship between Garbo and Dietrich, while destabilizing gendered roles of the filmic heterosexual division of labour in the process. Moreover, Meeting of Two Queens forces audiences to reflect on how meaning and identity are constructed, and why we gain so much pleasure and pain

22 from the elusive construction of stardom.64 Patricia White’s concept of “Retrospectatorship” becomes integral in analyzing the queer stardom of Dietrich and Garbo.65 White argues that each new textual encounter of a film by a different spectator shapes the film through the knowledge already within the viewer.66 White defines this as Retrospectatorship, a kind of film reception transformed by unconscious and conscious past viewing experience. Retrospectatorship explores spectatorship and subjectivity in terms of memory traces and experiences of the past, and films of the past, that reorder and recontextualize new and different experiences of film-going culture.67 Terefore, Dietrich and Garbo will always be queer icons, in the past, the present, and the future. If the spectators of their films categorize and identify with Dietrich and Garbo as queer, then they are queer icons to female queer spectators; their true sexualities do not matter, nor does the era in which audiences enjoy their films. Marlene Dietrich and Greta Garbo will always be queer stars in the hegemony of the patriarchal and heterosexual Hollywood film industry. Both Dietrich and Garbo perform aspects of masculinity and femininity in their star personas and in their films, destabilizing gender in the process. Dietrich and Garbo will forever be remembered as queer female icons for the queer community, representing potentiality in a cinema that rendered queerness absent, invisible, and non-existent. Tey remain not only important queer stars of film history, but also life-saving stars of queer representation for queer communities and queer youth in the past, present, and future.

23 Appendix

Figure 1: Te glamour of Dietrich in Morocco.

Figure 2: Dietrich kisses a woman in Morocco.

24 Figure 3: Dietrich in male drag in Morocco.

Figure 4: Garbo in male drag in Queen Christina.

25 Figure 5: Garbo kisses her female friend in Queen Christina.

Figure 6: Garbo in a gown in Queen Christina.

26 Figure 7: Garbo and her male lover in Queen Christina.

Figure 8: Garbo undresses to reveal her femininity in Queen Christina.

27 GARBO VINDICATED BURNUP, PETER Picturegoer Weekly (Archive: 1931-1932); Feb 20, 1932; 1, 39; Entertainment Industry Magazine Archive pg. 10

Figure 9: Garbo in Mata Hari and Te Rise of Helga, pictured in “Garbo Vindicated” by Peter Burnup.

28 Works Cited Primary Sources Burnup, Peter. “Garbo Vindicated.” Picturegoer Weekly, vol. 1, no. 39, Feb. 1932, pp. 10-11. ProQuest. Campbell, George. “Films of Te Day: Marlene is Marlene Again.” Te Bystander, April 1936, pp. 64. ProQuest. Irvine, Robin. “Meet Marlene Dietrich.” Film Weekly, Mar. 1931, pp. 9. ProQuest. Palmborg, Rilla Page. “Te Private Life of Greta Garbo.” Te Atlanta Constitution, Nov. 1931, pp. 75. ProQuest. Palmborg, Rilla Page. “Te Private Life of Greta Garbo: Greta Garbo Tells Why She Will Never Marry.” Daily Boston Globe, Oct. 1931, p. 27. ProQuest.

Secondary Sources Butler, Judith. “Imitation and Gender Insubordination.” Lesbian and Gay Studies Reader, edited by Henry Abelove, Michele A. Barale, David M. Halperin, Routledge, 1993, pp. 307- 320. Desjardins, Mary R. “Star Bodies, Star Bios: Stardom, Gender, and Identity Politics.” Recycled Stars: Female Film Stardom in the Age of Television and Video, Duke University Press, 2015, pp. 192-242. Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Feminist Film Teory: A Reader, edited by Sue Tornham, New York University Press, 1999, pp. 58- 69. Quadrio, Carolyn. “Current Cinematic Portrayals of the Female Psychiatrist.” Australian Feminist Studies, edited by Lisa Adkins and Maryanne Dever, vol. 11, no. 23, 2010, pp. 115- 128. Weiss, Andrea. “‘A Queer Feeling When I Look at You’: Hollywood Stars and Lesbian Spectatorship in the 1930s.” Stardom: Industry of Desire, edited by Christine Gledhill, Routledge, 1991, pp. 283-299. White, Patricia. “Chapter 6: On Retrospectatorship.” Uninvited: Classical Hollywood and Lesbian Representability, Indiana University Press, 1999, pp. 194-215.

29 Filmography Queen Christina. Directed by , performance by Greta Garbo and , Metro-Goldwyn-Mayer, 1933. Morocco. Directed by , performances by Marlene Dietrich and Gary Cooper, Paramount Pictures, 1930. Meeting of Two Queens. Directed by Cecilia Barriga, performance by Marlene Dietrich and Greta Garbo, Women Make Movies, 1991. Te Song of Songs. Directed by Rouben Mamoulian, performance by Marlene Dietrich, Paramount Pictures and Universal Pictures, 1933. Mata Hari. Directed by George Fitzmaurice, performance by Greta Garbo, Metro-Goldwyn Mayer, 1931. Te Rise of Helga: Susan Lennox (Her Rise and Fall). Directed by Robert Z. Leonard, performances by Greta Garbo and Clarke Gable, Metro- Goldwyn-Mayer, 1931.

30 Endnotes 1Quadrio, Carolyn. “Current Cinematic Portrayals of the Female Psychiatrist.” Australian Feminist Studies, edited by Lisa Adkins and Maryanne Dever, vol. 11, no. 23, 2010, pp. 115. 2Palmborg, Rilla Page. “Te Private Life of Greta Garbo.” Te Atlanta Constitution, Nov. 1931, pp. 75. ProQuest. 3Morocco. Directed by Josef von Sternberg, performances by Marlene Dietrich and Gary Cooper, Paramount Pictures, 1930. 4Queen Christina. Directed by Rouben Mamoulian, performance by Greta Garbo and John Gilbert, Metro-Goldwyn-Mayer, 1933. 5Meeting of Two Queens. Directed by Cecilia Barriga, performance by Marlene Dietrich and Greta Garbo, Women Make Movies, 1991. 6Butler, Judith. “Imitation and Gender Insubordination.” Lesbian and Gay Studies Reader, edited by Henry Abelove, Michele A. Barale, David M. Halperin, Routledge, 1993, pp. 307. 7Butler, “Imitation and Gender Insubordination,” 307. Ibid. 9Ibid. 10Ibid, 311. 11Ibid, 311. 12Ibid, 311. 13Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Feminist Film Teory: A Reader, edited by Sue Tornham, New York University Press, 1999, pp. 62-3. 14Irvine, Robin. “Meet Marlene Dietrich.” Film Weekly, Mar. 1931, pp. 9. ProQuest. 15Irvine, “Meet Marlene Dietrich,” 9. 16Ibid. 17Ibid. 18Ibid. 19Quadrio, “Current Cinematic Portrayals of the Female Psychiatrist,” 115. 20Campbell, George. “Films of Te Day: Marlene is Marlene Again.” Te Bystander, April 1936, pp. 64. ProQuest. 21Campbell, “Films of the Day: Marlene is Marlene Again,” 64. 22Mata Hari. Directed by George Fitzmaurice, performance by Greta Garbo, Metro-Goldwyn Mayer, 1931.

31 23Burnup, Peter. “Garbo Vindicated.” Picturegoer Weekly, vol. 1, no. 39, Feb. 1932, pp. 10. ProQuest. 24Figure 9. 25Te Rise of Helga: Susan Lennox (Her Rise and Fall). Directed by Robert Z. Leonard, performances by Greta Garbo and Clarke Gable, Metro- Goldwyn-Mayer, 1931. 26Burnup, “Garbo Vindicated,” 10. Figure 9. 27Ibid. 28Ibid, 11. 29Ibid, 10. 30Ibid, 11. 31Ibid. 32Ibid. 33Palmborg, Rilla Page. “Te Private Life of Greta Garbo: Greta Garbo Tells Why She Will Never Marry.” Daily Boston Globe, Oct. 1931, p. 27. ProQuest. 34Palmborg, “Te Private Life of Greta Garbo,” 27. 35Weiss, Andrea. “‘A Queer Feeling When I Look at You’: Hollywood Stars and Lesbian Spectatorship in the 1930s.” Stardom: Industry of Desire, edited by Christine Gledhill, Routledge, 1991, pp. 283. 36Weiss, “A Queer Feeling When I Look at You,” 283. 37Ibid, 283. 38Ibid, 286. 39Ibid. 40Ibid. 41Ibid. 42Ibid. 43Ibid. 44Ibid, 286-7. 45Figure 3. 46Figure 2. 47Figure 1. 48Figure 4. 49Figure 8. 50Queen Christina, Mamoulian, 1933. 51Figure 5. 52Figure 6.

32 53Figure 7. 54Queen Christina, Mamoulian, 1933. 55Ibid. 56Desjardins, “Star Bodies, Star Bios,” 192. 57Ibid, 196. 58Ibid. 59Ibid. 60Ibid, 199. 61Te Song of Songs. Directed by Rouben Mamoulian, performance by Marlene Dietrich, Paramount Pictures and Universal Pictures, 1933. 62Desjardins, “Star Bodies, Star Bios,” 201. 63Ibid, 201. 64Ibid, 208. 65White, Patricia. “Chapter 6: On Retrospectatorship.” Uninvited: Classical Hollywood and Lesbian Representability, Indiana University Press, 1999, pp. 196. 66White, “On Retrospectatorship,” 196. 67Ibid, 196.

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