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Introduction: Olympus Moves to Hollywood

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Introduction: Olympus Moves to Hollywood Notes Introduction: Olympus Moves to Hollywood 1. ‘Olympus Moves to Hollywood’, Photoplay, April 1928, 34–36, 92, (p. 34). 2. Richard Dyer, Heavenly Bodies: Film Stars and Society (London: BFI, 1986), p. 121. 3. There are accounts of sculpture being animated for ritual and theatre in antiquity, most famously by Hero of Alexandria, whose works included a moving statue of Dionysus. See: Campbell Bonner, ‘A Dionysiac Miracle at Corinth’, American Journal of Archaeology, July–September 1929, 33(3), 368–375. 4. See Richard deCordova, Picture Personalities: The Emergence of the Star System in America (Urbana, IL: University of Illinois Press, 1990). 5. Michael Williams, Ivor Novello: Screen Idol (London: BFI, 2003). 6. Miriam Bratu Hansen, ‘The Mass Production of the Senses: Classical Cin- ema as ‘Vernacular Modernism’, Modernism/Modernity, 6.2 (1999), 59–77, (pp. 60, 68). 7. Ibid., p. 68. 8. Maria Wyke (ed.), Parchments of Gender: Deciphering the Bodies of Antiquity (Oxford: Clarendon Press, 1998), pp. 1 and 3. 9. Richard H. Armstrong, A Compulsion for Antiquity: Freud and the Ancient World (Ithaca, NY and London: Cornell University Press, 2005), preface, citing Friedrich Schlegel, Athenäums – Fragmente 15 (1797–1798). 10. Marcia Landy, Cinematic Uses of the Past (Minneapolis, MN: University of Minnesota, 1996), p. 23. 11. Mary Beard and John Henderson, Classical Art: From Greece to Rome (Oxford: Oxford University Press, 2001), p. 115. 12. Ibid. 13. See John Boardman, The Archaeology of Nostalgia: How the Greeks Recreated their Mythical Past (London: Thames and Hudson, 2002), p. 82. 14. Jürgen Habermas and Seyla Ben-Habib, ‘Modernity versus Postmodernity’, New German Critique, 22, Special Issue on Modernism. (Winter, 1981), 3–14, (p. 3). 15. Hans Robert Jauss, ‘Tradition, Innovation, and Aesthetic Experience’, The Journal of Aesthetics and Art Criticism, 46, 3. (Spring, 1988), 375–388, (p. 376). 16. Beard and Henderson, p. 6. 17. Ibid., p. 9. 18. Beard and Henderson, p. 186. 19. Leo Braudy, The Frenzy of Renown: Fame and its History (New York and Oxford: Oxford University Press, 1986). 20. Braudy, p. 5. 21. Braudy, p. 6. 208 Notes 209 22. Richard Dyer (1986); Patrice Petro (ed.), Idols of Modernity: Movie Stars of the 1920s (New Brunswick, NJ, and London: Rutgers University Press, 2010). 23. For example: Maria Wyke, Projecting the Past: Ancient Rome, Cinema and History (London: Routledge, 1997); Martin M. Winkler, Cinema and Clas- sical Texts: Apollo’s New Light (Cambridge: Cambridge University Press, 2009). 24. Richard Dyer, Stars (London: BFI, 1979), p. 24. 25.Barthes,Roland.‘TheFaceofGarbo’,Mythologies (London: Paladin, 1993 [first published 1957]) pp. 56–57, p. 57. 26. Dyer (1979), p. 24. Dyer quotes from Alexander Walker, Stardom: The Hollywood Phenomenon (London: Michael Joseph, 1970), p. 223. 27. Dyer (1979), p. 25. Dyer quotes from Edgar Morin, Les Stars (New York: Grove Press, 1960), p. 16. 28. An increasingly ‘democratic rhetoric’ to star discourse in the 1920s is noted in Jennifer M. Bean ed., Flickers of Desire: Movie Stars of the 1910s (New Brunswick, NJ and London: Rutgers University Press, 2011), p. 21, n. 1. 29. Lucy Fischer, Designing Women: Cinema, Art Deco and the Female Form (New York: Columbia University Press, 2003), p. 25. 30. Fischer (2003), p. 198, quoting Edward Lucie-Smith, Art Deco Painting (Oxford: Phaidon, 1990), p. 8. 31. Mark Winokur, American Laughter: Immigrants, Ethnicity, and the 1930s Hollywood Film Comedy (New York: St Martins, 1996), p. 199, quoted in Fischer, p. 4. 32. See also: Lucy Fischer, ‘Greta Garbo and Silent Cinema: The Actress as Art Deco Icon’, Camera Obscura 48 (Special Issue: Early Women Stars), 16:3 (2001), 83–112. 33. Richard Dyer, White (London: Routledge, 1997), p. 78. 34. The 1930 article, most likely from Photoplay, is reproduced in Sven Broman, Conversations with Greta Garbo (Harmondsworth: Viking, 1991), p. 10. 35. Picture-Play, September 1922, 82. 36. Richard Dyer (1986), p. 121. 37. Michael Biddis and Maria Wyke (eds), The Uses and Abuses of Antiquity (Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Wien: Peter Lang, 1999), p. 16. 38. Edgar Morin, The Stars (Minneapolis, MN: University of Minnesota, 2005) [originally published 1957], p. 85. 39. Parker Tyler, Magic and Myth of the Movies (London: Secker & Warburg, 1971 [first published 1947]), p. 26. Tyler’s emphasis. 40. Tyler (1971), p. 27. 41. Christine Gledhill (ed.), Stardom: Industry of Desire (London: Routledge, 1991). 42. Tyler (1971), p. 31. 43. Ibid. 44. One example is an image of British actor and director Henry Edwards in Picture Show, 22 November 1919, 10. 45. Nikolaus Himmelmann, Reading Greek Art (Princeton, NJ: Princeton Univer- sity Press, 1998), p. 128. 210 Notes 46. Walter Benjamin, ‘The Work of Art in the Age of Mechanical Reproduc- tion’ in Illuminations (London: Pimlico, 1999 [first published 1936]), pp. 211–244. 47. Herbert Howe, ‘Why They Get Fabulous Salaries’, Photoplay, 48 (July 1922), 118–119. 48. Michael Brooke, ‘Topical Budget 485–2: Georges Carpentier’s Tribute (1920)’, BFI Screenonline, http://www.screenonline.org.uk/film/id/1250301/ index.html (Accessed 8 December 2011). 49. On male ‘to-be-looked-at-ness’ see Richard Dyer, ‘Don’t Look Now: The Male Pin-up’ and Steve Neale ‘Masculinity as Spectacle’, in Screen (eds) The Sexual Subject: A Screen Reader in Sexuality (London and New York: Routledge, 1992), pp. 265–276, 277–287. 50. Howe ‘Why They Get’, 119. 51. Though Arbuckle was acquitted of the charge of manslaughter relating to the death and sexual assault of the actress Virginia Rappe at a party, the scandal effectively finished his screen career. 52. Herbert Howe, ‘When Hollywood Goes to Paris’, Photoplay,100 (September 1922), 42–43. 53. Norbert Lusk, ‘She Knows What We Want’, Picture-Play, September 1923, 95. 54. The Picture Oracle, ‘Information Please’, Picture-Play, July 1927, 118. 55. Myrtle West, ‘That Stockholm Venus’, Photoplay, May 1926, 36; Kathleen Ussher, ‘A Swedish Siren’, The Picturegoer, May 1927, 30. 56. Alex Potts, Flesh and the Ideal: Winckelmann and the Origins of Art History (New Haven, CT and London: Yale University Press, 2000), p. 49, quoting: J. J. Winckelmann, Geschichte der Kunst des Alterthums (HistoryoftheArtof Antiquity) (Dresden: Waltherischen Hof-Buchhandlung, 1764), pp. 430–431. 57. Potts, p. 49. 58. I. M. Pacatus (pseudonym for Maxim Gorky), Nizhegorodski Listok (4 July 1896), translated in Jay Leyda, Kino: A History of Russian and Soviet Film (London: George Allen and Unwin, 1960), p. 407, cited by Lee Grieveson and Peter Krämer, ‘Introduction’, The Silent Cinema Reader (London: Routledge, 2004), p. 1. 1 Shadows of Desire: War, Youth and the Classical Vernacular 1. Picturegoer, 11 October 1913, 3. 2. Ibid., 31, 3. 3. Picturegoer, 25 October 1913. 4. ‘Art and Democracy’, Photoplay, April 1918. 5. ‘The Eternal Picture’, Photoplay, December 1918, 23. 6. ‘Ancient Rome Lives Again’, Picturegoer, 19 April 1919, p. 383. 7. ‘The Law of Example’, Photoplay, January 1920, 27. 8. Maurice Maeterlinck, ‘The Spiritual Future of the Movies’, Photoplay, April 1921, 35–37, 108–109 (pp. 37 and 38). 9. Maeterlinck, 36. 10. Eugene Clement d’Art, ‘The Motion Picture of the Future’, Picture-Play, November 1925, 20. Notes 211 11. ‘I Remember’, Picturegoer, February 1923, 34. 12. ‘Confessions of a Kinema Star’, Picturegoer, April 1921, 17. 13. OED (Online), ‘Star’, n.1, 5a, www.oed.com (Accessed 11 February 2012). 14. ‘What is a Star?’, Picturegoer, 12 May 1917, 146, 148. 15. M-G-M advertisement for The Midshipman, Picture-Play, January 1926. 16. Lawrence Kramer, ‘The Return of the Gods: Keats to Rilke’, Studies in Roman- ticism 17 (1978), 484, quoted in Eileen Gregory, H.D. and Hellenism: Classic Lines (Cambridge: Cambridge University Press, 1997), p. 83. 17. Braudy (1986), p. 40. 18. Ibid., p. 42. 19. Christine Mitchell Havelock, Hellenistic Art: The Art of the Classical World from the Death of Alexander The Great to the Battle of Actium (London: Phaidon, 1971), p. 25. 20. Braudy (1986), p. 19. 21. Ibid., p. 34. 22. Ibid., p. 38. 23. Myrtle West, ‘That Stockholm Venus’, Photoplay, May 1926, 36; Picture Show, 9 February 1924, p. 6. The title ‘England’s Apollo’ is used to promote Novello in an advertisement for The Man Without Desire (Adrian Brunel, 1923). 24. Braudy (1986), p. 195. 25. Malcolm Bull, The Mirror of the Gods: Classical Mythology in Renaissance Art (London: Allen Lane, 2005), p. 5 26. Braudy (1986), p. 197 27. Johann Joachim Winckelmann, History of the Art of Antiquity (Los Angeles, CA: Getty Research Institute, 2006; trans. Harry Francis Mallgrave). Origi- nally published as Geschichte der Kunst des Alterthums. 28. Alex Potts, ‘Introduction’ to Winckelmann (2006), pp. 1–53, (p. 2). 29. Potts,p.3. 30. Ibid., p. 33. 31. Ibid., p. 35. 32. Winckelmann, pp. 333–334. 33. Leo Braudy, ‘Secular Anointings: Fame, Celebrity and Charisma in the First Century of Mass Culture’, in Edward Berenson and Eva Giloi (eds), Constructing Charisma: Celebrity, Fame, and Power in Nineteenth- Century Europe (New York and Oxford: Berghahn Books, 2010), pp. 165–182, p. 180. 34. Braudy (2010), pp. 173–174. 35. Minta, ‘Byron, Death and the Afterlife’, in Berenson and Giloi, pp. 119–133, p. 121; Minta quotes Hesiod, ‘Works and Days’, in Hesiod,ed.andtrans. Glenn W. Most, 2 vols (Cambridge, MA, 2006–2007), 1:760–764. 36. Edward Berenson, ‘Charisma and the Making of Imperial Heroes in Britain and France, 1880–1914’, in Berenson and Giloi, pp. 21–40, p. 27, n. 17. 37. Braudy (2010), p. 176. 38. Picture-Play, October 1920, p. 14. 39. Bull, p. 22 40. Thomas Bulfinch, Myths of Greece and Rome (New York: Penguin, 1979 [first published 1855]), p. 11. 212 Notes 41. G. Hunt Jackson, Modern Song From Classic Story: Verse Suggested by Some of the Most Interesting and Instructive Characters and Events of Mythology and Classical History (London: Spottiswoode & Co., 1895), pp.
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