Aftershocks of the New: Feminism and Film History 0813529956, 9780813529950

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Aftershocks of the New: Feminism and Film History
 0813529956, 9780813529950

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BLANK.PAGE

LIBRARY OF CONGRESS CATALOGING·IN·PUSLICATION DATA

PETRO, PATRICE, 1957AFTERSHOCKS OF THE NEW P.

Rev.

FEMINISM AND FILM HISTORY /

PATRICE PETRO.

CM. PAPERS, PRESENTED ON VARIOUS OCCASIONS, MOST OF WHICH WERE PREVIOU SLY PUBLISHED,

1986- 1999. INCLUDES BISLIOGRAPHICAL REFERENCES AND INDEX. CONTENTS: INTRODUCTION HISTORY -

THE "PLACE" OF TELEVISION IN FILM STUDIES -

GERMAN FILM THEORY AND ANGLO-AMERICAN FILM STUDIES -

BOREDOM AND HISTORY -

HISTORICAL ENNUI, FEMINIST BOREDOM -

WOMEN, AND VI SUAL CULTURE POPULAR -

FEMINISM AND FILM

AFTER SHOCK, BETWEEN

WORLD WEARINESS, WEIMAR

NAZI CINEMA AT THE INTERSECTION OF THE CLASSICAL AND THE

THE HOTTENTOT AND THE BLONDE VENUS -

FILM FEMINISM AND NOSTALGIA FOR THE

SEVENTIES. I SBN 0-8135-2995-6 (CLOTH : ALK. PAPER) -

ISBN 0-8135-2996-4 (PBK . ; ALK. PAPER)

1. FEMINISM AND MOTION PICTURES. 2. WOMEN IN MOTION PICTURES. 3. MOTION PICTURESGERMANY-HISTORY.

I.

TITLE.

PN1995.9.W6 P485 2002 791.43'082-Dc21

2001019803

BRITISH CATALOGING-IN-PUBLICATI ON IN FORMATION IS AVAI LABLE FROM THE BRITISH LIBRAR Y.

COPYRIGHT

© 2002 BY PATRICE PETRO

ALL RIGHTS RESERVED No PART O F THIS BOOK MAY BE REPRODUCED OR UTILIZED IN ANY FORM OR BY ANY MEANS, ELECTRONIC OR MECHANICAL, OR BY ANY INFORMATION STORAGE AND RETRIEVAL SYSTEM, WITHOUT WRITTEN PERMISSION FROM THE PUBLISHER . PLEASE CONTACT RUTGERS UNIVERSITY PRESS, 100 JOYCE K I LMER AVENUE, PISCATAWAY, NJ 08854-8099. THE ONLY EXCEPTION TO THIS PROHI BITION IS "FAIR USE" AS DEFINED BY U.S. COPYRIGHT LAW.

MANUFACTURED IN THE UNITED STATES OF AMERICA

fOR ANDY, NATASHA, AND SOPHIE

BLANK.PAGE

LIST

OF

ILLUSTRATIONS

ACKNOWLEDGMENTS

ix

xi

INTRODUCTION: AFTERSHOCKS OF THE NEW CHAPTER

THE

11

ONE

PLACE

CHAPTER

11

OF TELEVISION IN FILM STUDIES

TWO

FEMINISM AND FILM HISTORY CHAPTER

13

31

THREE

GERMAN FILM THEORY ANO ANGLO-AMERICAN FILM STUDIES CHAPTER

FOUR

AFTER SHOCK, BETWEEN BOREDOM AND HISTORY CHAPTER

57

FIVE

HISTORICAL ENNUI, FEMINIST BOREDOM CHAPTER

82

SIX

WORLD-WEARINESS, WEIMAR WOMEN, AND VISUAL CULTURE C HAPTER

46

95

SEVEN

NAZI CINEMA AT THE INTERS EC TION OF THE CLASSI CA L AND THE POPULAR

124

CHAP T ER

EIGHT

THE HOTTENTOT AND THE BLONDE VENUS CHAPTER

136

NINE

FILM FEMINISM AND NOSTALGIA FOR THE SEVENTIES NOTES

175

WORKS

CITED

INDEX

207

195

157

BLANK PAGE

BRASSAY, LOVERS JN A SMALL CAFE, NEAR THE PLACE D'ITALIE, BRASSA°i, IN A BROTHEL, RUE 0UINCAMPOIX,

1932

1932

70

71

BRASSAY, KtKI DE MONTPARNASSE-KIKI WITH HER FRIENDS THER ESE TREISE DE CARO

&

LILY,

1932

72

BRASSA'i, ONE SUIT FOR Two, AT THE MAGIC CITY,

1931

l 991

STEVEN MEISEL, MA DONNA AND TWO FRIENDS,

73

74

STEVEN M EISEL, MADONNA WITH WOMAN IN RESTAURANT,

1991

1991

76

STEVEN MEISEL, MADONNA AND FRIENDS, IN DRAG,

75

STEVEN M EISEL, IN A BROTHEL, MADONNA AND HER LOVER, IN A MIRROR, STEVEN M EISEL, DRAPED IN THE AMERICAN FLAG,

1991

1991

78 1917

l 02

GEORG GROSZ, SELF-PORTRAIT WITH E VA PETER IN THE ARTIST'S STUDIO,

19 18

GEORG GROSZ, WHEN IT WAS ALL OVER, THEY PtAYED CARDS,

Ono Dix,

SEX MURDERER: SELF-PORTRAIT,

Ono Dtx,

SEXUAl MURDER,

1922

1920

77

103

10 4

105

HANNAH H OCH, Cur WITH THE KITCHEN KNIFE DADA THROUGH GERMANY'S LAST BEER BELLY EPOCH,

1920

1 16 1925

HANNAH HOCH, LOVE IN THE BUSH, HANNAH HOCH, MOTHER,

1930

l 17

119

JOHN HEARTFIELD, FORCED SUPPLIER OF HUMAN AMMUNITION/ TAKE COURAGE / THE STATE NEEDS UNEMPLOYED AND SOUDERS/

1930

1930

121

HANNAH HOCH , MARlENE, J OSEPHIN E BAKER IN BERLIN,

1926 139

JOSEPH IN E IN BANANA COSTUME JOSEPH IN E IN FUll FORMAL ATTIRE CLASSICAL ELEGANCE

144

141 142

120

x JOSEPHINE IN THE NUDE

ILLUSTRATIONS 150

"HOT VOODOO" NUMBER, FROM BLONDE VENUS,

1932

151

MARLENE/HELEN IN FULL FORMAL ATTIRE, FROM BLONDE VENUS, MARLENE/HELEN IN A BORDER TOWN, FROM BLONDE VENUS,

1932

1932

152 153

of the essays included here, whether previously published or new to this volume, were originally presented as papers that were subsequently revised according to the comments, criticisms, and suggestions I received from numerous colleagues, students, and friends in the United States, England, Germany, Canada, and Australia. Chapter 1 was first published as "Mass Culture and the Feminine: The