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English Pages 215 [233] Year 2002
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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
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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
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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