Cupboards of Curiosity , livre ebook

257

pages

English

Ebooks

2007

Écrit par
Hastie Amelie Hastie

Publié par
Duke University Press

Lire un extrait

Obtenez un accès à la bibliothèque pour le consulter en ligne En savoir plus

Découvre YouScribe et accède à tout notre catalogue !

Je m'inscris

Découvre YouScribe et accède à tout notre catalogue !

Je m'inscris

257

pages

English

Ebooks

2007

Lire un extrait

Obtenez un accès à la bibliothèque pour le consulter en ligne En savoir plus

Publié par

Duke University Press

Date de parution

17 janvier 2007

Nombre de lectures

EAN13

9780822388258

Langue

English

Poids de l'ouvrage

1 Mo

In Cupboards of Curiosity Amelie Hastie rethinks female authorship within film history by expanding the historical archive to include dollhouses, scrapbooks, memoirs, cookbooks, and ephemera. Focusing on women who worked during the silent-film era, Hastie reveals how female stars, directors, and others appropriated personal or "domestic" cultural forms not only to publicize their own achievements but also to reflect on specific films and the broader film industry. Whether considering Colleen Moore's thirty-six scrapbooks or Dietrich's eccentric book Marlene Dietrich's ABC, Hastie emphasizes how these women spoke for themselves-as collectors, historians, critics, and experts-often explicitly contemplating the role their writings and material objects would play in subsequent constructions of history.Hastie pays particular attention to the actresses Colleen Moore and Louise Brooks and Hollywood's first female director, Alice Guy-Blache. From the beginning of her career, Moore worked intently to preserve a lasting place for herself as a Hollywood star, amassing collections of photos, souvenirs, and clippings as well as a dollhouse so elaborate that it drew extensive public attention. Brooks's short essays reveal how she participated in the creation of her image as Lulu and later emerged as a critic of film stardom. The recovery of Blache's role in film history by feminist critics in the 1970s and 1980s was made possible by the existence of the director's own autobiographical history. Broadening her analytical framework to include contemporary celebrities, Hastie turns to how-to manuals authored by female stars, from Zasu Pitts's cookbook Candy Hits to Christy Turlington's Living Yoga. She discusses how these assertions of celebrity expertise in realms seemingly unrelated to film and visual culture allow fans to prolong their experience of stardom.

Voir

Publié par

Duke University Press

Date de parution

17 janvier 2007

EAN13

9780822388258

Langue

English

Poids de l'ouvrage

1 Mo

History Histoire

C       ofC       

©  Duke University Press All rights reserved Printed in the United States of America on acid-free paper  Designed by C. H. Westmoreland Typeset in Adobe Janson with MT Bulmer display by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data and republication acknowledgments appear on the last printed pages of this book.

or my mother, father, and stepfather

And in loving memory of my

grandmothers Frieda Emily Horton,

Cécile Amélie Hastie, and

Virginia Beahrs

C      

Acknowledgmentsix

Introduction             At the Cupboards of Film History           Material Histories, Colleen Moore’s Dollhouse, and Ephemeral Recollection            Autobiography, Memory, and Film Form           Louise Brooks, Star Witness         Celebrity Knowledge and the How-tos of Film Studies 

Notes

Bibliography

Index

A             

All scholarly works spring from a subjective position, however easy or diﬃcult to map. In media studies we write about the ﬁlms we love, the institutions we hate, the histories that have excluded us, the spaces of identiﬁcation with whatever subject we are in the process of dis-covering, uncovering, recovering. When I think about what has (sub-jectively) driven my own work here and what also drives my dedica-tion, in part, to the memory of my grandma (Frieda Emily Gaensslen Horton), I think about the nooks and crannies of her house. My grandma was a pack rat, and I would hazard to say that all pack rats are historians of a sort, their collections endeavoring to stop time, to hold ephemerality in abeyance, to sustain a present life for the past. Some of my grandma’s collections were displayed, others categorized and tucked away, some packed in boxes in the basement, others in the cupboards and shelves lining the basement stairs. I spent much of my visits with her in a state of investigation and discovery, some-times with her at my side to narrate this or that history and sometimes ensconced in semisecrecy, ever seeking clues to my family history. The acknowledgments therefore map a personal and professional history of a work, and much of this history (and mapping) is indebted to my family. First and foremost, I would like to thank my mom, Clau-dette Hastie Beahrs, for her unconditional support of my work. My dad, Frank B. Hastie Jr., and my stepdad, John Beahrs, also had an encouraging enthusiasm and belief in this work. My brother Matt built both a wing on his house and a perfectly scaled dollhouse for his daughter Katie in the time it took me to ﬁnish one chapter; my brother Bow produced a body of art and wrote a book over the years

Voir