The Commodification of Romanticism
Lola Montès
Bibliographic Data
| ID | 11660623 |
|---|---|
| Authors | John Belton (corresponding author) |
| Year | 2015 |
| Volume | 30 |
| Issue | 3 |
| Pages | 1-25 |
| Publication date | 2015-12-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Camera Obscura Feminism Culture and Media Studies (JOURNAL) |
| Journal identifiers | ISSN: 0270-5346 • E-ISSN: 1529-1510 |
| Publisher | Duke University Press (PUBLISHER • US) |
| DOI | 10.1215/02705346-3160630 |
| OpenAlex | W2472322244 |
| Language | EN |
| Citations received | 1 |
This essay looks at the relationship between the two narrative registers of Max Ophüls's Lola Montès (France, 1955)—the staging of circus attractions in the present and the repeated flashbacks to the past—in terms of the way in which the circus exploits Lola's associations with Romanticism, transforming her into a commodity to be marketed to a modern mass theatrical audience. At the same time, this essay argues that the film questions its own use of spectacle, in particular CinemaScope and Eastman Color, to present its notorious heroine as an object of spectacle for contemporary motion picture audiences
Aesthetics · Art · Art history · Commodification · Commodity · Linguistics · Literature · Narrative · Object (grammar · Political science · Romanticism · Spectacle · Visual arts · Art, Politics, and Modernism · Cinema and Media Studies · French Historical and Cultural Studies · Law · Philosophy
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,13 |
| Citation span | 2018 - 2018 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |