The October Garbo
Classical Hollywood and the Revolution
Bibliographic Data
| ID | 21250858 |
|---|---|
| Authors | Tatjana Jukić (0000-0002-2679-6866, University of Zagreb, corresponding author) |
| Year | 2017 |
| Volume | 2 |
| Issue | 2 |
| Pages | 56-63 |
| Publication date | 2017-01-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Studia Litterarum (JOURNAL) |
| Journal identifiers | ISSN: 2500-4247 • E-ISSN: 2541-8564 |
| Publisher | A. M. Gorky Institute of World Literature of the Russian Academy of Sciences (PUBLISHER) |
| DOI | 10.22455/2500-4247-2017-2-2-56-63 |
| OpenAlex | W2728763759 |
| Language | EN |
| References cited | 1 |
I propose to discuss Ernst Lubitsch’s decision to tailor Ninotchka (1939), his film with I propose to discuss Ernst Lubitsch’s decision to tailor Ninotchka (1939), his film with Greta Garbo, to Garbo in the role of a Soviet revolutionary, which — given the over whelming importance of Garbo to classical Hollywood — is how the October Revolution is situated at the heart of American cinema at the time while Garbo’s proverbial cinemat ic melancholia is shown to entail the structures of affect residual to revolutions. More over, by divorcing Garbo’s revolutionary melancholia from melodrama and attaching it to comedy, Lubitsch extricates this particular psychopolitics from the fact of genre, now as an insight into the construction of film. Finally, I show how Lubitsch engages Russian literature, especially Tolstoy’s Anna Karenina, as a code-holder for Hollywood iconicity
Art · Art history · Hollywood · Cinema and Media Studies · History
| Highly cited | No |
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