We are not calling her Italian
Narratives and images of ethnic incorporation in Isa Miranda's American persona
Bibliographic Data
| ID | 5675256 |
|---|---|
| Authors | Antonella Palmieri (0000-0003-4493-8095, University of Lincoln, corresponding author) |
| Year | 2019 |
| Volume | 10 |
| Issue | 3 |
| Pages | 346-363 |
| Publication date | 2019-07-03 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Celebrity Studies (JOURNAL) |
| Journal identifiers | ISSN: 1939-2397 • E-ISSN: 1939-2400 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/19392397.2019.1630127 |
| OpenAlex | W2952799050 |
| Language | EN |
| References cited | 8 |
This article discusses the impact of Hollywood standards of homogenisation on Isa Miranda’s cosmopolitan appeal during her work for Paramount. The article suggests that Miranda’s American image was constructed in an attempt to establish her as a Marlene Dietrich type in order to defuse the potential threat represented by her ethnic Otherness; meanwhile, the Italian actress was framed within film narratives that played out (albeit indirectly) an idealised conception of successful American assimilation of European immigrants. In the process, Miranda wasvisually constructed through images that effectively ‘whitened’ her, and her Italianness was thus displaced onto an ideal of Northern European whiteness that bespoke a desire to reassert whiteness as the norm in 1930s America
Art · Art history · Ethnic group · Hollywood · Humanities · Literature · Media studies · Movie theater · Narrative · Persona · Political science · Politics · Sociology · Anthropology · European history and politics · Gender Studies · History · Italian Fascism and Post-war Society · Law
| Highly cited | No |
|---|