Conclusion
‘Look, let’s start all over again. What’s she like?’
in La Parisienne in cinema
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An American in Paris, according to Schwartz, makes 'explicit both the importance of visual culture in late-nineteenth-century Paris and its connection to contemporary film culture of the 1950s. Paris and Hollywood formed an axis of cultural circulation in which the former served as the cultural crucible for the latter'. The American in Paris ballet sequence establishes visually a connection between Lise and the nineteenth-century figure of la Parisienne. The further turn of the screw for the difficulty of defining la Parisienne as a type is that this difficulty is not inspite of her iconography but is in fact built into it. This apparent contradiction is accounted for within iconography itself as a methodology, the two aspects of which are stability and mutability. One of the ways iconography may respond to its dual imperatives of stability and mutability is by constructing a cycle of films featuring a certain type.

La Parisienne in cinema

Between art and life

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