the late Romantic style, reinforced the connection’ between films and
romantic music; whether using pre-existing orchestral arrangements or
relying on composers of the day to write new symphonic pieces for films,
classicalHollywoodcinema ‘adapted the late-romantic orchestra of
ninety-plus players for the recording studio’. 12 Not only did
romantic music rely on a large orchestra, its emotional qualities and
looked at; a kind of fictional anticipation of the shot/reverse shot
of classicalHollywoodcinema, in fact. The sort of contemplative
absorption embodied by the aesthete Wotton is possible the morning
after, as Gray gazes at the portrait ‘with a feeling of
almost scientific interest’ (Wilde, 2003 : 93). But it is provisional. His
detachment collapses with the thought that the picture has
(ed.), The Vikings on Film: Essays on Depictions of the Nordic Middle Ages (Jefferson: McFarland & Co., 2011), pp. 193–214 (210–11). More recent discussions of the film can be found in Arne Lunde, Nordic Exposures: Scandinavian Identities in ClassicalHollywoodCinema (Seattle: University of Washington Press, 2010), pp. 17–26; and in Jón Karl Helgason, Echoes of Valhalla: The Afterlife of the Eddas and Sagas , trans. Jane Victoria Appleton (London: Reaktion Books, 2017), pp. 163–71.
3 See H. T. Kalmus, ‘ Technicolor adventures in Cinemaland ’, Journal of
are faced with
the intersection of cinema, stage and television, an intermedial reflection with carnavalesque overtones that re-examines the relationship
between Shakespeare and Hollywood, as Carter explains in a 1988
review of The ClassicalHollywoodCinema: ‘Hollywood was, still is,
always will be, synonymous with the movies. It was the place where the
United States perpetrated itself as a universal dream and put the dream
into mass production’ (Carter, 1997b: 385). Hollywood was a place
where ‘scandal and glamour’ were ‘an essential part of the product’
(Patricia Hodge) arrives in her white Rolls Royce clad in a gleaming evening dress which clings to her feminine figure, displaying a fragile and glamorous beauty which evokes the ‘perfect product’ – the immaculately groomed stars of classicalHollywoodcinema. It is not until Mary and Bobbo are locked in a lover-like conversation that we are introduced to Ruth (Julie T. Wallace), who, as Bobbo’s conscientious wife, is offering drinks around. She towers over them – her height exaggerated because she is standing and they are sitting on a low settee. Dressed frumpily in a
). Vulnerability and Human Rights. University Park: Pennsylvania
State University Press.
Tyler, I. (2013). Revolting Subjects: Social Abjection and Resistance in Neoliberal
Britain. London and New York: Zed Books.
Vaittinen, T. (2015). ‘The power of the vulnerable body’, International Journal of
Politics, 17:1, pp. 100–18.
White, P. (1999). Uninvited: ClassicalHollywoodCinema and Lesbian
Representability. Bloomington, IN: Indiana University Press.
Wiegman, R. (2014). ‘The times we’re in: Queer feminist criticism and the reparative
“turn” ’, Feminist Theory, 15:1, pp. 4