Sarah Bernhardt, Queen Elizabeth and the development of motion pictures
audiences engaged with and
experienced celebrity mystique and power. In this changed order, it is
Bernhardt’s capacity to move audiences through the nascent medium of
film that confirms her already established status as a theatrical diva.
Film accords her the symbolic status of queen.
Bloch explains that his history of monarchy offers a new
way to investigate a subject that is otherwise formalised into
The cinematic afterlife of an early modern political diva
Elisabeth Bronfen and Barbara Straumann
that between 1941 and 1945, over 6 million women were working in
defence plants to sustain the war effort, with over 20 million women in
the workplace at large. Once the war was over, a great effort was made
to persuade women to return to the home and give back their ‘job to G.I.
Joe’. (The scholarship on film noir has emphasised the cultural
anxieties arising from this redistribution of gendered notions of work