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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

in The British monarchy on screen
Open Access (free)
The cinematic afterlife of an early modern political diva

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

in The British monarchy on screen