MARLENE DIETRICH: FROM CABARET PERFORMANCE TO
FEMINIST EMPOWERMENT
A Thesis
Presented to
The Faculty of the Department of
Television, Radio, Film and Theatre
San Jose State University
In Partial Fulfillment
of the Requirements for the Degree
Master of Arts
by
Elizabeth Anne Taylor
May 2009 |
ABSTRACT
MARLENE DIETRICH: FROM CABARET PERFORMANCE TO
FEMINIST EMPOWERMENT
By Elizabeth Ann Taylor
This thesis addresses the multivalent icon Marlene Dietrich in her first two films The Blue Angel (1929) and Morocco (1930), which were directed by Josef von Sternberg. It examines the complex roles of the two cabaret performers that Dietrich played through the lens of feminist philosopher Amy Allens theory of empowerment articulated in her book: The Power of Feminist Theory: Domination, Resistance and Solidarity. Specifically it analyzes how the cabaret personas developed personal empowerment cultivated out of two specific elements of mise-en-scne, gestures/body language and costume and how those aspects uplift the characters of Lola Frlich (The Blue Angel) and Amy Jolly (Morocco) into situations where these women resist heteronormative assumptions about women as sexually objectified performers existing solely for the male gaze. |
Table of Contents
Chapter 2:
Chapter 3:
Chapter 4:
Chapter 5:
Works Cited...................................................................................................79-81
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