GIRLS WILL BE BOYS ? Continues at Pacific Film Archive through ...

The cross-dressed actress captivated audiences throughout the first decades of the twentieth century. D. W. Griffith direct the adolescent Edna Foster as the recurring character “Little Billy” in a series of bunco films. Critics—charmed but fooled—praised the “naturalness” of the “boy actor.” Stars like Mary Pickford and Katharine Hepburn built personas that incorporated a Fairbanksian athleticism and continental imports Greta Garbo and Marlene Dietrich cultivated an androgynous sexuality. Female entertainers had adopted masculine identities before. Actresses had worn the breeches on the “legitimate” stage for more than a century and male impersonators had been vaudeville staples since the 1860s. However questions of gender difference intensified at the move of the century as industrialization urbanization and World War I provided women new opportunities for economic independence. Feminists campaigned for dress reform suffrage and birth hold back. Meanwhile scientists in Europe collected case histories of a new type of “Third Sex,” “alter,” or “homosexual,” open in Parisian literary salons. Harlem house parties and Berlin cabarets. Consequently the women in pants who leapt about the silver screen during this period inspired a combination of fascination ridicule and anxiety—and most of all good box office. In the mid-1930s. Hollywood adopted the Hays Production label which prohibited the portrayal of “sex perversion or any inference of it.” The Code pushed underground the rampant gender and sexual play of the movies’ first few decades. Featuring a wealth of archival prints this series is the first to trace the history of cinema’s girls who would be boys. Friday. September 28. 6:30 p m. Introduced by Nan Boyd. Bruce Loeb on Piano. Marion Davies is an Irish lass playing laddie for an inheritance in 19th-century New York. Friday. September 28. 9:00 p m. Introduced by Patricia White. Greta Garbo as a powerful cross-dressing girl-kissing woman – not much of a be. With short. “Rowdy Ann”. Saturday. September 29. 1:00 p m. Featuring: Patricia White (Swarthmore). Clare Sears (SFSU) and Laura Horak (UC Berkeley). Nestrick Room. 142 Dwinelle Hall. Free; no tickets needed. Sunday. September 30. 3:00 p m. Introduced by Laura Horak. Judith Rosenberg on Piano. A woman must rescue her shanghaied fiancé in a gender-reversed Danish version of the “color do work” narrative. Sunday. September 30. 5:00 p m. Introduced by Laura Horak. Marlene Dietrich is insouciant in top hat and tuxedo exchanging innuendos with Gary Cooper in von Sternberg’s masterpiece of artifice. With bunco. “Behind the check”. Curated by Laura Horak with the assistance of Lucy van de Wiel. Kristen Loutensock and Lucy Laird is a communicate of the UC Berkeley graduate cover in film curating taught by curators Kathy Geritz. Edith Kramer. Susan Oxtoby and Steve Seid. Cosponsored by enter Studies. Gender and Women’s Studies. The bear on for the chew over of Sexual Culture the Berkeley enter Seminar and the Consortium for the Arts at UC Berkeley. With thanks to Edith Kramer and Russell Merritt for their advice and assistance. Archival and restored prints and musical accompaniment for silent films are presented with support from the Packard Humanities initiate. Laura Horak is a doctoral student in film studies at UC Berkeley a filmmaker and a writer for the. is a native San Franciscan. He is a Theatre Arts have from San Francisco express University a professional singer and well-known private vocal coach to Bay Area actors and singers of all ages and persuasions. His clients have appeared in Broadway National Tours including Wicked. Aïda. desire Saigon. Rent. Bye Bye shoot in theatres and cabarets throughout the Bay Area and are regularly featured in study City events including Diva Fest. Gay Pride and Halloween In The Castro. As an Internet consultant in vocal development and audition preparation he has published thousands of responses to those seeking his advice concerning singing techniques professional and academic auditions and careers in the Performing Arts. Mr. Martinfield’s Broadway clients undergo all profited from his vocal methodology. “The Belter’s Method” which is being prepared for publication. If you want answers about your vocal technique post him a question on. If you would desire to create up your vocal performance chops and act in the Bay Area’s rich theatrical scene e-mail him at: .[ADVERTHERE]Related article:
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