Lavender Songs: Undermining Gender in Weimar Cabaret and Beyond

Lareau, Alan

doi:10.1080/0300776042000300954

Cited by 6 publications

(1 citation statement)

References 4 publications

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“…He attempted to emigrate in 1938 but was denied a visa, and so he remained in Germany and focused on jazz-and swing-inflected compositions for film, often collaborating with Bruno Balz. Balz was an openly gay lyricist during the 1920s, who was imprisoned for his homosexuality after the Nazis came to power, but was released on the condition that his name not appear in public and that he marry a distant cousin (Lareau 2005). It is more than ironic that a Jewish-Catholic composer and gay lyricist wrote many of the most popular songs of the Third Reich.…”

Section: Fremde Tänze At Black Arts International In Chicagomentioning

confidence: 99%

Cross-Viewing in Berlin and Chicago: Nelisiwe Xaba’sFremde Tänze

Manning

2020

TDR/The Drama Review

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Viewing Nelisiwe Xaba’s Fremde Tänze (2014) in Berlin and Chicago revealed differing levels of meaning in the work. In Berlin the work exposed and parodied the white gaze of the black female dancer, while in Chicago the work vivified the gap between the responses of black and white spectators. The reception of Fremde Tänze in the two cities demonstrates the workings of “cross-viewing,” the moments when spectators from distinct social locations watch one another watching.

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Section: Fremde Tänze At Black Arts International In Chicagomentioning

confidence: 99%

Cross-Viewing in Berlin and Chicago: Nelisiwe Xaba’sFremde Tänze

Manning

2020

TDR/The Drama Review

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To the Truth, to the Light: Genericity and Historicity in Babylon Berlin

Shaw

2022

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From Marlene to Conchita and Kim: Gender performativities and iconicity in ‘naked’ dresses

Kipp

2022

Fashion, Style &Amp; Popular Culture

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This article presents a whistle-stop tour through fashion history from Marlene Dietrich to Conchita Wurst and beyond, illustrating the complex iconicity of ‘naked’ dresses, also referred to as ‘nude illusion’ dresses. It interrogates notions of selfhood and performativity in relation to gender and celebrity. The article utilizes the embellished costumes made by Jean Louis for Marlene Dietrich as a starting point to explore the recurring image of a celebrity clad seemingly in nothing but rhinestones, sequins or similar embellishments. By providing an overview of notable instances of such ‘naked’ dresses, the article explores the accumulation of meaning through historical reference points ranging from the 1950s to the 2020s. In particular, it analyses images of femininity and desirability as evoked through these particular garments. The seeming exposure of the desirable body is set in relation to the careful construction of the image which brings together vulnerability and apparent truthfulness through the specific nature of the garment. The article explores how seemingly ‘baring it all’ is a carefully orchestrated performance with a long history and subversive potential.

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Lavender Songs: Undermining Gender in Weimar Cabaret and Beyond

Cited by 6 publications

References 4 publications

Cross-Viewing in Berlin and Chicago: Nelisiwe Xaba’sFremde Tänze

Cross-Viewing in Berlin and Chicago: Nelisiwe Xaba’sFremde Tänze

To the Truth, to the Light: Genericity and Historicity in Babylon Berlin

From Marlene to Conchita and Kim: Gender performativities and iconicity in ‘naked’ dresses

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