| Popis: |
This chapter analyzes Cukor's films maudit. Two themes interweave in this chapter: that Cukor's strategy vis-à-vis the Production Code was already in place in the first film to be discussed, Tarnished Lady (1931); and that the economic laws implicit in the Code, the laws of Class, had already been put in their place as cinematic simulacra invented for the occasion. It's a given that all this is always happening inside a film because of Cukor's inscription, in his first features, of a form of filmed theater that stages these codes and their subversion just as it does in the films of Jean Renoir and Orson Welles. |
