...Anne Anlin Cheng This article tells the stories of architect Adolf Loos and cabaret/film icon Josephine Baker in order to trace the philosophic intimacy between modernist preoccupation with the nude surface and the staging of exposed, racialized skin in the early twentieth century. The racial...

..., and Mesopotamia, so that while beauty can be claimed as a Greek concept, based on clean lines and simple forms, ornament’s origins betray a taint of exoticism. This hostility reaches its apo- theosis in Adolf Loos, the Austrian author of Ornament and Crime, who argued that “the evolution of culture...

... dream comedy scripted by Anita Loos and directed by Woody Van Dyke, this adaptation of Rodgers and Hart’s 1938 Broad- way musical is noteworthy as the MacDonald-Eddy picture that most approximates a continuous integration of vocal line, orchestral music, and drama. More...

... Loos design House for Josephine Baker and puts the architectural design under erasure with a large red X, whose ink bleeds across a parodic Time magazine cover. The standard red frame of the magazine cover is taken up in the red of the X, with its echo of black militant...

...: An Interview by Philippe Petit, ed. Sylvère Lotringer, trans. Brian O’Keeffe (Los Angeles: Semiotext(e), 2002), 31 – 32. 6. Wyman is referring to architect and theorist Adolf Loos’s famous 1908 essay, “Ornament and Crime,” in which he denounced decorative styles that used...

... of this notion was outlined in Adolf Loos’s “Ornament as Crime”: exotic, ornamental detail was aligned with decadence, the criminal element, and the Savage.29 The third sense is detail as index; the anatomical and physiological details of the body became the classificatory index of race both...

... the short film form. The higher-­profile filmmakers of this cin- ema — including Loo Zi-­han, Royston Tan, and Boo Junfeng — are men.6 Singapore has only produced one full-­length gay feature film to date, Loo Zi-­han’s Solos (2007). The short film form has afforded queer filmmakers a greater degree...

.... Toklas to Anita Loos in 1960 after reading de Acosta’s autobiography Here Lies the Heart: “She has had the two most important women in the United States—Garbo and Diet- rich.”3 (One wonders if Toklas’s elevation of the stars’ status...

... to accept this fiction. Glyn used her authority as a British matron to bring British manners and customs not only to her audiences but also to her colleagues in Hollywood. Anita Loos remembered: “Elinor was not content with merely putting elegance into her plots; she was hell-­bent on bringing...

... are simply souvenirs of sorts—a remembrance of Moore’s friendship, or a ditty about the castle.32 A great number of them bear some rela- tion to film production: some are by screenwriters of Moore’s era (such as Edna Ferber, Anita Loos, Clare Booth Luce, and Frances Marion); some are by authors whose...

... antiracists, then, the key to loos- ening the power of racism was (and still is) to denaturalize race, to loosen the connection between the bodily sign of race and what it signifies. The US has a long history of this attempt at denaturing, from the work of radical abolitionists in the nineteenth...

... the inventor), Theodor Loos (Joseph, Fredersen’s secretary), Fritz Rasp (an employee of Fredersen), Erwin Binswanger, Heinrich Gotho, Margarete Lamer, Georg John, Walter Kuhle, Erwin Vater, Grete Berger, Olly Boheim, Helene Weigel, and Anny Hintze. Briefly...

... the action, heightening emotional affectivity and supporting character and the- matic development. loo David Bordwell has described musical accom- paniment as one of the earliest and most overt “continuity factors” of cinematic narrative. While theaters often showcased...