Intro -- Acknowledgements -- Funding -- Contents -- About the Authors -- List of Figures -- Chapter 1: Introduction -- Transforming Faces for the Screen in the 1920s -- Who Were Elinor Glyn and Lon Chaney? -- The Masculine War-Body, Feminine Beauty and Cultural Difference -- 1920s Cosmetic Surgery and Beauty Culture in Film and Photography -- Beauty-and-the-Beast Myth and the Grotesque -- Chapter 2: Vilray Blair, MD, Lon Chaney and The Phantom of the Opera -- Facial Injury in Context -- The Fascination of Facial Injury Surgery -- Facial Injury and Film -- The Production of The Phantom of the Opera and the Anticipation of the Grotesque -- The Appearance of the Phantom -- Conclusion -- Chapter 3: Beauty Regimes, Facial Surgery and Elinor Glyn's Such Men Are Dangerous -- The Cosmetic Surgery and the Desire to Have 'It' -- The Moral Quandary of Surgical Transformation in 1920s Culture -- Elinor Glyn's Eternal Youth and Embodied Knowledge -- Glyn's Creative Reimagining Surgical Transformations in Story and Movie -- Such Men Are Dangerous (Hawks 1930) from the Elinor Glyn Story -- Such Men Are Dangerous as a Film about Dysmorphia, Self-transformation and Change of Identity -- Chapter 4: Masks, Prosthetics and Performance -- The Mask and the Work of Anna Coleman Ladd -- The Mask of the Red Death -- Chaney, Performance and Pain -- Conclusion -- Chapter 5: Unveiling Romance, Elinor Glyn's Man and Maid -- Elinor Glyn and Discourses of Female Beauty and Facial Disfigurement -- Post-war Narratives of Facial Disfigurement in Visual Culture -- The Face |