LEADER 03198nam 22003853 450 001 9910760259803321 005 20231112090300.0 010 $a3-031-40029-1 035 $a(MiAaPQ)EBC30878268 035 $a(Au-PeEL)EBL30878268 035 $a(EXLCZ)9928806320100041 100 $a20231112d2023 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aTransforming Faces for the Screen $eHorror and Romance in The 1920s 205 $a1st ed. 210 1$aCham :$cSpringer International Publishing AG,$d2023. 210 4$d©2023. 215 $a1 online resource (149 pages) 311 08$aPrint version: Randell, Karen Transforming Faces for the Screen Cham : Springer International Publishing AG,c2023 9783031400285 327 $aIntro -- 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 Radiates a Suggestion of Love: Elinor Glyn, Emile Coué and Embodied Knowledge -- Glyn's War and the Origin of Her Novel Man and Maid (1922) -- From Trauma to Romance in the Film Story of Man and Maid (Schertzinger 1925) -- Glyn's Embodied Knowledge and the First-Person Narrative in Man and Maid. 327 $aChapter 6: In Conclusion, Visual Culture in the Archive -- Value of the Archive -- Bibliography -- Index. 676 $a791.436561 700 $aRandell$b Karen$01438697 701 $aWeedon$b Alexis$0937443 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910760259803321 996 $aTransforming Faces for the Screen$93600338 997 $aUNINA