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[null,"1.","Record Nr.",null,"UNINA9910760259803321"]
[null,null,"Autore",null,"Randell Karen"]
[null,null,"Titolo",null,"Transforming Faces for the Screen : Horror and Romance in The 1920s"]
[null,null,"Pubbl/distr/stampa",null,"Cham : , : Springer International Publishing AG, , 2023"]
[{"$nulls":4},"©2023"]
[null,null,"ISBN",null,"3-031-40029-1"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (149 pages)"]
[null,null,"Disciplina",null,"791.436561"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[{"$nulls":3},"Livello bibliografico","Monografia"]
[null,null,"Nota di contenuto",null,"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 Radiates a Suggestion of Love: Elinor Glyn, Emile Coué and Embodied Knowledge -- Glyn's War and the Origin of Her Novel Man and Maid "]
[{"$nulls":4},"(1922) -- From Trauma to Romance in the Film Story of Man and Maid (Schertzinger 1925) -- Glyn's Embodied Knowledge and the First-Person Narrative in Man and Maid."]
[{"$nulls":4},"Chapter 6: In Conclusion, Visual Culture in the Archive -- Value of the Archive -- Bibliography -- Index."]