Museum of Resistance and Resilience Main MenuPraxis #1: Curation and Annotation (Group Project)details of Praxis #1 assignmentPraxis #1.1 War, Memory, And Identity: Beyond Victims and Voice Museum of Resistance and ResilienceProfessor Marjory Wentworth Honor's Class at College of CharlestonPraxis #2 Media Intervention, Multimedia Essay (Individual Project)Entry 2 in our Museum of Resistance and ResiliencePraxis #3 Manifesto of Future Resistance and ResilienceMedia Intervention/Media PostsFinal Course Reflection - A Letter to the FutureDue November 18Vicki Callahanf68c37bed83f129872c0216fae5c9d063d9e11baLisa Müller-Tredecc71af55f5122020f2b95396300e25feb73b6995
Marlene Dietrich and the Weimar Republic’s Influence:
12020-09-23T14:16:07-07:00Annie Zheng06f73f1d4eed923be34aff2d2892e21670204942377845plain2020-09-23T15:09:24-07:00Annie Zheng06f73f1d4eed923be34aff2d2892e21670204942Marlene Dietrich was German, consequently bringing the values of the Weimar Republic with her to Hollywood. The Weimar Republic was relatively nonrestrictive and tolerant, allowing women to live rather liberal lifestyles, opening the male world to females after WWI, and permitting open marriages for both partners to explore their sexual freedom, among other values. So, she came to America unapologetically flaunting her trousers and embracing her androgyny both onscreen and offscreen. However, due to the restrictive nature of the Hays Office and the potential backlash that her nonconforming attitude could trigger, her studio, Paramount, on several occasions attempted to dissuade her or prevent her from dressing in a masculine way. But, Dietrich firmly stood her ground and refused to play "the movie game", asserting that she liked wearing trousers and that she was not going to change her habits for anyone, not even for the people who could end her career. Eventually, Paramount surrendered and began to use her unique style to market her as “The Woman Even Women Can Adore” (Földessy, 2017).
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1media/exhdi8-wr_thumb.jpg2020-09-23T14:13:41-07:00Annie Zheng06f73f1d4eed923be34aff2d2892e21670204942Marlene Dietrich4A still of Marlene Dietrich in "Morocco" (1930). SOURCE: Marlene Dietrich in "Morocco", Eugene Robert Richee, 1930. Marlene Dietrich Collection, Berlin. Sourced from Smithsonian Magazine.media/exhdi8-wr.jpgplain2020-09-23T15:15:22-07:00Annie Zheng06f73f1d4eed923be34aff2d2892e21670204942