admin tim
07-11-2009, 01:48 PM
http://ccat.sas.upenn.edu/german/people/faculty_staff/core/richter.htm
Richter is currently working on a project about the cinematic tradition based on the figure of Lola Montez, a nineteenth-century British woman of humble origins who used her sexuality and prevaricating charm to rise to worldwide renown as an erotic dancer and the lover of composers (Lizst) and kings (Ludwig of Bavaria), leaving disaster in her wake. Ever since Marlene Dietrich’s seductive role as Lola Lola, the risqué nightclub entertainer in Joseph Sternberg’s scandalous Blue Angel (1930), the name Lola has specified the realm of the quintessential vamp. Richter explores the cinematic femininity, sexuality and gender associated with the name Lola (and its close cousins Lulu and Lolita). In the process he encounters Lolas of ambiguous, precocious, calculating, and irresistible sexuality: a Turkish-German transvestite, a sexual nymph, a schemer during Germany ’s economic miracle, and a man-killer eventually slain by Jack the Ripper, and many more.
Richter is currently working on a project about the cinematic tradition based on the figure of Lola Montez, a nineteenth-century British woman of humble origins who used her sexuality and prevaricating charm to rise to worldwide renown as an erotic dancer and the lover of composers (Lizst) and kings (Ludwig of Bavaria), leaving disaster in her wake. Ever since Marlene Dietrich’s seductive role as Lola Lola, the risqué nightclub entertainer in Joseph Sternberg’s scandalous Blue Angel (1930), the name Lola has specified the realm of the quintessential vamp. Richter explores the cinematic femininity, sexuality and gender associated with the name Lola (and its close cousins Lulu and Lolita). In the process he encounters Lolas of ambiguous, precocious, calculating, and irresistible sexuality: a Turkish-German transvestite, a sexual nymph, a schemer during Germany ’s economic miracle, and a man-killer eventually slain by Jack the Ripper, and many more.