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Photographic Appropriation, Ethnography, and the Surrealist Other

Photographic Appropriation, Ethnography, and the Surrealist Other l in Da M. s teer Photographic Appropriation, Ethnography, and the Surrealist Other In September 9,291 two photographs appeared on a page in Documents, a review associated with French surrealism and the avant-garde. At the top of the page, in the r fi st photograph, a group of costumed, white women dance in front of a se- quined curtain on a dark stage (Figure 1). e Th re are three rows of women, and all arch their backs, stretching their arms up to form circles in the air. e Th women in the last two rows, about seven in each row, wear two-piece white satin outts fi that look like bathing costumes, along with tap shoes and cap hats. e Th two blond women in the front row wear sparkly one-piece outts fi that end in shorts, and white low-heeled dance shoes. Cascades of dark feathers fall from their helmet-like caps to the floor. Bessie Love, the actor playing the dancer who appears at the left of the front row, smiles coyly, tilts her head and casts a glance at her female dance partner. e Th caption reads: “Bessie Love dans le film parlant ‘Broadway Melody’ qui pas- sera http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

Photographic Appropriation, Ethnography, and the Surrealist Other

Steer, Linda M.
The Comparatist , Volume 32 – May 24, 2008
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19 pages

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Publisher
University of North Carolina Press
Copyright
Copyright © 2008 the Southern Comparative Literature Association.
ISSN
1559-0887

Abstract

l in Da M. s teer Photographic Appropriation, Ethnography, and the Surrealist Other In September 9,291 two photographs appeared on a page in Documents, a review associated with French surrealism and the avant-garde. At the top of the page, in the r fi st photograph, a group of costumed, white women dance in front of a se- quined curtain on a dark stage (Figure 1). e Th re are three rows of women, and all arch their backs, stretching their arms up to form circles in the air. e Th women in the last two rows, about seven in each row, wear two-piece white satin outts fi that look like bathing costumes, along with tap shoes and cap hats. e Th two blond women in the front row wear sparkly one-piece outts fi that end in shorts, and white low-heeled dance shoes. Cascades of dark feathers fall from their helmet-like caps to the floor. Bessie Love, the actor playing the dancer who appears at the left of the front row, smiles coyly, tilts her head and casts a glance at her female dance partner. e Th caption reads: “Bessie Love dans le film parlant ‘Broadway Melody’ qui pas- sera

Journal

The Comparatist – University of North Carolina Press

Published: May 24, 2008

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