Ways of Seeing, Ways of Being Seen: Josephine Baker and the Scopophilic Gaze.
This article explores how Josephine Baker leveraged post–World War I European primitivism to subvert her mostly white male audience's voyeuristic gaze. Baker's youthful experiences with early twentieth‐century American minstrelsy fostered many techniques, from cross‐dressing to whiteface, that prove...
| Publicado en: | French Historical Studies Vol. 46; no. 3; pp. 427 - 456 |
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| Formato: | Artículo |
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Duke University Press
Aug2023
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=169953234&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 169953234 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00161071 FHS jtl: French Historical Studies issn: 00161071 maglogo: N pubinfo: dt: Aug2023 vid: 46 iid: 3 pid: 154 pub: Duke University Press artinfo: ui: 169953234 10.1215/00161071-10454853 ppf: 427 ppct: 29 formats: fmt: – @attributes: type: T – @attributes: type: P size: 516KB tig: atl: Ways of Seeing, Ways of Being Seen: Josephine Baker and the Scopophilic Gaze. aug: au: Cenatiempo, Dantzel su: Baker, Josephine, 1906-1975 World War I Primitivism Nineteen twenties Freud, Sigmund, 1856-1939 Fanon, Frantz, 1925-1961 sug: subj: Baker, Josephine, 1906-1975 World War I Primitivism Nineteen twenties Freud, Sigmund, 1856-1939 Fanon, Frantz, 1925-1961 keyword: African American Afro‐Américain(e) Années folles fashion gender genre Jazz Age mode race ab: This article explores how Josephine Baker leveraged post–World War I European primitivism to subvert her mostly white male audience's voyeuristic gaze. Baker's youthful experiences with early twentieth‐century American minstrelsy fostered many techniques, from cross‐dressing to whiteface, that proved useful for navigating her sudden fame in Jazz Age Paris. In particular, Baker's subversive parody of her rival Mistinguett in La joie de Paris in 1932 demonstrates how skin color, despite becoming both fetish and fashion during the interwar period, still fell into colonial hierarchies. Baker used her body to resist this system, moving away from her two‐dimensional public image as a nude banana dancer and closer to the World War II agent and antisegregation activist she would soon become. The theories of Sigmund Freud, Frantz Fanon, Joanne B. Eicher, and Laura Mulvey help elucidate how this 1932 performance, by destabilizing gendered and racialized stereotypes, marks a significant turning point in Baker's political consciousness. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of French Historical Studies is the property of Duke University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: French Historical Studies holder: Duke University Press dt: @attributes: year: 2023 holdings: @attributes: islocal: N |
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