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Renderings of a Queer Future: The Intersection of Impressionist Cinema and Cubist Architecture

Goldman, Hannah
Format
Thesis/Dissertation; Online
Author
Goldman, Hannah
Advisor
Sewell, Jessica
Crane, Sheila
Levine, Alison
Abstract
The work of architect and set designer Robert Mallet-Stevens (French, 1886-1945) has long been occupied footnotes and passing mentions in the history of modern architecture. There have been many attempts to reclaim Mallet-Stevens’ “rightful” place in the canon. My thesis disrupts this narrative in two parts. The first part traces the queering of Mallet-Stevens’ legacy through his collaborative process and connections to the world of fashion through his work with couturiers and cinema. These connections denigrated Mallet-Stevens in the eyes of critics like Siegfried Giedion, who deemed Mallet-Stevens’ work to be morally empty, more akin to fashion than truly “Modern” architecture. This reading has shaped the discussion of Mallet-Stevens ever since. In my thesis, I argue that a queer theory reading of Mallet-Stevens’ early work and his legacy find that he was radical for the very reasons that Giedion deemed him to be bankrupt. The second half explores the film L’Inhumaine (1924) and Mallet-Stevens’ first work, the Villa Noailles (1924-33) in relation to one another, linked thematically and programmatically through queer theory. Both of these works construct futuristic worlds, where the occupants pursue their passions without the constraints of heteronormativity. We can also explore the relationship of cinematic and real space through the filming of these two works.
Language
English
Published
University of Virginia, Department of Architectural History, MARH (Master of Architectural History), 2017
Published Date
2017-04-30
Degree
MARH (Master of Architectural History)
Rights
CC-BY (permitting free use with proper attribution)
Collection
Libra ETD Repository
Related Resources
http://virginia.kanopystreaming.com.proxy.its.virginia.edu/video/linhumaine

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