12019-01-27T20:58:22+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11Gold Diggers of 1933 (1933)plain2019-01-27T20:58:22+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bWith over-the-top absurdity, Berkeley mocks American capitalism’s commodification of female beauty by pushing the commodification to delirious extremes. The seriality of the composition suggests that any woman can be exchanged for any other, just like pocket change. The fact that the women are not identical adds to the film’s critique, suggesting how capitalism manipulates small differences to create the appearance of desirable variety in the midst of ceaseless repetition.
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12019-01-27T20:41:58+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bChapter Three: Dynamism, Seriality, and ConvergencePatrick Keating3Chapter on the use of the moving camera in the representation of modernityplain1272019-01-28T02:02:02+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b
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12019-01-27T20:46:55+00:003.7 Gold Diggers of 19331Gold Diggers of 1933 (1933)plain2019-01-27T20:46:55+00:00Critical Commons19332019-01-25T15:27:23ZVideoBusby BerkeleyGold Diggers of 1933