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Tasked by studio executives with finding the next great screen siren, visionary Hollywood director Josef von Sternberg joined forces with rising German actor Marlene Dietrich, kicking off what would become one of the most legendary partnerships in cinema history. Over the course of six films produced by Paramount in the 1930s, the pair refined their shared fantasy of pleasure, beauty, and excess. Dietrichs coolly transgressive mystique was a perfect match for the provocative roles von Sternberg

Vienna-born, New York raised Josef von Sternberg (Shanghai Express) directed some of the most influential and stylish dramas ever to come out of Hollywood. Though best known for his later star-making collaborations with actor Marlene Dietrich, von Sternberg began his career during the final years of the silent era, dazzling audiences and critics with his films' dark visions and innovative cinematography. The titles in this collection, made on the cusp of the sound age, are three of von Sternberg

Turner Classic Movies and Universal Studios Home Entertainment present Marlene Dietrich Directed by Josef von Sternberg Double Feature. Presented for the first time on video, these two films have been fully restored and re-mastered and confirm Dietrichs iconic status as a glamorous and enigmatic movie siren while demonstrating von Sternbergs reputation as a supreme stylist of mood, atmosphere and eroticism through his dazzling command of the medium. DISHONORED (1931) Inspired by the exploits of

Tasked by studio executives with finding the next great screen siren, visionary Hollywood director Josef von Sternberg joined forces with rising German actor Marlene Dietrich, kicking off what would become one of the most legendary partnerships in cinema history. Over the course of six films produced by Paramount in the 1930s, the pair refined their shared fantasy of pleasure, beauty, and excess. Dietrichs coolly transgressive mystique was a perfect match for the provocative roles von Sternberg

Marlene Dietrich once said, ""I am not a myth."" But by referencing the term, Dietrich only reinforces the fact more emphatically. For, using almost any common dictionary definition of that word, Dietrich is a myth. Her image was fashioned by director Josef von Sternberg in films like The Blue Angel, Shanghai Express, and The Scarlet Empress, after which she maintained a Hollywood career that included Destry Rides Again, Rancho Notorious, and an accomplished performance in Billy Wilder's Witness for the Prosecution. She has been an object of worship to millions throughout the decades, up to and including this jaded, post-modern 21st century. She is the ""intellectual's pin up girl,"" as author Herman G. Weinberg called her, of filmmakers and film critics alike. She is the ""Monstre Sacre"" as one of her recent biographers has labeled her. She is her own ""Superior Product,"" (her daughter's words) manufactured and refined in her fertile brain. In other words, Marlene Dietrich is an icon for all ages. The Movie Icon series: People talk about Hollywood glamour, about studios that had more stars than there are in heaven, about actors who weren't actors but were icons. Other people talk about these things, Taschen shows you. Movie Icons is a series of photo books that feature the most famous personalities in the history of cinema. These 192-page books are visual biographies of the stars. For each title, series editor Paul Duncan has painstaking selected approximately 150 high quality enigmatic and sumptuous portraits, colorful posters and lobby cards, rare film stills, and previously unpublished candid photos showing the stars as they really are. These images are accompanied by concise introductoryessays by leading film writers; each book also includes a chronology, a filmography, and a bibliography, and is peppered with apposite quotes from the movies and from life.

In a major revision of feminist-psychoanalytic theories of film pleasure and sexual difference, Studlar's close textual analysis of the six Paramount films directed by Josef von Sternberg and starring Marlene Dietrich probes the source of their visual and psychological complexity.Borrowing from Gilles Deleuze's psychoanalytic-literary approach, Studlar shows how masochism extends beyond the clinical realm, into the arena of artistic form, language, and production of pleasure. The author's examination of the von Sternberg/Dietrich collaborations shows how these films, with the mother figure embodied in the alluring yet androgynous Dietrich, offer a key for understanding film's "masochistic aesthetic."Studlar argues that masochism's broader significance to film study lies in the similarities between the structures of perversion and those of the cinematic apparatus, as a dream screen reviving archaic visual pleasures for both male and female spectators.

In a major revision of feminist-psychoanalytic theories of film pleasure and sexual difference, Studlar's close textual analysis of the six Paramount films directed by Josef von Sternberg and starring Marlene Dietrich probes the source of their visual and psychological complexity.Borrowing from Gilles Deleuze's psychoanalytic-literary approach, Studlar shows how masochism extends beyond the clinical realm, into the arena of artistic form, language, and production of pleasure. The author's examination of the von Sternberg/Dietrich collaborations shows how these films, with the mother figure embodied in the alluring yet androgynous Dietrich, offer a key for understanding film's "masochistic aesthetic."Studlar argues that masochism's broader significance to film study lies in the similarities between the structures of perversion and those of the cinematic apparatus, as a dream screen reviving archaic visual pleasures for both male and female spectators.

In a major revision of feminist-psychoanalytic theories of film pleasure and sexual difference, Studlar's close textual analysis of the six Paramount films directed by Josef von Sternberg and starring Marlene Dietrich probes the source of their visual and psychological complexity.Borrowing from Gilles Deleuze's psychoanalytic-literary approach, Studlar shows how masochism extends beyond the clinical realm, into the arena of artistic form, language, and production of pleasure. The author's examination of the von Sternberg/Dietrich collaborations shows how these films, with the mother figure embodied in the alluring yet androgynous Dietrich, offer a key for understanding film's "masochistic aesthetic."Studlar argues that masochism's broader significance to film study lies in the similarities between the structures of perversion and those of the cinematic apparatus, as a dream screen reviving archaic visual pleasures for both male and female spectators.