Word: 1930s
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Dates: during 1990-1999
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...taking pictures in the early 1960s, until his death in 1984 he produced a steady output of memoirs, literary reflections and new collections of his old photographs. And in 1976 came the long-delayed The Secret Paris of the 30's, a collection of photographs taken largely in the 1930s but never published before. A glimpse of the mostly unseen side of prewar Paris--brothels, gay bars, drag balls--it gave his reputation just the right twist for a postwar generation captivated by sex. What Norman Rockwell was to official virtue, Brassai was to deadpan indecency, fat sexpots and crazy...
Anne Wilkes Tucker, the Houston MFA photography curator who organized the show, calls the Paris of the 1930s a city on the cusp "between the era of the Belle Epoque and that of the Modern Age." The gas lamps of Europe were giving way to electric streetlights. That meant a new kind of nighttime, full of sexy pinpoints in the fog, 20th century floodlights over 19th century cobblestones, popguns of brightness in dark places that told dirty jokes about the naked city. As photographers elsewhere were doing--Josef Sudek in Prague, Bill Brandt in London--Brassai claimed as his territory...
Like so many photographers of his day, and not just of his day, Brassai occasionally posed some of the people in pictures that look at first glance like candids. By the 1930s, photographers like Andre Kertesz and Henri Cartier-Bresson had begun to use the new 35-mm handheld Leicas, equipment that could capture fast movement. Brassai persisted in working with a Voigtlander Bergheil. A camera that used small glass plates instead of film--Brassai would eventually adapt it for conventional film--it required a tripod and long exposures. That in turn meant that his subjects usually knew they were...
Detroit's wheels see the past as prologue. "We went through this period where you couldn't tell products apart," says Tom Gale, DaimlerChrysler's design chief, whose latest offering is the snazzy Chrysler PT Cruiser, a cross between a minivan and a 1930s roadster. "Now we're finally starting to see a little more identity." Isn't it nice...
Blake Edwards' plot is standard gender bender fare: Victoria Grant, an Alabama soprano penniless in 1930s Paris, is persuaded by the gay Toddy (Jamie Ross) to pretend that she is really a man playing a woman. Who better, after all, to play a woman than a real woman? Victoria thus becomes 'Count Victor Grazinsky, Europe's greatest female impersonator and soon finds herself the reception of much acclaim. However, as she achieves success, she finds herself falling for King Marchan (Dennis Cole), a Chicago businessman/gangster, who in turn is anguished by his attraction to this 'man.' In this happy world...