Works Cited
- Badger, Clarence G. (dir.) (1927), It, Hollywood, CA: Famous Players-Lasky.
- Barnett, Vincent L. and Alexis Weedon (2014), Elinor Glyn as Novelist, Moviemaker, Glamour Icon and Businesswoman, Farnham: Ashgate.
- Barrow, R. J. (2001), Lawrence Alma-Tadema, London: Phaidon.
- Bigham, Randy Bryan (2012), Lucile: Her Life by Design, San Francisco: MacEvie Press.
- Cawelti, John G. (1976), Adventure, Mystery and Romance, Chicago: University of Chicago Press.
- Dunant, C. (1994), ‘Olympian Dreamscapes: The Photographic Canvas; the Widescreen Paintings of Leighton, Poynter and Alma-Tadema’, in Jacky Bratton, Jim Cook and Christine Gledhill (eds), Melodrama: Stage, Picture, Screen, London: British Film Institute, pp. 82–93.
- Etherington-Smith, Meredith and Jeremy Pilcher (1986), The ‘It’ Girls: Lucy, Lady Duff Gordon, the Couturière ‘Lucile’, and Elinor Glyn, Romantic Novelist, London: Hamish Hamilton.
- Finamore, Michelle Tolini (2013), Hollywood Before Glamour: Fashion and the American Silent Film, London: Palgrave Macmillan.
- Freedman, Estelle B. (1974), ‘The New Woman: Changing Views of Women in the 1920s’, Journal of American History 61:2, pp. 372–93. doi: 10.2307/1903954
- Gaines, Jane (1990), ‘Introduction’, in Jane Gaines and Charlotte Herzog (eds), Fabrications: Costume and the Female Body, London: Routledge, pp. 1–27.
- Glyn, Elinor (1923) The Philosophy of Love, Auburn, NY: The Author's Press.
- Glyn, Elinor (1996), Three Weeks, London: Virago.
- Hansen, Miriam (1986), ‘Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship’, Cinema Journal 25:4, pp. 6–32. doi: 10.2307/1225080
- Hardwick, Joan (1994), Addicted to Romance: The Life and Adventures of Elinor Glyn, London: André Deutsch.
- Higashi, Sumiko (1994), Cecil B. DeMille and American Culture: The Silent Era, London: University of California Press.
- Higashi, Sumiko (2002), ‘The New Woman and Consumer Culture: Cecil B. DeMille’s Sex Comedies’, in Jennifer Bean and Diane Negra (eds), A Feminist Reader in Early Film, Durham, NC: Duke University Press, pp. 298–332.
- Horak, Laura (2010), ‘“Would You Like to Sin with Elinor Glyn?” Film as a Vehicle of Sensual Education’, Camera Obscura 25:2, pp. 75–117. doi: 10.1215/02705346-2010-003
- McNeil, Helen (1981), ‘She Trembled at His Touch’, Quarto, 17: May, pp. 17–18.
- Mendes, Valerie D. and Amy de La Haye (2009), Lucile Ltd: London, Paris and Chicago 1890–1930s, London: V&A Publishing.
- Morey, Anne (2006), ‘Elinor Glyn as Hollywood Labourer’, Film History 18:2, pp. 110–18. doi: 10.2979/FIL.2006.18.2.110
- Rapp, Rayna and Ellen Ross (1983), ‘The Twenties’ Backlash: Compulsory Heterosexuality, the Consumer Family, and the Waning of Feminism’, in Amy Swerdlow and Hanna Lassinger (eds), Class, Race and Sex: The Dynamics of Control, Boston: G. K. Hall, pp. 93–107.
- Roberts, Mary Louise (1993), ‘Samson and Delilah Revisited: The Politics of Women’s Fashion in 1920s France’, American Historical Review 98:3, pp. 657–84. doi: 10.2307/2167545
- Tortolani, Erica (2013), ‘Intertitle Humour and the Representation of Heterosexual Marriage in Why Change Your Wife?’, Film Matters 4:3, pp. 41–5. doi: 10.1386/fm.4.3.41_1
- Waterbury, Ruth (1926), ‘Manhattan Technique’, Photoplay, April.
- Wilson, Elizabeth (2013), Adorned in Dreams: Fashion and Modernity, London: I. B. Tauris.
- Wood, Sam (dir.) (1922), Beyond the Rocks, Hollywood, CA: Famous Players-Lasky.
![Supercharge Your Next Research Paper: Research and write your next paper with Jenni AI.]({"type":"image" , "src" : "/sda/112447/MPU-L1HU.png"})