Female Perversions (Susan Streitfeld, 1996)

Thunder Over Mexico [¡Que viva México!] - Sergei Eisenstein (1933)

Collection of vintage black-and-white studio still photographs.

- Principal Distributing Corporation, 1933. Eisenstein had spent many frustrating months in Hollywood, ending with a failed attempt to adapt Dreiser’s “An American Tragedy.” With backing from avowed socialist Upton Sinclair, Eisenstein left Hollywood to create what would have been his epic about life in Mexico, “Que viva México.” The film was intended to be an episodic study of Mexico’s durable ethnography and symbols against the backdrop of its colonial history from the ancient Mayans to the 1910 revolution. Cinematographer Euduard Tisse shot the film in 1931 and 1932, intending to divide the narrative into four segments (which he called “novels”), “Sandunga,” “Fiesta,” “Maguey,” and “Soldadera.” Upon completion of filming, Eisenstein sent the footage to Hollywood for processing, but political and economic barriers prevented him from returning even to edit the film. In the wake of Eisenstein’s forced departure, two films utilizing the film footage were made with Upton Sinclair’s permission: “Thunder over Mexico” (1933, edited by Sol Lesser) and “Time in the Sun” (1940, edited by Mary Seton). Upton Sinclair subsequently deposited the unedited materials of the film in the 1950s with the Museum of Modern Art in New York, and Jay Leyda’s subsequent work to make the footage accessible has resulted in the footage having been preserved for nearly 80 years for future study and reconstruction.

And еvery song I wrote became an escape rope

Pearl Ships Sculptures by Ann Carrington

Entitled  “Galleons and Feathers,” Ann Carrington‘s passion for collecting vintage knick knacks and old pearl necklaces from junk shops aided her creation of her majestic galleons. After watching a documentary about a Chinese pearl jewelry, Carrington decided to construct her project in the Spring of 2014, once she acquired enough pearls. 

Brigitte Bardot in her breakthrough film, AND GOD CREATED WOMAN (1956).

It’s hard to overestimate how famous Brigitte Bardot was. Her style pretty much dictated the 1950s and 1960s, every move she made was news, intellectuals wrote books on her, trying to explain her impact (unsuccessfully). She wasn’t a star, she was that rare thing: a human phenomenon.