The Dance of Salome or the Golden Butterflies by Gaston Bussière (1923)
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The mystery of love is greater than the mystery of death.
Oscar Wilde, Salomé
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Salomé (1922) dir Charles Bryant and Alla Nazimova
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Lovis Corinth - Gertrud Eysoldt as Salome (1903)
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'I want you,' [Salome] says, 'to give me at once the head of John the Baptist on a platter.' Herodias had mentioned the head, but not the platter. The platter constitutes the one object that belongs exclusively to Salome. If there is something in the [gospel of Mark] that justifies Salome's reputation, it must be this platter. There is nothing else.
The platter, indeed, is the one detail everyone remembers. [...] At the beginning of the twentieth century, art is almost synonymous with Salome's platter. The idea is scandalous, decadent, so barbarously crude that it is refined; it is the quintessence of fin de siècle estheticism.
Being made of metal, like the executioner's sword, the platter stresses the cold cruelty of the two women's desire. [...]
By having John's head brought in on a platter, Salome causes the ultimate nightmare to materialize. The bodies of his victims represent to the murderer the scandal* that tears him apart. Because it is more portable and manageable, the severed head provides a better representation, and this same head on a platter a better one still. The platter turns the head into an object offered to all, one of the dishes circulating among the guests at Herod's banquet.
One recognizes here something of the fascination that the head of the antagonist, a member of some neighboring tribe ritually designated by the cultural order as the enemy, exercises on certain primitives. Primitives sometimes subject these heads to a treatment that renders them incorruptible and diminishes their size, transforming them into a type of fetish. This refinement is analogous to Salome's horrible desire.
— René Girard, All Desire is a Desire for Being
*the evangelical notion of 'scandal'; skadzein in Greek, signifies 'to limp'; skandalon designates the obstacle which repels and attracts simultaneously, the stumbling block
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Salomé (1922)
[letterboxd | imdb]
Director: Charles Bryant & Nazimova
Cinematographer: Charles Van Enger
Performer: Nazimova
Art Director & Costume Designer: Natacha Rambova (inspired by Aubrey Beardsley's Salomé illustrations)
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Pierre Bonnaud (1865–1930) - Salomé. 1890
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Salomé | Synopsis | Royal Shakespeare Company (thank you @eosphoroz and Armand_Minions on Twitter for finding this video)
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Thyméo Cuffet by Connaissance cordiale, Jan. 2024
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