Home -> Law Blog Directory -> Legal Commentary Blogs -> Althouse

OR PHONE (866) 635-1838 for Bankruptcy Help, (866) 635-6190 for Divorce,
(866) 635-2689 for Personal Injury or (866) 635-9402 for Criminal Defense

Find a Local Lawyer

Bankruptcy (866) 635-1838
Divorce (866) 635-6190
Personal Injury (866) 635-2689
Criminal Defense (866) 635-9402

Legal Commentary

: Althouse

"On retiring from acting, Nolan bought a remote farmhouse in Spain, where she forged a career... creating montages from her early publicity shots that deconstructed the notion of glamour in a feminist critique of the commodification of women."

ADVERTISEMENTS

"'Part of me was living behind this screen of men?s expectations,' she explained. 'That?s why I made some of them quite grotesque ? the idea that I was this passive woman, being looked at. But behind my eyes, I knew what was going on.'"

From "Margaret Nolan obituary/Glamour model and actress who starred in Goldfinger and the Carry On films and epitomised ?everything cool in the Sixties?" (London Times).

Nolan played the character who was painted gold and who appears in the opening credits with "the face of Sean Connery?s 007 and the typography of the film?s titles... projected on to her gilded and nearly naked silhouette."

She was also the woman standing over Paul's grandfather in the casino scene in "A Hard Day's Night":

Here's a photograph of her at her Wikipedia page, showing her in her natural mature beauty in front of one of her photo montages, showing herself in her cinematic glamour:

Is the montage "a feminist critique of the commodification of women"? I think it's easier to argue that the woman painted gold in "Goldfinger" and used as a place to project the images of others is a feminist critique of the commodification of women. But no one wanted to argue that at the time. It wasn't the intent of the filmmakers, and feminist critique was the intent of the montage-maker.

Full post as published by Althouse on October 13, 2020 (boomark / email).