‘We are not calling her Italian’: narratives and images of ethnic incorporation in Isa Miranda’s American persona.

Abstract

This article discusses the impact of Hollywood standards of homogenisation on Isa Miranda’s cosmopolitan appeal during her work for Paramount. The article suggests that Miranda’s American image was constructed in an attempt to establish her as a Marlene Dietrich type in order to defuse the potential threat represented by her ethnic Otherness; meanwhile, the Italian actress was framed within film narratives that played out (albeit indirectly) an idealised conception of successful American assimilation of European immigrants. In the process, Miranda was visually constructed through images that effectively ‘whitened’ her, and her Italianness was thus displaced onto an ideal of Northern European whiteness that bespoke a desire to reassert whiteness as the norm in 1930s America