Abstract
This essay considers issues of the cinema, architecture, women, and the city by focusing on several production numbers directed by Busby Berkeley that are set within an urban environment: “Lullaby of Broadway” (1935), “42nd Street” (1933), and “I Only Have Eyes for You” (1934). Beyond reading the city’s space and architecture as a gendered topos, the essay gestures toward connections between Berkeley’s Hollywood productions and the history of French, Soviet, and German avant-garde cinemas.
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