And, of course, Jack the Ripper and his murderous rampage, still fresh in mind at the time.įrom there, the Lulu franchise moved to a 1917 German silent film, here, followed by the 1921 silent film, "Pandora's Box", as well as other adaptations in various formats.
Some also point to the real life character Lola Montez, who like Lulu, came from humble origins but succeeded in creating an exotic, erotic persona. It likely borrowed from the French work "Lulu" by Félicien Champsaur, which he viewed in Paris in the early 1890s.
Wedekind and his Lola dramas were not created out of whole cloth. Add to this a sub-plot of lesbian attraction and various layers of social criticism, and it is easy to understand why Lulu was the harbinger of the German (and beyond) theatrical and cinematic expressionism. The ambiguity of her character is reflected in the various attempts at explanation, here: (i) a classic femme fatale with a seemingly endless ability to destroy men (ii) sexual emancipation to gain power, undergirded by the Freudian notion of engendering immediate sexual gratification (iii) a harbinger of a new morality unshackled by bourgeois society: and (iv) sexuality characterized by a child-like innocence and vulnerability, being "simply what she is". The main protagonist is Lulu, of uncertain background, sexual and erotic, who goes through multiple husbands and assorted sordid adventures before herself is killed by Jack the Ripper. The franchise begins with two plays written by German dramatist Frank Wedekind, er Erdgeist (1895 Earth Spirit) and Die Büchse der Pandora (1904 Pandora’s Box). For this Kat, Lulu can mean only one thing: Louise Brooks (1906-1985) in the 1929 silent movie, "Pandora's Box". One of the first was the Lulu franchise in Germany, reaching back to the late 19th century, and spanning theatre, movies and opera, and further afield a raft of follow-on books and articles.
Here, there, and everywhere, the celluloid adaptation of previously created contents is so 21st century.īut the cross media franchise is hardly a modern phenomenon. The cross-media creative franchise (think "Wonder Woman", from comics to film), is the apotheosis of the commercial potential of derivative works within the copyright system.
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