This article presents a qualitative study of how Asta Nielsen’s star image and her iconic look can be understood specifically in relation to her cross-dressing performances in the 1910s and to her role as the female prince of Denmark in Hamlet (1921). 2009, Seidl 2002) and the critical reception of her film as well (such as Allen 2013b, Engberg 1999, Tybjerg 2013). Allen 2013a, Engberg 1999, Ganeva 2008, Jerslev 1995, Schlüpmann et al.
Previous research has studied different aspects of Asta Nielsen’s star image (e.g. In other words, Asta Nielsen’s androgynous look in Hamlet (1921) – the period costume aside – was recognisable and ‘on brand’ because it was closely connected to her already well-established onscreen presence. Furthermore, her look with the short, blunt haircut and the tight-fitting clothes had been a key part of her cinematic presence from her debut in Afgrunden ( The Abyss, 1911) as well as Den sorte Drøm ( The Black Dream, 1912) and Totentanz ( Dance of Death, 1912). In 1921, when Hamlet opened in Copenhagen, Asta Nielsen’s star image already had cross-dressing as a central component: from her cross-dressing comedies (the ‘pants films’) Jugend und Tollheit ( Lady Madcap’s Way,1913), Zapatas Bande ( Zapata’s Gang, 1914) and Das Liebes ABC ( The ABC of Love,1916), to her Pierrot/Harlequin-roles on film, such as Die Film-Primadonna ( The Film Primadonna,1913) and Komödianten ( Behind Comedy’s Mask,1913), and at pantomime performances in theatres (1913).
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