{"title":"Conclusion","authors":"","doi":"10.2307/j.ctvk12qw8.13","DOIUrl":"https://doi.org/10.2307/j.ctvk12qw8.13","url":null,"abstract":"","PeriodicalId":407994,"journal":{"name":"John Dos Passos and Cinema","volume":"372 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121279407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Birth of an Industry","authors":"L. Nanney","doi":"10.2307/j.ctvk12qw8.6","DOIUrl":"https://doi.org/10.2307/j.ctvk12qw8.6","url":null,"abstract":"Film emerged rapidly both as an art and as an industry during the same years Dos Passos was maturing as an artist and absorbing the boundary-breaking creative potentials wrought by modernist innovations in all the arts. The process by which film achieved its privileged status as an engine of change was both cultural and aesthetic; as film developed this agency, it was driven by and in turn drove economic systems that were in flux during the decades before the economic Crash of 1929. These systems and this process fashioned film into the kind of potent political force that Dos Passos sought for his own art. The revolutionary interchange among the arts that transformed them in the 1920s galvanized Dos Passos’s practice in each discipline he was undertaking in that period—painting and set design, and writing plays and novels. Critics have long recognized the impact of the visual arts and particularly of moving pictures on the stylistic innovations that characterized his modernist novels. Dos Passos acknowledged that both Manhattan Transfer (1925) and U.S.A. (1938) were built on montage, and he specifically credited the impact of individual film pioneers such as D.W. Griffith and Sergei Eisenstein on his narrative style.","PeriodicalId":407994,"journal":{"name":"John Dos Passos and Cinema","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129190629","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Appendix","authors":"","doi":"10.2307/j.ctvk12qw8.14","DOIUrl":"https://doi.org/10.2307/j.ctvk12qw8.14","url":null,"abstract":"","PeriodicalId":407994,"journal":{"name":"John Dos Passos and Cinema","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132893874","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Index","authors":"","doi":"10.2307/j.ctvk12qw8.16","DOIUrl":"https://doi.org/10.2307/j.ctvk12qw8.16","url":null,"abstract":"","PeriodicalId":407994,"journal":{"name":"John Dos Passos and Cinema","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130093776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Experimental Drama and Soviet Constructivist Theater","authors":"L. Nanney","doi":"10.2307/j.ctvk12qw8.5","DOIUrl":"https://doi.org/10.2307/j.ctvk12qw8.5","url":null,"abstract":"By the time he served in World War I, Dos Passos was well-versed in classical and contemporary visual art and a practiced painter. The war revealed to him how organizations and forces—such as governments, corporations, the press, and the military—could subvert individual self-determination, so he brought his visual aesthetics to bear on his early writing to seek artistic methods that could combine non-verbal aesthetics with political ideas, could transcend current literary forms, and could move readers to engaged interaction and activism. Like his early anti-war novels One Man’s Initiation: 1917 (1920) and Three Soldiers (1921), his experimental plays and set designing with the New Playwrights Theatre group, which he co-founded in New York in the mid-1920s, responded to the expanded aesthetic potentials of modernism. His early dramas, such as The Garbage Man (1927), reflect his increasing awareness that the theater had to create an innovative, immersive experience to compete as a cultural and political force with film, which was rapidly assuming unparalleled power as public entertainment both in the U.S. and Russia.","PeriodicalId":407994,"journal":{"name":"John Dos Passos and Cinema","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128870031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Filmic Narrative into Narrative Film:","authors":"","doi":"10.2307/j.ctvk12qw8.12","DOIUrl":"https://doi.org/10.2307/j.ctvk12qw8.12","url":null,"abstract":"","PeriodicalId":407994,"journal":{"name":"John Dos Passos and Cinema","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121645706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“Propaganda for peace”:","authors":"G. Mclaughlin, S. Baker","doi":"10.2307/j.ctvk12qw8.7","DOIUrl":"https://doi.org/10.2307/j.ctvk12qw8.7","url":null,"abstract":"","PeriodicalId":407994,"journal":{"name":"John Dos Passos and Cinema","volume":"165 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122066375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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