Early Popular Visual Culture最新文献

{"title":"Early cinema, modernity and visual culture: the imaginary of the Balkans","authors":"Vlastimir Sudar","doi":"10.1080/17460654.2023.2208925","DOIUrl":"https://doi.org/10.1080/17460654.2023.2208925","url":null,"abstract":"conflicts underlying the development of the service and the springing up of rivals. The competition from Electrical and Musical Industries Ltd (EMI) – later Marconi-EMI – for example, added questions of national pride to the situation. The sixth chapter, ‘Preparing for the High-Definition Service’, offers an overview of the wider context of the development of television, particularly within Germany and the USA. In relation to Germany, Medhurst notes that the development of television should be viewed in ‘the context of notions of national pride and international standing’ (110), which required great consideration in terms of the sites of broadcast, staff hiring and the level of ceremony desired for the launch of the regular television service. Medhurst conveys a seemingly palpable sense of excitement in the run up to this launch, after which the attitudes to television as a service, they note, began to change towards more positive ideals. Following this, the seventh chapter – ‘The BBC Television Service: 1936–1939’ – covers the ‘trial period’ of broadcasting for television programmes, with a focus on the technological issues, specifically in relation to live television, for which the Baird system was seen by John Reith, the BBC’s Managing Director, to offer ‘very variable’ and ‘most unsatisfactory’ results (137). The chapter goes on to provide specific case studies in relation to the broadcast of Drama, Outside Broadcasts, Sport, Variety and other programmes, concluding with a detailed summary of the myriad issues both television and the BBC faced in the years before the onset of the Second World War in 1939. To conclude the book, Medhurst stresses the four key issues that it has addressed, notably the influence of a number of wider factors on the conditions under which television was involved, the need to shift away from a narrative that ‘John Reith was the stumbling block in the development of television in Great Britain’ (177), an understanding of the practical reasons for the BBC’s reluctance and the inevitability that the responsibility for developing a television service would, one way or another, fall on the shoulders of the BBC. The Early Years of Television and the BBC represents a well researched and skilfully put together account of the evolution of a piece of technology which has, in the intervening century, evolved into a dominant social and cultural force. Medhurst’s painstaking research demonstrates how riven this development was on social, cultural, political and economic levels, bringing these areas together into an engaging account of a time during which the pace of change, as the book relates, must have been breathtaking.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"os-8 1","pages":"398 - 401"},"PeriodicalIF":0.2,"publicationDate":"2023-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87186618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The spectacle of the moon conquest: how visual culture shaped Méliès’ Le voyage dans la Lune and its anti-imperialist satire","authors":"Sabrina Francesca Crivelli","doi":"10.1080/17460654.2023.2206008","DOIUrl":"https://doi.org/10.1080/17460654.2023.2206008","url":null,"abstract":"ABSTRACT It is well-established that Jules Verne’s De la Terre à la Lune and H. G. Wells’ The First Men in the Moon inspired Georges Méliès’ Le voyage dans la Lune. At the same time, though, the film’s written sources cannot fully account for its iconographic, aesthetic, and semantic stratification. For this reason, the survey will include a set of still neglected or underestimated references of this pioneering work in motion picture art, especially its visual antecedents. More precisely, elaborating on Tom Gunning and Andre Gaudreault’s notion of ‘cinema of attractions’, the central argument is that visual culture and pictorial tradition, together with non-traditional theatre paradigms, concurred to determine Méliès’ unique cinematic spectacle at least as much as its literary models. These considerations are equally valid for the satirical content of the film. In fact, written, visual, and spectacular sources are combined in what David Sandner describes as Méliès’ ‘imperial farce’ which critically engaged with the nineteenth-century French colonial aspirations and their ideological and cultural background. Based on these assumptions, this paper aims to explore the thematic and iconographic premises of Méliès’ Le voyage dans la Lune, relating them with nineteenth-century imperial culture, as well as to its critical revision within post-colonial studies. Lastly, the analysis is focused on the protagonists’ double role, that of the scientist-explorer since, as I will demonstrate, their parodical depiction retains a primary role in structuring the film’s anti-imperialist satire.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"7 1","pages":"407 - 433"},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90459201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The early years of television and the BBC","authors":"James Shelton","doi":"10.1080/17460654.2023.2208918","DOIUrl":"https://doi.org/10.1080/17460654.2023.2208918","url":null,"abstract":"","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"6 6 1","pages":"397 - 398"},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83814423","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Between defiance and control: wild animal performance in the interwar circus","authors":"Sabine Hanke","doi":"10.1080/17460654.2023.2205573","DOIUrl":"https://doi.org/10.1080/17460654.2023.2205573","url":null,"abstract":"ABSTRACT This article explores the mishaps during tiger and lion performances at circuses in the interwar period via the concept of losing control. It argues that accidents involving wild animals offer a view behind the scenes in the highly regulated environment of circus performances. This approach allows us to access the agency of performance animals and audiences’ interpretations of these unintended aspects of the show. Animal trainers embody the regulated and rehearsed world of the circus, but their animal performances, and especially the mishaps that occasionally occur, permit us to read wild animals as agents. Through a case study of the trainer Georg Kulovits, better known as Togare, this article analyses how animal behaviour disrupted the emotional dramas of interwar circus performances. In addition, these accidents functioned as a key performative act, as they reminded audiences of the authenticity of the show.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"50 1","pages":"383 - 396"},"PeriodicalIF":0.2,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76881952","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘There is no gallery’: race and the politics of space at the Capitol Theatre, New York","authors":"Pardis Dabashi","doi":"10.1080/17460654.2023.2209940","DOIUrl":"https://doi.org/10.1080/17460654.2023.2209940","url":null,"abstract":"ABSTRACT This essay brings developments in Black film historiography and architecture studies to bear on the study of Northern picture palaces as the period of their prominence coincided with the Jim Crow era. Taking as my focus New York City’s Capitol Theatre – which opened in the immediate wake of the US race riots of 1919 and was the largest movie theater to date – I show how Northern middle-class film culture enforced racial segregation in the absence of legal protection. Southern movie theaters were able either to outlaw Black attendance or relegate their Black patronage to the gallery, a seating section closest to the roof of the auditorium and farthest removed from the screen. Northern movie theaters, on the other hand, had to find extralegal ways to ensure a predominantly white clientele – while also maintaining the image of the Northern picture palace as a shrine to New World inclusivity. They accomplished this, I demonstrate, through a combination of film-programming, strategically equivocal promotional language, and, most strikingly, architectural design.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"2 1","pages":"208 - 222"},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73550492","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Working on marginalised cinema audiences with the Jewish historical press website: illustrated on the quest for Jewish patrons of the palace venue in 1920s Warsaw","authors":"Karina Pryt","doi":"10.1080/17460654.2023.2209944","DOIUrl":"https://doi.org/10.1080/17460654.2023.2209944","url":null,"abstract":"ABSTRACT As is widely acknowledged in film studies and beyond, Jewish entrepreneurs and artists contributed significantly to the rise of cinema in the US and many European countries. However, apart from some research in the American and British contexts, the extent to which Jewish cinemagoers attended screenings is largely unknown. To stimulate greater scholarly interest in this topic, this paper discusses the broad applicability of the Historic Jewish Press digital collection, which contains newspapers printed in 16 different languages, reflecting the range of languages used by Jewish communities worldwide. Using the example of the search for Jewish patrons of the Palace Cinema in 1920s Warsaw, the paper shows how digital research can be used to extract information about marginalised Jewish audiences. Finally, it demonstrates how these sources can be used for new investigations and research perspectives.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"62 1","pages":"284 - 293"},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84487176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cinema’s original sin: D. W. Griffith, American racism, and the rise of film culture","authors":"Patrick Adamson","doi":"10.1080/17460654.2023.2207844","DOIUrl":"https://doi.org/10.1080/17460654.2023.2207844","url":null,"abstract":"","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"77 1","pages":"299 - 301"},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77409244","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The moving image as an instrument of oppression and resistance in Jim Crow Era Jacksonville, Florida, 1907–1917","authors":"David Morton","doi":"10.1080/17460654.2023.2209941","DOIUrl":"https://doi.org/10.1080/17460654.2023.2209941","url":null,"abstract":"ABSTRACT This paper will examine the contrasts in racial representations in films produced in Jacksonville at the cusp of the segregation era. These tensions will be examined by exploring how motion picture consumption factored into the politics of race in one of the largest cities in the New South during cinema’s silent era. This will be accomplished by exploring how the marginalized and disenfranchised attempted to assert agency in public and private spaces despite living in an environment of white supremacy and social inequities. By tracing the lived experiences of African American moviegoers in a Southern city at the onset of the Jim Crow Era, a broader comprehension of the early American film industry’s dismissiveness of – and at times outright insensitivity toward – acts of political terror against African Americans can be better understood.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"44 1","pages":"223 - 247"},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74043467","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘In the world of movies and talkies’: Hollywood in the Yiddish Forverts, 1920-1935","authors":"Lies Lanckman","doi":"10.1080/17460654.2023.2209943","DOIUrl":"https://doi.org/10.1080/17460654.2023.2209943","url":null,"abstract":"ABSTRACT This article investigates the presence of Hollywood film in the Yiddish newspaper Forverts in the silent and early sound era, with a particular focus on the movie page ‘In der Velt fun Muvis un Tokis’ (‘In the World of Movies and Talkies’) which was published weekly from 1929 to 1935. In investigating the coverage, I highlight the similarities to and differences from what was published in contemporaneous mainstream, Anglophone fan magazines and newspapers, highlighting how certain differences were a direct reflection of the preoccupations of the Jewish immigrant readership of the Forverts. I then present a case study focusing on the representation of Hollywood star Norma Shearer in this Yiddish newspaper, highlighting how Shearer, a Jewish convert, was represented very differently by the Forverts than she was in the pages of magazines such as Photoplay or Motion Picture. As such, I demonstrate how non-English language sources are vital to the study of historical fan and star studies, and how the Yiddish press can help us gain new insights on familiar topics.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"1 1","pages":"266 - 283"},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88713342","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Doing Experimental Media Archaeology: Theory","authors":"Shijia Yu","doi":"10.1080/17460654.2023.2195698","DOIUrl":"https://doi.org/10.1080/17460654.2023.2195698","url":null,"abstract":"","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"119 1","pages":"296 - 298"},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77481189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}