Early Popular Visual Culture最新文献

{"title":"Shifting scenes of colouration and illumination: the narrative and temporal fluidities of tissue paper stereoviews","authors":"D. Klahr","doi":"10.1080/17460654.2022.2064322","DOIUrl":"https://doi.org/10.1080/17460654.2022.2064322","url":null,"abstract":"ABSTRACT Between the invention of photography and the advent of film there arose a singular visual medium: tissue paper stereoviews of the 1860s that permitted the viewer to change a scene from greyscale and unilluminated to colour and illuminated when viewed through a stereoscope. These dual images, photographed using a camera with two lenses, were printed, hand-coloured, and perforated on layers of tissue paper and then placed side-by-side in cardboard mounts. The shifts along the greyscale/color unilluminated/illuminated continua merely depended upon the angle of light striking the stereoview, and the viewer could vary the pace and direction of the transformation. Objects did not move, but intensely three-dimensional scenes of receding planes of depth changed at will, sometimes depicting a shift from day to night, but often producing ambiguous scenes that challenged such a binary division of time. The narrative and temporal fluidities that tissue paper made possible differentiated these stereoviews from their counterparts produced on glass or card stock. The seamless, silent, flicker-free transformation of scenes offered viewers a deeply immersive, three-dimensional visual experience that was distinctly different from the plethora of mechanical animated stereoscopes that arose at the same time. Likewise, it was different from dioramas because unlike those communal visual experiences, the tissue paper stereoview experience was entirely in control of the user. Because the shifts back and forth between greyscale and colour comprise the most salient feature of the medium, experience glancing toward the colouring of early film stock that can help establish a frame of reference in which to assess tissue paper stereoviews. It is for this reason that an analysis of applied colour of early film is pulled into the discussion.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"48 1","pages":"312 - 338"},"PeriodicalIF":0.2,"publicationDate":"2022-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80772987","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 vision: eye and eyesight in the nineteenth-century scientific press","authors":"Corinne Doria","doi":"10.1080/17460654.2022.2052923","DOIUrl":"https://doi.org/10.1080/17460654.2022.2052923","url":null,"abstract":"ABSTRACT This article analyses how nineteenth-century medical science apprehended the eye and its functions. It disputes Jonathan Crary’s claim of the alleged mistrust towards human vision as a source of reliable information from the 1830s onwards. It is based on the analysis of scholarly and popular scientific publications from the early 1850s to the first decades of the twentieth century, a typology of sources overlooked by Crary as well as by most of the works in the field of Visual Studies. It focuses on French documents because of the progress undertaken by medical research on the eyesight in the country at the time and the number and scope of both scientific and popular publications. In the first part, I analyse the new set of knowledge about the anatomy and physiology of the eye that physicians developed at the time – notably through the use of newly introduced instruments such as the ophthalmoscope and the ophthalmometer. In the second part, I describe how contemporary medical research led to the acknowledgment of the subjectivity of visual perceptions and the fragile nature of human visual capacities. In the last section, I show how, through a process of classification and rationalisation of the newly acquired knowledge, physicians managed to reinstate the objective character of visual perceptions on the basis of their research.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"17 1","pages":"293 - 311"},"PeriodicalIF":0.2,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87482675","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":"Méliès – léger d’écran","authors":"Sharon Coleclough","doi":"10.1080/17460654.2022.2076357","DOIUrl":"https://doi.org/10.1080/17460654.2022.2076357","url":null,"abstract":"ABSTRACT The magic act is a performance best seen live, the skill of prestidigitation more difficult to deny when the trick is offered in the physical space shared by the audience. For Georges Méliès, the cinema offered the opportunity to extend the stage act he had developed and to embellish upon the traditional illusions of the music hall. Méliès’ skill lay with his knowledge of legerdemain, sleight of hand (literally ‘light of hand’), but also the way of thinking it suggests, a trickster’s mind and one which was able to anticipate and apply what the technology of cinema could contribute to the communication of this craft to a wider audience. This work seeks to examine the relationship of Méliès’ artistic vision with his background in the music hall and his future in the cinema, exploring the ways in which Méliès used (indeed, in many cases created) the production and post-production processes available to produce on-screen magic – whether accidentally, by early exploitations of the medium (Escamotage d’une Dame Chez Robert-Houdin), progressively more technically complex realisations (L’Homme à la tête de Caoutchouc), or even the use of social and professional connections from his music hall background. Additionally, the mediatory effect of the technology of camera, editing, and mise-en-scene will also be considered. By offering technical and aesthetic analysis of Méliès’ work and examining the technology and expectation at hand during its creation, this article seeks a closer consideration of the relationship between the music hall and the cinema and the work of Méliès as bond between the two as entertainment entered a new age.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"587 1","pages":"34 - 59"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78936471","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":"Robb Wilton’s datebook, 1943–1956","authors":"David L. James","doi":"10.1080/17460654.2022.2076360","DOIUrl":"https://doi.org/10.1080/17460654.2022.2076360","url":null,"abstract":"","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"32 1","pages":"74 - 80"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73768733","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":"A companion to D. W. Griffith","authors":"Adelaide McGinity-Peebles","doi":"10.1080/17460654.2022.2064088","DOIUrl":"https://doi.org/10.1080/17460654.2022.2064088","url":null,"abstract":"1. The growing of this field of research can be observed in recent interuniversity research projects such as ‘A Million Pictures’ (coordinated by the University of Utrecht), ‘Heritage in the Limelight’ (coordinated by the Australian National University) and ‘B-magic’ (coordinated by the University of Antwerp). 2. Although the elaboration of this kind of investigation clearly lies beyond the book’s objectives, such a study would be of significant value to the field of research, now that largescale digitisation campaigns of magic lantern heritage are taking place. A useful starting point would be assessing the applicability of the existing international quality standards and state-of-the-art guidelines for digitisation of different types of cultural heritage, such as the FADGI standards or Metamorfoze programme.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"1 1","pages":"83 - 85"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75848676","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":"Fiction & imagination in early cinema: a philosophical approach to film history","authors":"Fitzpatrick Orla","doi":"10.1080/17460654.2022.2028485","DOIUrl":"https://doi.org/10.1080/17460654.2022.2028485","url":null,"abstract":"textual paintings. Starting with relating Poe’s life to the popularity of illustrated books at the time, the chapter then shows a nuanced understanding of ‘Poe as a painter of landscapes, Poe as a painter of effects, and Poe as an art “expert”’ (93). To do so, theories are used widely, including ekphrasis and paragone, as in other chapters, but also enargeia (‘the visuality’) and ekpledzis (the development of an ‘enthralling mental image’) (93). All these prepare for an informed conclusion that establishes Poe, with his ‘complete works of art’, as an artist in the fullest sense (108). While Part II and III are set in the nineteenth-century Britain and the twentieth century US respectively, Part IV: ‘Where the Future Lies: Transatlantic Interdisciplinarity’ moves on to the encounters between both sides of the Atlantic. Chapter 9 from Part IV introduces José Joaquín de Mora as a Spanish contemporary of Blake, Shelley and Byron, focusing on his book-length ‘experimental engagement with the visual poetics of Blake’ and its transatlantic circulation (145–6). The chapter, by reading de Mora’s re-creation of ‘the Blakean non-mimetic interplay between word and image’ (146), presents the Hispanic text as an excellent example of the intricacies of the network of word-image relations. The implication that the 1820 text anticipates future interdisciplinarity of the same kind, however, is not fully fleshed out. The selection of writers and texts in Painting Words may be narrow in geographical scope; but with its twofold focus on ‘the pictorial ability of language to stir the reader’s imagination and the way illustrators have “read” literary works over the course of centuries’ (i), the book proves itself to be a useful body of work about the intersection and interdependence of the verbal and visual arts. It also intriguingly suggests that the future of this inter-arts symbiosis is developing in multifarious forms.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"122 1","pages":"87 - 89"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76809209","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":"Karlyn [J.F. Burrows], The Stage Artist: Lightning sketches, cartoons, smoke, rag and sand pictures and how to do them (c.1912)","authors":"D. Huxley","doi":"10.1080/17460654.2022.2076359","DOIUrl":"https://doi.org/10.1080/17460654.2022.2076359","url":null,"abstract":"‘Karlyn’ was the stage name of J. F. Burrows, a ‘lightning sketch’ artist and magician who was active in the late nineteenth and early twentieth century. Lightning sketch artists became popular during the nineteenth century, and a previous issue of this journal discussed the work of two of them: ‘Cruickshank’, who worked with the poseuse ‘La Milo’, and the boy lightning cartoonist Erskine Williams. In England other well-known practitioners included Tom Merry and Edgar Austin. Two famous and highly successful American lightning cartoonists, Stuart Blackton and Winsor McCay, both became involved in the burgeoning animation industry in the early years of the twentieth century. It seems that various pioneers were somewhat secretive, and unwilling to share details of their techniques. As Karlyn points out in the preface to The Stage Artist, ‘[w]hen the author started in this line of entertainment there were no books to guide him, nor any person to give him practical instruction. Everything connected with the art having to be found out by personal experience and observation, the lightning artists who were at the time in the field being unwilling to impart any information on the subject whatsoever.’ (n.p.)","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"24 1","pages":"68 - 73"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81821492","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":"Practical Books on Ventriloquism, 1875 – 1905","authors":"David Huxley","doi":"10.1080/17460654.2022.2076358","DOIUrl":"https://doi.org/10.1080/17460654.2022.2076358","url":null,"abstract":"Ventriloquism, although a phenomenon known in the ancient world, achieved increasing success as a form of entertainment in the eighteenth and nineteenth centuries. The potential of the form was celebrated in novels such as Henry Cockton’s Valentine Vox, the Ventriloquist (1840), and the stage ventriloquist act became a staple of music hall performances in the nineteenth century. By the end of the century the popularity of ventriloquism, both in music halls and as home entertainment, was such that there were a number of ‘how-to’ books available for the amateur or would-be professional. This archive feature looks at four of these books and the nature of their instruction. It has to be said that although each of these tomes is meant to be a purely practical guide to the art, they do, at the same time, reveal something of the prejudices of the period. Frederic MacCabe is probably the most famous of the authors represented here. MacCabe did not use a ventriloquist dummy; instead he created the illusion of other characters being on stage, but hidden from the audience. ITEM 1: Frederic MacCabe, The Art of Ventriloquism: including full directions to learners how to acquire a pleasing vocalisation with amusing dialogues (1875) (Figure 1). This book is still available in reprint form, and is widely regarded as a classic how-to manual. The last book in this selection, Hercat’s Ventriloquist and Ventriloquial Dialogues (1905), begins with the remark that ‘[s]everal books have been written of the subject of ventriloquism, of which the one by my dear old friend, the late Frederic MacCabe, is by far the best’ (5). After an introduction on the history and nature of ventriloquism, MacCabe goes on to give instructions on how to develop the skill, and gives sample scripts that the would-be ventriloquist can practise (see Figure 2). Like much of the humour of the period these scripts depend on wordplay, and look decidedly tired and predictable. For example, in the English Railway Porter sketch, the porter of the title deals with various troublesome passengers, all played by the ventriloquist himself. Typical of the dialogue is the porter saying, ‘Here, I say, young man, you mustn’t smoke here. There’s no smoking allowed’. A ‘Jocular man’ replies: ‘We wasn’t smoking aloud, we was smoking quietly’ (73). MacCabe adds some stories of his life, such as an account of an ‘itinerant polyphonist’ he saw as a boy on a ferryboat between Liverpool and Seacombe. Much later he saw a music hall advertisement for somebody he calls Professor Somebody with his talking dolls, Tommy and Joe. The nature of what performers such as MacCabe saw as ‘proper’ entertainment is demonstrated by his description of the act in the music hall. He writes: ‘It was the same man, yet not the same; the simple wit, the pure humour, the individuality and naturalness of the dolls, all were changed, and the coarseness of dialogue, indecent innuendo and vulgarity had taken their place’. (79)","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"8 1","pages":"60 - 67"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87633556","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 Origins of Transmedia Storytelling in Early Twentieth Century Adaptation","authors":"J. Shelton","doi":"10.1080/17460654.2022.2045055","DOIUrl":"https://doi.org/10.1080/17460654.2022.2045055","url":null,"abstract":"[. . response time the mood of the Some respondents made media specific arguments objecting to the verse, which they felt was acceptable on stage but not on television, and the length of the speeches was also problematic.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"97 1","pages":"89 - 92"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76733440","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":"A ‘great outrage on human decency’: a trial on lewdness and indecency at a Manchester music hall in 1890","authors":"David Huxley","doi":"10.1080/17460654.2022.2076356","DOIUrl":"https://doi.org/10.1080/17460654.2022.2076356","url":null,"abstract":"ABSTRACT In Manchester in 1890 a court case was heard in which the singer Peggy Pryde was accused of singing an obscene song at the Folly Theatre of Varieties. The case provides a detailed examination of the arguments about the nature of music hall performance. Local newspapers reported the case in detail and this provides unparalleled evidence about the attitude of the authorities to specific performances, the nature of censorship and definitions of obscenity at this time.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"18 1","pages":"21 - 33"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76455126","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}