Early Popular Visual Culture最新文献

{"title":"Painting words: aesthetics and the relationship between image and text","authors":"Antony Huen","doi":"10.1080/17460654.2021.2001735","DOIUrl":"https://doi.org/10.1080/17460654.2021.2001735","url":null,"abstract":"that country, while Annie Fee argues compellingly that Broken Blossoms (1919) brought to the fore the contested notions of the cinema’s future in France. A note should be made regarding the beautiful presentation of the book, which contains numerous stills of Griffith’s films to accompany authors’ arguments. Overall, in its scope, reassessment of previously discussed themes, and new insights, the volume represents a useful contribution to the scholarship of Griffith for scholars and students alike.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"1 1","pages":"85 - 87"},"PeriodicalIF":0.2,"publicationDate":"2021-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89745225","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 the scene and the silver screen: early Romanian cinema and the rediscovery of the ‘lost’ woman film pioneer Marioara Voiculescu","authors":"A. Grgić","doi":"10.1080/17460654.2021.2079163","DOIUrl":"https://doi.org/10.1080/17460654.2021.2079163","url":null,"abstract":"ABSTRACT Although some significant contributions to early filmmaking production and exhibition involve strong entrepreneurial female figures, very few women’s names appear in the histories of Balkan cinemas. Based on original archival research and press of the time, this article foregrounds the filmmaking activities of the Romanian theatre director and actress Marioara Voiculescu (1885–1976) and the role of her star persona and theatrical experience in the making of early fiction films produced by Leon M. Popescu’s Filmul de Artă company. Voiculescu achieved considerable success during her lifetime, a prolific stage career, founding her own theatre company in 1912, and playing a key role in the production of early films in 1913, yet she has received scant attention in film scholarship thus far. By shifting the focus to Voiculescu’s contribution to early cinema in Romania, I reflect more broadly on the spaces and roles that women occupied in popular culture within the ongoing process of modernisation of Romanian society.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"3 1","pages":"364 - 391"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87940805","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":"Proto-cinephilia: retheorizing working class women’s moviegoing pre-1920","authors":"S. Brand-Fisher","doi":"10.1080/17460654.2022.2074944","DOIUrl":"https://doi.org/10.1080/17460654.2022.2074944","url":null,"abstract":"ABSTRACT Where are the women within historical and theoretical discourses on the cinephilic phenomenon? Christian Keathley boasts that the cinephile’s experience draws its intensity partially from the fact that ‘it cannot be reduced or tamed by interpretation’ (2005, 9). I question whether the female cinephile is allotted that same experience, ‘untamed’ as it were. Both sides of cinephilia’s ‘Janus face’ have been known to close their eyes to the female cinephile, or otherwise enforce a binary between her consumerist ‘fan’ participation and the traditionally masculine, legitimately ‘untamed’ enthusiasm of the male cinephile. My article raises the question of whether we can look to working class women’s moviegoing practices pre-1920 as new ground for theoretical and historical discourse on cinephilia. Before widespread efforts to ‘uplift’ cinema became more standardized, and before critical attention to cinema as an art form became ubiquitous, there could be fruitful ground to honor and expand upon cinephilia’s ‘radical potentialities’ by repositioning cinephilic imperatives like the cinephile’s ritual, ‘panoramic perception’, ‘the privileged moment’, and ‘the cinephilic anecdote’ in a different historical context. This article insists on new ontological territory in the study of cinephilia to include marginalized women as active participants in cinema’s early cultural production.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"2 1","pages":"301 - 323"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75052188","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 dainty: the aesthetics of female film stardom in the transitional period","authors":"Pansy Duncan","doi":"10.1080/17460654.2021.2074945","DOIUrl":"https://doi.org/10.1080/17460654.2021.2074945","url":null,"abstract":"ABSTRACT This article discusses ‘the dainty’, an aesthetic category that rose to prominence in the trade and fan press during American cinema’s transitional era as a means of characterizing female stars like Lillian Gish, Mary Pickford, Marguerite Clarke, Billie Rhodes and Lois Wilson. The readiest reading of the dainty is that, like the stars the term often described, it was a throwback to an older, diminutive ideal of femininity that bore little relation to the ‘modern’ woman as she was emerging in the early twentieth century at the intersection of aesthetic modernism and industrial modernity. This article, however, contends that the dainty has more in common with paradigmatically modern aesthetics like ‘glamour’ than one might initially suppose. As I show, the dainty’s modernity is twofold. First, it lies in the category’s objective register, where its formal qualities, most notably its diminutiveness, afford it an unexpected affinity with modernist mandates of restraint and reduction. Second, it lies in the category’s subjective register, where its association with ‘fastidiousness’ suggests a calculating and discriminating form of aesthetic subjectivity that is peculiarly modern by virtue of its aesthetic reflexivity. In paying close attention to one of the specifically aesthetic categories that define female star images at this period, I join a small coterie of scholars, like Lea Jacobs and Rosalind Galt, who have set out to explore the aesthetic formations through which we evaluate and experience film and film-adjacent phenomena.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"63 1","pages":"324 - 341"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73201182","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":"“Whispers Heard at the Pictures”: women’s work in early cinema","authors":"E. Drummer, L. Sanders","doi":"10.1080/17460654.2021.2074943","DOIUrl":"https://doi.org/10.1080/17460654.2021.2074943","url":null,"abstract":"ABSTRACT In this essay, we offer a comparative analysis of women service workers in early cinema in Britain and the United States from the 1910s to the 1930s. Although this period has been the subject of much important scholarship in film history over the past several decades, women’s experiences as box office attendants, cashiers, cigarette girls, purveyors of ice cream and sweets, and especially as usherettes, constitute an under-researched field. Tracing the narratives surrounding women’s work in a wide variety of capacities in early cinema auditoriums can illuminate much about how women were perceived as employees and sexualized as objects of the gaze of male patrons, while, at the same time, acting as spectators and mediators with a privileged perspective on both the screen and the audience. In pursuing this line of inquiry, we draw not only on existing scholarship, but also on our own original research on industry journals, girls’ and women’s popular magazines, star and fan culture, and changing conditions for women’s labor and leisure in the interwar period.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"13 1","pages":"278 - 300"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90515000","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":"Imagining British film beauty: gender and national identity in 1920s ‘star search’ contests","authors":"Chris O’Rourke","doi":"10.1080/17460654.2021.2074955","DOIUrl":"https://doi.org/10.1080/17460654.2021.2074955","url":null,"abstract":"ABSTRACT In the late 1910s and 1920s, a number of British national newspapers were involved in competitions to find potential stars for the British cinema. These ‘star search’ contests were aimed predominantly at young women. Often run in collaboration with British film producers, the competitions reflected, and sought to capitalise on, a moment of optimism about the prospects of the British production sector on the world market. But, as the language used to promote the contests made clear, the winners were also expected to embody a specifically British version of femininity, which would allow them to compete successfully with their Hollywood rivals. Focussing on the publicity surrounding one early scheme, the ‘Screen Beauty’ competition promoted by Pathé and the Express newspapers in 1920, this article examines the role of the British popular press in contributing to a gendered image of film stardom in the years immediately after the First World War.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"38 8","pages":"342 - 363"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72466257","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":"Gender and the Nasty Women of history","authors":"Maggie Hennefeld, Laura Horak, Elif Rongen-Kaynakçi","doi":"10.1080/17460654.2021.2074962","DOIUrl":"https://doi.org/10.1080/17460654.2021.2074962","url":null,"abstract":"ABSTRACT For the past two years, Maggie Hennefeld, Laura Horak, and Elif Rongen-Kaynakçi have been curating Cinema’s First Nasty Women: a 4-disc DVD/Blu-ray set that features 99 archival silent films and will be released by Kino Lorber in August 2022 (see https://wfpp.columbia.edu/cinemas-first-nasty-women/). In this co-written archive piece, they put theory into action and share tantalizing snippets from the collection. Women combust out of the chimney, cross-dress as men, take over the government, and exhibit their outsized desires in ways that only cinema could make visible – and that remain visible due to the passionate labor of feminist scholars, researchers, archivists, and cinephiles.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"41 1","pages":"392 - 413"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90707587","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 Gender of Early Cinema","authors":"Andrew Shail","doi":"10.1080/17460654.2022.2074927","DOIUrl":"https://doi.org/10.1080/17460654.2022.2074927","url":null,"abstract":"When an editor includes themself amongst their contributors, they can easily – and erroneously – come to see their own contribution as typical of the whole. When Part 2 of this double special issue rolls around, readers will encounter my own account of the pervasive tendency in popular film discourse in the UK during the 1910s and 1920s to overtly code cinema female, and may suspect that this double special issue bears the title “The Gender of Early Cinema” because I see all of my fellow contributors as doing essentially the same thing, in ignorance of the conspicuous variety of subjects – women service workers in cinemas (Emily Drummer and Lise Shapiro Sanders’s article), working-class women’s (proto)-cinephilic practices (Sonia Brand-Fisher’s article), the storehouse of concepts allied to the term ‘dainty’ in film discourse (Pansy Duncan’s article), ‘star search’ competitions aimed solely at women (Chris O’Rourke’s article), the career of the theatre performer/director and cinema performer/producer Mărioara Voiculescu (Ana Grgić’s article), and female characters and female performers in films between 1903 and 1919 who overtly attacked the gender norms of their surrounding cultures (Maggie Hennefeld, Laura Horak and Elif Rongen-Kaynakçi’s archive feature) – that are considered in the following pages. But these six contributions alone, even in the momentary absence of the others forthcoming in Part 2, demonstrate that across its many overlapping spheres of activity cinema had its own gender, not in the sense that cinema was feminine as distinct from masculine (or, indeed, vice versa), i.e. one gender category out of two, and only two, available gender categories; instead, cinema had its own gender in the sense that it endorsed this specific version of the theoretically unlimited number of versions that gender – defined as the habituated norms of thought and action applied to people according to their perceived sex – can take at any given moment. Because it is ‘just’ a set of ideas, gender is highly variable, meaning that it can manifest in many slightly different versions even in one region at one historical moment, and every field of human activity offers opportunities for such difference. Both acknowledging and building on an already substantial body of work, the contributions to this double special issue collectively show that although the specific version of this cluster of norms – which we call ‘gender’ – that circulated in the many fields of activity associated with cinema during the period before 1920 admitted of some internal variation, this specific cluster of norms nonetheless collectively constituted a very specific set of ideas about masculinity and femininity that, amongst its other elements, a) acknowledged substantial similarities between men and women, sometimes explicitly and sometimes implicitly, b) maintained a long-standing attribution to women’s bodies","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"94 1","pages":"275 - 277"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75927059","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":"Physical characteristics of early films as aids to identification","authors":"I. Christie","doi":"10.1080/17460654.2021.1978613","DOIUrl":"https://doi.org/10.1080/17460654.2021.1978613","url":null,"abstract":"Unfortunately, this book does not discuss such theoretical premises. Some chapters put actors/ stars at the center of their discussion. For example, Conrad Veidt is explicitly called the co-auteur of The Man Who Laughs. Therefore, a short explanation about the strengths and limits of theories on authorship might have helped to deepen the theoretical backbone of the book. In sum, ‘The Films of Paul Leni’ is a welcome addition to Weimar cinema scholarship and a reminder that Leni’s films are worth a second – and definitely a first close look.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"8 1","pages":"1 - 3"},"PeriodicalIF":0.2,"publicationDate":"2021-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79662819","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 kinematograph theatre arrives: part III of the London county council and the cinematograph","authors":"M. Arts","doi":"10.1080/17460654.2021.1965282","DOIUrl":"https://doi.org/10.1080/17460654.2021.1965282","url":null,"abstract":"","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"54 1","pages":"1 - 2"},"PeriodicalIF":0.2,"publicationDate":"2021-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72846725","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}