{"title":"Queer Timing: The Emergence of Lesbian Sexuality in Early Cinema","authors":"Emma Morton","doi":"10.1080/17460654.2022.2100579","DOIUrl":null,"url":null,"abstract":"balloon in 1783 was accompanied with fireworks; flight has always been presented as a spectacle and entertainment (121). Aeroscopics: Media of the Bird’s-Eye View is an elegantly written, deftly structured and important contribution to visual studies. The aerial perspective on our surroundings was of widespread and lively public interest for a century before the first world war as Ellis’ research and discussion make clear. If it is indeed the case that a disenchantment with aerial vision as an instrument of power projection set in with the advent of war – Ellis recovers the original excitement of this visuality in its enactment of absorption and curiosity. In a contemporary moment as aeroscopic moving images of conflict landscapes are widely shared on social media platforms, this book is timely and relevant.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"1 1","pages":"431 - 432"},"PeriodicalIF":0.1000,"publicationDate":"2022-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Early Popular Visual Culture","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17460654.2022.2100579","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
Abstract
balloon in 1783 was accompanied with fireworks; flight has always been presented as a spectacle and entertainment (121). Aeroscopics: Media of the Bird’s-Eye View is an elegantly written, deftly structured and important contribution to visual studies. The aerial perspective on our surroundings was of widespread and lively public interest for a century before the first world war as Ellis’ research and discussion make clear. If it is indeed the case that a disenchantment with aerial vision as an instrument of power projection set in with the advent of war – Ellis recovers the original excitement of this visuality in its enactment of absorption and curiosity. In a contemporary moment as aeroscopic moving images of conflict landscapes are widely shared on social media platforms, this book is timely and relevant.