Pub Date : 2024-02-21DOI: 10.1080/17460654.2024.2320947
Simon Brown
Published in Early Popular Visual Culture (Ahead of Print, 2024)
发表于《早期大众视觉文化》（2024 年，提前出版）
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Pub Date : 2024-02-13DOI: 10.1080/17460654.2024.2315380
Greta Perletti
Published in Early Popular Visual Culture (Ahead of Print, 2024)
发表于《早期大众视觉文化》（2024 年，提前出版）
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Pub Date : 2024-02-06DOI: 10.1080/17460654.2024.2314374
Kim Khavar Fahlstedt
Published in Early Popular Visual Culture (Ahead of Print, 2024)
发表于《早期大众视觉文化》（2024 年，提前出版）
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Pub Date : 2024-02-01DOI: 10.1080/17460654.2024.2305484
Christopher Holliday
This article examines the self-reflexive discourses of deconstruction at work in the Jerry the Troublesome Tyke (1925–1927) series of cartoons created by Cardiff-based animator Sid Griffiths. Acros...
本文探讨了卡迪夫动画师希德-格里菲斯（Sid Griffiths）创作的 "淘气包杰瑞"（Jerry the Troublesome Tyke，1925-1927 年）系列漫画中的自我反思性解构话语。从...
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Pub Date : 2024-01-28DOI: 10.1080/17460654.2023.2298434
Eva Andersen, Nele Wynants
In the flourishing entertainment culture of the late nineteenth and early twentieth centuries women were omnipresent on stage, showcasing their physical prowess as dancers, acrobats, trapeze artist...
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Pub Date : 2024-01-28DOI: 10.1080/17460654.2024.2305493
Nyasha Sibanda
The Tudor Cinema was situated in Leicester’s West End, a thriving working-class district less than a mile from the city centre. It was built in 1914 with 975 seats, expanded to 1,250 in the 1920s. ...
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Pub Date : 2023-10-25DOI: 10.1080/17460654.2023.2272235
A. Maggie Hazard
{"title":"Transfixed by prehistory: an inquiry into modern art and time <b>Transfixed by prehistory: an inquiry into modern art and time</b> , by Maria Stavrinaki, New York City, Zone Books, 2022, 338 pp., $35.00 USD (hardcover), ISBN 9781942130659","authors":"A. Maggie Hazard","doi":"10.1080/17460654.2023.2272235","DOIUrl":"https://doi.org/10.1080/17460654.2023.2272235","url":null,"abstract":"","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"180 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168507","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}
Pub Date : 2023-09-04DOI: 10.1080/17460654.2023.2250684
Youquan Liu, M. Korstanje
{"title":"The art of picturing in early modern English literature","authors":"Youquan Liu, M. Korstanje","doi":"10.1080/17460654.2023.2250684","DOIUrl":"https://doi.org/10.1080/17460654.2023.2250684","url":null,"abstract":"","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"7 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76287365","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}
Pub Date : 2023-09-01DOI: 10.1080/17460654.2023.2247928
Naomi von Senff
film, alongside her screen work. So in addition to on-set anecdotes and accounts of diplomatic controversies at her hot-ticket promotional appearances, this book offers an insight into the divergent paths of stage and screen practice, and stardom, in the 1920s. Nielsen records these changes, and she makes film history happen. Allen’s publication makes it happen all over again. Nielsen’s experience was of course coloured by her success. She accumulates many victories and compliments across the course of the book, but the tone is not entirely triumphalist. This is partly because she is recounting the highlights of her career from a distance, after the slightly humbling experience of returning to Denmark, the country she left in order to achieve stardom, where she found herself much less revered, even resented. Tactfully, all she conveys of this comedown is a recollection of her fear as she leaves Germany: ‘What place do I have in a country that has become so foreign to me?’ (312) The story she tells is also a selective one. Nielsen is rigorously coy about her private life, including lovers and husbands only when (or if) they are artistic collaborators and making no mention of her daughter. She writes in an epilogue, ‘my book was intended to paint a picture of my work in film and the theater, which audiences have a right to know something about, that is to say a picture of me that belongs to the public’ (315). While this may frustrate readers of a biographical bent, Nielsen’s conviction that her work, rather than her romances, is of primary interest is central to her star identity. Nielsen’s creations on screen, like her creation on the printed page, are her own, and therefore the true ‘Die Asta’ – the public persona of a complex and brilliant woman.
{"title":"Muybridge and mobility with an introduction","authors":"Naomi von Senff","doi":"10.1080/17460654.2023.2247928","DOIUrl":"https://doi.org/10.1080/17460654.2023.2247928","url":null,"abstract":"film, alongside her screen work. So in addition to on-set anecdotes and accounts of diplomatic controversies at her hot-ticket promotional appearances, this book offers an insight into the divergent paths of stage and screen practice, and stardom, in the 1920s. Nielsen records these changes, and she makes film history happen. Allen’s publication makes it happen all over again. Nielsen’s experience was of course coloured by her success. She accumulates many victories and compliments across the course of the book, but the tone is not entirely triumphalist. This is partly because she is recounting the highlights of her career from a distance, after the slightly humbling experience of returning to Denmark, the country she left in order to achieve stardom, where she found herself much less revered, even resented. Tactfully, all she conveys of this comedown is a recollection of her fear as she leaves Germany: ‘What place do I have in a country that has become so foreign to me?’ (312) The story she tells is also a selective one. Nielsen is rigorously coy about her private life, including lovers and husbands only when (or if) they are artistic collaborators and making no mention of her daughter. She writes in an epilogue, ‘my book was intended to paint a picture of my work in film and the theater, which audiences have a right to know something about, that is to say a picture of me that belongs to the public’ (315). While this may frustrate readers of a biographical bent, Nielsen’s conviction that her work, rather than her romances, is of primary interest is central to her star identity. Nielsen’s creations on screen, like her creation on the printed page, are her own, and therefore the true ‘Die Asta’ – the public persona of a complex and brilliant woman.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"41 1","pages":"483 - 485"},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77662251","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}
Pub Date : 2023-08-15DOI: 10.1080/17460654.2023.2242593
I. Füzi
ABSTRACT This paper traces the Budapest staging of a very popular German play in Europe and US at the end of the 19th century that can be regarded as one of the earliest narratives of the cinematic experience in Hungary. Originally published with the title Hans Huckebein in 1897 and written by Oscar Blumenthal and Gustav Kadelburg, the play remained outside the horizon of early cinema scholars, although it is a rich inventory of different modes of using and interpreting moving images. The Budapest performance of the play incorporates the screening of a cinema program, including a hitherto unknown (Lumière?) film commissioned by the theatre. The characters and the theatrical audience become film viewers, and this experience is extensively debated on stage. Instantaneous photography and moving image recording allowed for trespassing the boundary between private and public, since the model’s consent was not technically required for the recording process. The ‘scandal’ staged by the play is the presentation of a (moving) image ‒ considered personal and private ‒ in the public space of the cinema. The debate around this scandal contributes to the redefinition of both personal identity, construed increasingly as an image, and the public sphere as a realm of censored images. The article sets out to map the variability of practices and cultural codes ‒ such as theatrical plots, practices of instant and studio photography, personal image protection, copyright ‒ that affected the interpretation and uses of moving images.
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