Pub Date : 2023-08-01DOI: 10.1080/17460654.2023.2242631
Pamela Hutchinson
up the evidence for the potential of a Brunel less constrained by the industry. A curator at the British Film Institute, Botting clearly understands the value of archival research to illuminate a subject such as this; the book is a showcase for the value of such materials to uncover and interrogate the past and engage new audiences, with the BFI’s Adrian Brunel Special Collection here to the fore. Highly recommended.
{"title":"The silent muse: the memoirs of Asta Nielsen","authors":"Pamela Hutchinson","doi":"10.1080/17460654.2023.2242631","DOIUrl":"https://doi.org/10.1080/17460654.2023.2242631","url":null,"abstract":"up the evidence for the potential of a Brunel less constrained by the industry. A curator at the British Film Institute, Botting clearly understands the value of archival research to illuminate a subject such as this; the book is a showcase for the value of such materials to uncover and interrogate the past and engage new audiences, with the BFI’s Adrian Brunel Special Collection here to the fore. Highly recommended.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"9 1","pages":"481 - 483"},"PeriodicalIF":0.2,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80833597","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 : 2023-07-24DOI: 10.1080/17460654.2023.2236482
A. Reynolds
{"title":"Cut/copy/paste: fragments from the history of bookwork","authors":"A. Reynolds","doi":"10.1080/17460654.2023.2236482","DOIUrl":"https://doi.org/10.1080/17460654.2023.2236482","url":null,"abstract":"","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"30 1","pages":"477 - 479"},"PeriodicalIF":0.2,"publicationDate":"2023-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73456695","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 : 2023-07-24DOI: 10.1080/17460654.2023.2240096
Michael Williams
{"title":"Adrian Brunel and British cinema of the 1920s: the artist versus the moneybags","authors":"Michael Williams","doi":"10.1080/17460654.2023.2240096","DOIUrl":"https://doi.org/10.1080/17460654.2023.2240096","url":null,"abstract":"","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"15 1","pages":"479 - 481"},"PeriodicalIF":0.2,"publicationDate":"2023-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77673741","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 : 2023-07-10DOI: 10.1080/17460654.2023.2227915
S. Yu
ABSTRACT My article examines the structure of the nineteenth-century British paper peepshow and the experience of using it. Inspired by the agenda of media archaeology, I argue that an analysis of this medium that goes beyond excavating details of an obscured optical recreation can bring new insight into our understanding of peep media and nineteenth-century visual culture. By discussing the origin and circulation of the paper peepshow and detailing the clear distinction between it and media like the peepshow box and pop-up books, I detach the paper peepshow from the genealogy of these media while stressing the significance of its intermedial relationship with other nineteenth-century visual entertainments. I then adopt the notion of embodied knowledge to explore users’ engagement with this medium, drawing from personal handling experience in archives as well as theoretical conceptualisations. My article argues that peering into the paper peepshow should be understood as an act of creativity and imagination, and that the tactile played a crucial role in users’ interaction with this medium. This study thus fits well in debates about the embodied or multi-sensory vision in the nineteenth-century context, and functions as another example that affirms the active agency of users of visual recreations of this period. Overall, by analysing significant features of the paper peepshow and the experience of peeping into it, my research also constitutes a small but important expansion in the current understanding of peep media.
{"title":"An amusing optical toy for the hands?: reassessing nineteenth-century British paper peepshows through embodied knowledge","authors":"S. Yu","doi":"10.1080/17460654.2023.2227915","DOIUrl":"https://doi.org/10.1080/17460654.2023.2227915","url":null,"abstract":"ABSTRACT My article examines the structure of the nineteenth-century British paper peepshow and the experience of using it. Inspired by the agenda of media archaeology, I argue that an analysis of this medium that goes beyond excavating details of an obscured optical recreation can bring new insight into our understanding of peep media and nineteenth-century visual culture. By discussing the origin and circulation of the paper peepshow and detailing the clear distinction between it and media like the peepshow box and pop-up books, I detach the paper peepshow from the genealogy of these media while stressing the significance of its intermedial relationship with other nineteenth-century visual entertainments. I then adopt the notion of embodied knowledge to explore users’ engagement with this medium, drawing from personal handling experience in archives as well as theoretical conceptualisations. My article argues that peering into the paper peepshow should be understood as an act of creativity and imagination, and that the tactile played a crucial role in users’ interaction with this medium. This study thus fits well in debates about the embodied or multi-sensory vision in the nineteenth-century context, and functions as another example that affirms the active agency of users of visual recreations of this period. Overall, by analysing significant features of the paper peepshow and the experience of peeping into it, my research also constitutes a small but important expansion in the current understanding of peep media.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"323 1","pages":"434 - 450"},"PeriodicalIF":0.2,"publicationDate":"2023-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78392730","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 : 2023-06-29DOI: 10.1080/17460654.2023.2230026
Verónica Uribe Hanabergh
{"title":"Speculative landscapes: American art and real estate in the nineteenth century","authors":"Verónica Uribe Hanabergh","doi":"10.1080/17460654.2023.2230026","DOIUrl":"https://doi.org/10.1080/17460654.2023.2230026","url":null,"abstract":"","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"1 1","pages":"474 - 476"},"PeriodicalIF":0.2,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73640136","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 : 2023-06-28DOI: 10.1080/17460654.2023.2229995
Aurore Spiers
{"title":"Transnational Trailblazers of Early Cinema: Sarah Bernhardt, Gabrielle Réjane, Mistinguett","authors":"Aurore Spiers","doi":"10.1080/17460654.2023.2229995","DOIUrl":"https://doi.org/10.1080/17460654.2023.2229995","url":null,"abstract":"","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"192 1","pages":"471 - 473"},"PeriodicalIF":0.2,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83072067","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 : 2023-06-15DOI: 10.1080/17460654.2023.2220226
I. Christie
turning her PhD into a book, Grgić would have been best advised to cut the umbilical cord with what was the prevailing trend in Balkan studies while she was a student, and, with an exceptional work such as this, to set her own agenda. What her book does marvellously well is it exposes the exceptionally high level of both entrepreneurial and creative spirit found right across the region, producing extraordinary work, often with precariously limited means. It is precisely this industrious production and consumption of ‘the sublime’ in the Balkans that places it on an equal footing with the ongoing aspirations of the West. If the Balkan region can, as this book demonstrates, live beyond and outside the West, then there really was no reason to have to continually pivot its existence back to it. Quite the opposite. A strong feeling remains that this is what should have precisely been the objective of the work, not just to ‘unhinge’ the Balkans from the West, but to allow the former to legitimately formulate its own parameters without having to pay any dues, even if the Cinématograph did arrive from Paris. While the Cinématograph was flâneuring through, its fleeting presence was insignificant in comparison to the cross-fertilising cultural effects that it left behind, which in themselves are the focus of this brilliant study.
{"title":"Shedding fresh light on lanterns","authors":"I. Christie","doi":"10.1080/17460654.2023.2220226","DOIUrl":"https://doi.org/10.1080/17460654.2023.2220226","url":null,"abstract":"turning her PhD into a book, Grgić would have been best advised to cut the umbilical cord with what was the prevailing trend in Balkan studies while she was a student, and, with an exceptional work such as this, to set her own agenda. What her book does marvellously well is it exposes the exceptionally high level of both entrepreneurial and creative spirit found right across the region, producing extraordinary work, often with precariously limited means. It is precisely this industrious production and consumption of ‘the sublime’ in the Balkans that places it on an equal footing with the ongoing aspirations of the West. If the Balkan region can, as this book demonstrates, live beyond and outside the West, then there really was no reason to have to continually pivot its existence back to it. Quite the opposite. A strong feeling remains that this is what should have precisely been the objective of the work, not just to ‘unhinge’ the Balkans from the West, but to allow the former to legitimately formulate its own parameters without having to pay any dues, even if the Cinématograph did arrive from Paris. While the Cinématograph was flâneuring through, its fleeting presence was insignificant in comparison to the cross-fertilising cultural effects that it left behind, which in themselves are the focus of this brilliant study.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"78 1","pages":"401 - 403"},"PeriodicalIF":0.2,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88005129","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 : 2023-06-08DOI: 10.1080/17460654.2023.2220228
Jamie Danis
{"title":"MoMA goes to Paris in 1938: building and politicizing American Art","authors":"Jamie Danis","doi":"10.1080/17460654.2023.2220228","DOIUrl":"https://doi.org/10.1080/17460654.2023.2220228","url":null,"abstract":"","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"66 1","pages":"404 - 406"},"PeriodicalIF":0.2,"publicationDate":"2023-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81422836","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 : 2023-05-05DOI: 10.1080/17460654.2023.2208925
Vlastimir Sudar
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.
{"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}
Pub Date : 2023-05-04DOI: 10.1080/17460654.2023.2206008
Sabrina Francesca Crivelli
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.
{"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}
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