Pub Date : 2022-10-17DOI: 10.1080/17460654.2022.2128845
N. Kaalund
ABSTRACT When the British Arctic Expedition of 1875 under command of George Nares left in search of the North Pole, they brought with them the most up-to-date photographic equipment available to the British Admiralty. Two crew members received instruction in photography from the astronomer, engineer and photographer, William Abney at Chatham, and Abney also sourced the wet and dry-plate equipment provided for the expedition. The expedition was unsuccessful in its ambitious geographical goal of reaching the North Pole, but it returned in 1876 with over 100 photographs. However, the Admiralty did not immediately release the photographs, which was a decision that was broadly criticized in the British periodical press. This was the first time an expedition had successfully returned with photographs taken in the high Arctic, so why did the Admiralty withhold the photographs? In this article, I use examples from the Illustrated London News and Nares’ official travel account Narrative of A Voyage to the Polar Sea (1878) to examine the use of photography in constructing specific ideals of exploration in the context of the British Arctic Exploration of 1875. I show that the use of photography in the Arctic had been an experiment, both in terms of using new technologies while travelling in the high north, and in incorporating this new medium into the visual archives and narrative storytelling of expeditions. The use of different forms of illustrations also speaks the construction of visual authority and narratorial control in the context of imperial expansionism in the North.
{"title":"‘The Admiralty has been keeping its pictures’: photography and the British Arctic Expedition, 1875–1876","authors":"N. Kaalund","doi":"10.1080/17460654.2022.2128845","DOIUrl":"https://doi.org/10.1080/17460654.2022.2128845","url":null,"abstract":"ABSTRACT When the British Arctic Expedition of 1875 under command of George Nares left in search of the North Pole, they brought with them the most up-to-date photographic equipment available to the British Admiralty. Two crew members received instruction in photography from the astronomer, engineer and photographer, William Abney at Chatham, and Abney also sourced the wet and dry-plate equipment provided for the expedition. The expedition was unsuccessful in its ambitious geographical goal of reaching the North Pole, but it returned in 1876 with over 100 photographs. However, the Admiralty did not immediately release the photographs, which was a decision that was broadly criticized in the British periodical press. This was the first time an expedition had successfully returned with photographs taken in the high Arctic, so why did the Admiralty withhold the photographs? In this article, I use examples from the Illustrated London News and Nares’ official travel account Narrative of A Voyage to the Polar Sea (1878) to examine the use of photography in constructing specific ideals of exploration in the context of the British Arctic Exploration of 1875. I show that the use of photography in the Arctic had been an experiment, both in terms of using new technologies while travelling in the high north, and in incorporating this new medium into the visual archives and narrative storytelling of expeditions. The use of different forms of illustrations also speaks the construction of visual authority and narratorial control in the context of imperial expansionism in the North.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"84 1","pages":"303 - 330"},"PeriodicalIF":0.2,"publicationDate":"2022-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80825557","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 : 2022-10-10DOI: 10.1080/17460654.2022.2130206
Anushrut Ramakrishnan Agrwaal
movies in the newspapers’? (252) While several of the cohort went on to have illustrious positions, at least three of the women did not stop writing about movies, but took their talents into the fan magazines, that other contemporaneously burgeoning product that served the new industry and, like the newspaper film pages, were full of musings on stars and stardom. It is fascinating to read the later work of Grace Kingsley, Harriette Underhill and Parsons in New Movie, Picture Play, Screenland and other fan magazines and see what techniques they learned in their earlier jobs. Abel changes the active subjects he examines from that of the Variety anecdote, altering the focus from the more traditional sole man to this group of women; in this engrossing collection, he both celebrates their work and reveals them as no less ‘ambitious, courageous and undaunted’ than the Variety maidens, and as fascinated by the movies.
{"title":"The picture postcard: a new window into Edwardian Ireland","authors":"Anushrut Ramakrishnan Agrwaal","doi":"10.1080/17460654.2022.2130206","DOIUrl":"https://doi.org/10.1080/17460654.2022.2130206","url":null,"abstract":"movies in the newspapers’? (252) While several of the cohort went on to have illustrious positions, at least three of the women did not stop writing about movies, but took their talents into the fan magazines, that other contemporaneously burgeoning product that served the new industry and, like the newspaper film pages, were full of musings on stars and stardom. It is fascinating to read the later work of Grace Kingsley, Harriette Underhill and Parsons in New Movie, Picture Play, Screenland and other fan magazines and see what techniques they learned in their earlier jobs. Abel changes the active subjects he examines from that of the Variety anecdote, altering the focus from the more traditional sole man to this group of women; in this engrossing collection, he both celebrates their work and reveals them as no less ‘ambitious, courageous and undaunted’ than the Variety maidens, and as fascinated by the movies.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"31 1","pages":"179 - 181"},"PeriodicalIF":0.2,"publicationDate":"2022-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79099834","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 : 2022-10-02DOI: 10.1080/17460654.2022.2087710
S. Dominici
ABSTRACT In 1899, a group of photographic societies and camera clubs in the north of England came together to form the Yorkshire Photographic Union. Soon after, five other photographic federations were founded by societies and clubs in Northumberland and Durham (1901), Scotland (1903), Lancashire and Cheshire (1905), the Midlands (1907), and East Anglia (1910). These umbrella organisations supported their federated members by coordinating the circulation of photographic materials, lecturers, and judges, and by organising joint meetings, outings, and competitions. At a time when formal photographic education was still in its infancy and largely open to professionals only, and in line with this period’s concerns with rational recreation and mutual support, the photographic federations fostered opportunities for a growing body of amateur photographers to learn from one another. This article reconstructs the largely under-researched emergence of these organisations, and asks what their educational project tells us about their understanding of how people ought to be taught and learn photography, and the values and meanings that they attached to these practices. It reveals that their vision was shaped not simply by a desire to combine instruction with sociability but, most fundamentally, by the recognition that the acquisition of theoretical and practical photographic knowledge depended on collaborative practices. The article argues that doing photography with others at the level of clubs and societies had brought them first to imagine, and then to realise, an educational infrastructure that conceptualised the transmission of photographic knowledge as a shared social responsibility supported by a cooperative network.
{"title":"Early photographic federations and the pursuit of collaborative education","authors":"S. Dominici","doi":"10.1080/17460654.2022.2087710","DOIUrl":"https://doi.org/10.1080/17460654.2022.2087710","url":null,"abstract":"ABSTRACT In 1899, a group of photographic societies and camera clubs in the north of England came together to form the Yorkshire Photographic Union. Soon after, five other photographic federations were founded by societies and clubs in Northumberland and Durham (1901), Scotland (1903), Lancashire and Cheshire (1905), the Midlands (1907), and East Anglia (1910). These umbrella organisations supported their federated members by coordinating the circulation of photographic materials, lecturers, and judges, and by organising joint meetings, outings, and competitions. At a time when formal photographic education was still in its infancy and largely open to professionals only, and in line with this period’s concerns with rational recreation and mutual support, the photographic federations fostered opportunities for a growing body of amateur photographers to learn from one another. This article reconstructs the largely under-researched emergence of these organisations, and asks what their educational project tells us about their understanding of how people ought to be taught and learn photography, and the values and meanings that they attached to these practices. It reveals that their vision was shaped not simply by a desire to combine instruction with sociability but, most fundamentally, by the recognition that the acquisition of theoretical and practical photographic knowledge depended on collaborative practices. The article argues that doing photography with others at the level of clubs and societies had brought them first to imagine, and then to realise, an educational infrastructure that conceptualised the transmission of photographic knowledge as a shared social responsibility supported by a cooperative network.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"258 1","pages":"388 - 411"},"PeriodicalIF":0.2,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76365685","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 : 2022-09-15DOI: 10.1080/17460654.2022.2122314
Tamar Jeffers McDonald
of the park as well as the rhetoric of wonder. In the final essay in part III, ‘Art and the Expeditionary Impulse’, Capello focuses on Albert Operti, the historical Arctic painter (Chapter 11). In this chapter, he considers the popularity of Operti’s work in the context of the Arctic sublime and its perpetuation as a vernacular visual culture by exploring a variety of media, including paintings, periodical illustrations, postcards, tobacco cards, dioramas and travel exhibits. The discussion of the ‘popular sublime’ and commercialisation of the Far North in vernacular/ephemeral forms (217) expands the theme of this collection to the imagined expeditionary ideals beyond physical experience and direct observation. The inclusion of works by art historians, historians and geographers, as well as the origin of the project, gives Cartographic Expeditions and Visual Culture in the Nineteenth-Century Americas a breadth of diversity of issues and subjects. Unfortunately, although this book deals with the visual and material culture of mapping, the hardcover copy offers only black-and-white illustrations. Despite this limitation, however, this volume should serve as a good example for future studies of the Americas as hemispheric studies of visual culture rather than as nation-centred histories. This book will be of value to anyone who is interested in cartography and identity as well as in transnational histories within or beyond the geographical region of the Americas. Moreover, the issue of borders and the implications of lines resonate with current territorial disputes about national boundaries.
{"title":"Movie Mavens: US newspaperwomen take on the movies, 1914-1923","authors":"Tamar Jeffers McDonald","doi":"10.1080/17460654.2022.2122314","DOIUrl":"https://doi.org/10.1080/17460654.2022.2122314","url":null,"abstract":"of the park as well as the rhetoric of wonder. In the final essay in part III, ‘Art and the Expeditionary Impulse’, Capello focuses on Albert Operti, the historical Arctic painter (Chapter 11). In this chapter, he considers the popularity of Operti’s work in the context of the Arctic sublime and its perpetuation as a vernacular visual culture by exploring a variety of media, including paintings, periodical illustrations, postcards, tobacco cards, dioramas and travel exhibits. The discussion of the ‘popular sublime’ and commercialisation of the Far North in vernacular/ephemeral forms (217) expands the theme of this collection to the imagined expeditionary ideals beyond physical experience and direct observation. The inclusion of works by art historians, historians and geographers, as well as the origin of the project, gives Cartographic Expeditions and Visual Culture in the Nineteenth-Century Americas a breadth of diversity of issues and subjects. Unfortunately, although this book deals with the visual and material culture of mapping, the hardcover copy offers only black-and-white illustrations. Despite this limitation, however, this volume should serve as a good example for future studies of the Americas as hemispheric studies of visual culture rather than as nation-centred histories. This book will be of value to anyone who is interested in cartography and identity as well as in transnational histories within or beyond the geographical region of the Americas. Moreover, the issue of borders and the implications of lines resonate with current territorial disputes about national boundaries.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"51 1","pages":"177 - 179"},"PeriodicalIF":0.2,"publicationDate":"2022-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74984247","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 : 2022-09-06DOI: 10.1080/17460654.2022.2110788
Peter Domankiewicz
{"title":"The Man Who Invented Motion Pictures: a true tale of obsession, murder, and the movies","authors":"Peter Domankiewicz","doi":"10.1080/17460654.2022.2110788","DOIUrl":"https://doi.org/10.1080/17460654.2022.2110788","url":null,"abstract":"","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"53 1","pages":"173 - 175"},"PeriodicalIF":0.2,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76584140","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 : 2022-07-20DOI: 10.1080/17460654.2022.2099097
E. Marshall
{"title":"Cinema on the Front Line: British Soldiers and Cinema in the First World War","authors":"E. Marshall","doi":"10.1080/17460654.2022.2099097","DOIUrl":"https://doi.org/10.1080/17460654.2022.2099097","url":null,"abstract":"","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"26 1","pages":"427 - 429"},"PeriodicalIF":0.2,"publicationDate":"2022-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84822734","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 : 2022-07-19DOI: 10.1080/17460654.2022.2099515
S. Connolly
journal. I wonder what the veterans thought of the memorial, with its elegance and symbolism more vivid than the realities and scars of war, quite like the patriotic and censored war films shown to the public. Reading about the day-to-day experiences on the front line, the joy and the fright and the hurt, I see a bit more life in the statue soldiers and mourn those who fell with more weight. Perhaps most importantly, Grosvenor’s layered research of British soldiers and WWI cinema connects the reader with life from 1914 to 1918 and makes it seem not that long ago.
{"title":"Aeroscopics: media of the Bird’s-Eye View","authors":"S. Connolly","doi":"10.1080/17460654.2022.2099515","DOIUrl":"https://doi.org/10.1080/17460654.2022.2099515","url":null,"abstract":"journal. I wonder what the veterans thought of the memorial, with its elegance and symbolism more vivid than the realities and scars of war, quite like the patriotic and censored war films shown to the public. Reading about the day-to-day experiences on the front line, the joy and the fright and the hurt, I see a bit more life in the statue soldiers and mourn those who fell with more weight. Perhaps most importantly, Grosvenor’s layered research of British soldiers and WWI cinema connects the reader with life from 1914 to 1918 and makes it seem not that long ago.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"63 1","pages":"429 - 431"},"PeriodicalIF":0.2,"publicationDate":"2022-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78555486","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 : 2022-07-18DOI: 10.1080/17460654.2022.2100579
Emma Morton
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.
{"title":"Queer Timing: The Emergence of Lesbian Sexuality in Early Cinema","authors":"Emma Morton","doi":"10.1080/17460654.2022.2100579","DOIUrl":"https://doi.org/10.1080/17460654.2022.2100579","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":0.2,"publicationDate":"2022-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90852207","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 : 2022-07-15DOI: 10.1080/17460654.2022.2093243
Kim K. Fahlstedt
ABSTRACT Late in 1914, Universal released The Master Key, a motion picture serial in 15 installments. Robert Z. Leonard directed and starred, and the project was marketed as the ‘most expensive serial yet’. The weekly film release was paralleled by a syndicated newspaper feuilleton, illustrated by stills from the motion pictures. Stills were also incorporated into an illustrated reissue of Fleming Wilson’s story, as well as in promotional materials, like illustrated ads and a 20-page poster stamp album published by the Wentz Printing Company. By way of a cross-media investigation of the (1914) serial The Master Key, this study contributes a case in point of how film stills circulated outside the movie theater. The film material has been reported lost, but some reels have been preserved at the Library of Congress. One of the preserved reels contains the episode set in San Francisco’s Chinatown. For this paper, various materials from The Master Key’s-cross media release have been acquired through online fan forums and collectible auctions. Following recent historical studies on film serials and the ”seriality” of stock characters, Chinatown scenes and the picturesque and efforts to write spatial film history, this paper argues that the proliferation of film images across media formats conceptualized The Master Key’s imagery of San Francisco Chinatown as a ”serialized” space, standardizing cinematic iconography in the public eye.
1914年末，环球影业发行了15部系列电影《万能钥匙》。罗伯特·z·伦纳德(Robert Z. Leonard)担任导演和主演，该项目被宣传为“迄今为止最昂贵的连续剧”。每周电影上映的同时，一份联合出版的报纸也刊登了电影的剧照。弗莱明·威尔逊的故事的插图再版，以及宣传材料，如插图广告和由温茨印刷公司出版的20页海报邮票册，都采用了剧照。通过对(1914)系列电影《万能钥匙》的跨媒体调查，本研究为电影剧照如何在电影院外传播提供了一个恰当的案例。据报道，电影材料已经丢失，但一些胶卷被保存在国会图书馆。其中一盘保存完好的录像带包含了发生在旧金山唐人街的那一集。本文通过网上粉丝论坛和收藏品拍卖获取了《万能钥匙》跨媒体发布的各种资料。本文根据近年来对电影连续剧的历史研究，以及对固定人物、唐人街场景和风景如画的“系列性”的研究，以及对空间电影史的写作努力，认为电影图像的跨媒体形式的扩散，使《钥匙之门》对旧金山唐人街的意象概念化为一个“系列化”的空间，规范了公众眼中的电影图像。
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Pub Date : 2022-07-05DOI: 10.1080/17460654.2022.2084760
Suzanne Vesta Kooloos
ABSTRACT During what is described as the world’s first international stock market bubble – an economic bubble which burst in 1720 – visual and literary metaphors were an important means to criticise new economic practices and events. In this article I will argue that within this context, magic lanterns and raree shows functioned as key metaphors. Engravings and texts picture the devices as machines of magic and illusion, but also of propaganda and education. As such, a visual or literary reference to a raree show could point to the deceit and illusions of financial speculation (‘wind trade’), or to the triumph over these illusions. This diverse use is not only an indication of the fact that the medium was already more flexible than we might expect in this period of time, but it also reflects the status of theatre itself: both the fascination for the theatre and the anti-theatrical sentiments were deeply embedded in western societies of the early modern period. It also shows that metaphors of financial speculation were not only used to make sense of something that could not yet fully be grasped; indeed, they were used strategically and reflect great knowledge about speculative trade.
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