Pub Date : 2022-01-02DOI: 10.1080/17460654.2022.2076357
Sharon Coleclough
ABSTRACT The magic act is a performance best seen live, the skill of prestidigitation more difficult to deny when the trick is offered in the physical space shared by the audience. For Georges Méliès, the cinema offered the opportunity to extend the stage act he had developed and to embellish upon the traditional illusions of the music hall. Méliès’ skill lay with his knowledge of legerdemain, sleight of hand (literally ‘light of hand’), but also the way of thinking it suggests, a trickster’s mind and one which was able to anticipate and apply what the technology of cinema could contribute to the communication of this craft to a wider audience. This work seeks to examine the relationship of Méliès’ artistic vision with his background in the music hall and his future in the cinema, exploring the ways in which Méliès used (indeed, in many cases created) the production and post-production processes available to produce on-screen magic – whether accidentally, by early exploitations of the medium (Escamotage d’une Dame Chez Robert-Houdin), progressively more technically complex realisations (L’Homme à la tête de Caoutchouc), or even the use of social and professional connections from his music hall background. Additionally, the mediatory effect of the technology of camera, editing, and mise-en-scene will also be considered. By offering technical and aesthetic analysis of Méliès’ work and examining the technology and expectation at hand during its creation, this article seeks a closer consideration of the relationship between the music hall and the cinema and the work of Méliès as bond between the two as entertainment entered a new age.
魔术表演是一种现场观看效果最好的表演，当魔术在观众共享的物理空间中提供时，变戏法的技巧更难被否认。对于乔治斯·姆萨梅里斯来说，电影院提供了一个机会，可以延续他已经发展起来的舞台表演，并在音乐厅的传统幻觉上加以修饰。m的技巧在于他对魔术的了解，戏法(字面意思是“手的光”)，还有它所暗示的思维方式，一个骗子的头脑，一个能够预测和应用电影技术的人，可以将这门手艺传播给更广泛的观众。这项工作旨在研究m li的艺术视野与他在音乐厅的背景和他在电影院的未来之间的关系，探索m li使用(实际上，在许多情况下创造)制作和后期制作过程的方式，以产生屏幕上的魔力-无论是偶然的，通过早期的媒介利用(Escamotage d ' une Dame Chez Robert-Houdin)，逐步实现更复杂的技术(L ' homme la tête de Caoutchouc)，甚至利用他在音乐厅的背景所建立的社会和专业关系。此外，还将考虑摄影技术、编辑技术和场景布景技术的中介作用。本文通过对msamli作品进行技术和美学分析，并考察其创作过程中的技术和期望，寻求更深入地考虑音乐厅和电影院之间的关系，以及在娱乐进入新时代时，msamli的作品作为两者之间的纽带。
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Pub Date : 2022-01-02DOI: 10.1080/17460654.2022.2064088
Adelaide McGinity-Peebles
1. The growing of this field of research can be observed in recent interuniversity research projects such as ‘A Million Pictures’ (coordinated by the University of Utrecht), ‘Heritage in the Limelight’ (coordinated by the Australian National University) and ‘B-magic’ (coordinated by the University of Antwerp). 2. Although the elaboration of this kind of investigation clearly lies beyond the book’s objectives, such a study would be of significant value to the field of research, now that largescale digitisation campaigns of magic lantern heritage are taking place. A useful starting point would be assessing the applicability of the existing international quality standards and state-of-the-art guidelines for digitisation of different types of cultural heritage, such as the FADGI standards or Metamorfoze programme.
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Pub Date : 2022-01-02DOI: 10.1080/17460654.2022.2028485
Fitzpatrick Orla
textual paintings. Starting with relating Poe’s life to the popularity of illustrated books at the time, the chapter then shows a nuanced understanding of ‘Poe as a painter of landscapes, Poe as a painter of effects, and Poe as an art “expert”’ (93). To do so, theories are used widely, including ekphrasis and paragone, as in other chapters, but also enargeia (‘the visuality’) and ekpledzis (the development of an ‘enthralling mental image’) (93). All these prepare for an informed conclusion that establishes Poe, with his ‘complete works of art’, as an artist in the fullest sense (108). While Part II and III are set in the nineteenth-century Britain and the twentieth century US respectively, Part IV: ‘Where the Future Lies: Transatlantic Interdisciplinarity’ moves on to the encounters between both sides of the Atlantic. Chapter 9 from Part IV introduces José Joaquín de Mora as a Spanish contemporary of Blake, Shelley and Byron, focusing on his book-length ‘experimental engagement with the visual poetics of Blake’ and its transatlantic circulation (145–6). The chapter, by reading de Mora’s re-creation of ‘the Blakean non-mimetic interplay between word and image’ (146), presents the Hispanic text as an excellent example of the intricacies of the network of word-image relations. The implication that the 1820 text anticipates future interdisciplinarity of the same kind, however, is not fully fleshed out. The selection of writers and texts in Painting Words may be narrow in geographical scope; but with its twofold focus on ‘the pictorial ability of language to stir the reader’s imagination and the way illustrators have “read” literary works over the course of centuries’ (i), the book proves itself to be a useful body of work about the intersection and interdependence of the verbal and visual arts. It also intriguingly suggests that the future of this inter-arts symbiosis is developing in multifarious forms.
文字画。从爱伦·坡的生平与当时插图书的流行联系起来开始，本章展示了对“爱伦·坡是一位风景画家，爱伦·坡是一位效果画家，爱伦·坡是一位艺术“专家””的细致理解(93)。为了做到这一点，理论被广泛使用，包括ekphrasis和paragone，在其他章节中，还有enargeia(“可视化”)和ekpledzis(“迷人的心理形象”的发展)(93)。所有这些都为一个有根据的结论做好了准备，这个结论将爱伦·坡和他的“艺术全集”确立为一个最充分意义上的艺术家(108)。第二部分和第三部分分别以19世纪的英国和20世纪的美国为背景，而第四部分:“未来在哪里:跨大西洋跨学科”则转向了大西洋两岸的相遇。第四部分的第九章介绍了与布莱克，雪莱和拜伦同时代的西班牙人jossore Joaquín de Mora，重点介绍了他的书长“与布莱克视觉诗学的实验参与”及其跨大西洋流通(145-6)。这一章，通过阅读de Mora对“文字与图像之间的布莱克式非模仿相互作用”(146)的再创造，将西班牙文本作为文字与图像关系网络复杂性的一个极好的例子呈现出来。然而，1820年文本预测未来同类跨学科的含义并没有得到充分充实。《绘言》的作者和文本的选择在地理范围上可能比较狭窄;但是，这本书的双重重点是“语言激发读者想象力的绘画能力，以及插图画家在几个世纪以来“阅读”文学作品的方式”(i)，这本书证明了自己是一本关于语言和视觉艺术交叉和相互依存的有用著作。它还有趣地表明，这种跨艺术共生的未来正在以多种形式发展。
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Pub Date : 2022-01-02DOI: 10.1080/17460654.2022.2076359
D. Huxley
‘Karlyn’ was the stage name of J. F. Burrows, a ‘lightning sketch’ artist and magician who was active in the late nineteenth and early twentieth century. Lightning sketch artists became popular during the nineteenth century, and a previous issue of this journal discussed the work of two of them: ‘Cruickshank’, who worked with the poseuse ‘La Milo’, and the boy lightning cartoonist Erskine Williams. In England other well-known practitioners included Tom Merry and Edgar Austin. Two famous and highly successful American lightning cartoonists, Stuart Blackton and Winsor McCay, both became involved in the burgeoning animation industry in the early years of the twentieth century. It seems that various pioneers were somewhat secretive, and unwilling to share details of their techniques. As Karlyn points out in the preface to The Stage Artist, ‘[w]hen the author started in this line of entertainment there were no books to guide him, nor any person to give him practical instruction. Everything connected with the art having to be found out by personal experience and observation, the lightning artists who were at the time in the field being unwilling to impart any information on the subject whatsoever.’ (n.p.)
“Karlyn”是J. F. Burrows的艺名，他是一位“闪电素描”艺术家和魔术师，活跃于19世纪末和20世纪初。闪电素描艺术家在19世纪开始流行，本杂志的前一期讨论了其中两位的作品:“Cruickshank”，他与“La Milo”一起工作，以及男孩闪电漫画家Erskine Williams。在英国，其他著名的实践者包括汤姆·梅里和埃德加·奥斯汀。两位著名且非常成功的美国闪电漫画家斯图尔特·布莱克顿(Stuart Blackton)和温莎·麦凯(windsor McCay)都在20世纪初投身于蓬勃发展的动画产业。似乎许多先驱者都有些遮遮掩掩，不愿意分享他们技术的细节。正如Karlyn在《舞台艺术家》的序言中指出的那样，“当作者开始从事这一娱乐行业时，没有书来指导他，也没有人给他实际的指导。”与艺术有关的一切都必须通过个人经验和观察来发现，当时在这个领域的闪电艺术家不愿意传授任何关于这个主题的信息。”(n.p。)
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Pub Date : 2022-01-02DOI: 10.1080/17460654.2022.2076358
David Huxley
Ventriloquism, although a phenomenon known in the ancient world, achieved increasing success as a form of entertainment in the eighteenth and nineteenth centuries. The potential of the form was celebrated in novels such as Henry Cockton’s Valentine Vox, the Ventriloquist (1840), and the stage ventriloquist act became a staple of music hall performances in the nineteenth century. By the end of the century the popularity of ventriloquism, both in music halls and as home entertainment, was such that there were a number of ‘how-to’ books available for the amateur or would-be professional. This archive feature looks at four of these books and the nature of their instruction. It has to be said that although each of these tomes is meant to be a purely practical guide to the art, they do, at the same time, reveal something of the prejudices of the period. Frederic MacCabe is probably the most famous of the authors represented here. MacCabe did not use a ventriloquist dummy; instead he created the illusion of other characters being on stage, but hidden from the audience. ITEM 1: Frederic MacCabe, The Art of Ventriloquism: including full directions to learners how to acquire a pleasing vocalisation with amusing dialogues (1875) (Figure 1). This book is still available in reprint form, and is widely regarded as a classic how-to manual. The last book in this selection, Hercat’s Ventriloquist and Ventriloquial Dialogues (1905), begins with the remark that ‘[s]everal books have been written of the subject of ventriloquism, of which the one by my dear old friend, the late Frederic MacCabe, is by far the best’ (5). After an introduction on the history and nature of ventriloquism, MacCabe goes on to give instructions on how to develop the skill, and gives sample scripts that the would-be ventriloquist can practise (see Figure 2). Like much of the humour of the period these scripts depend on wordplay, and look decidedly tired and predictable. For example, in the English Railway Porter sketch, the porter of the title deals with various troublesome passengers, all played by the ventriloquist himself. Typical of the dialogue is the porter saying, ‘Here, I say, young man, you mustn’t smoke here. There’s no smoking allowed’. A ‘Jocular man’ replies: ‘We wasn’t smoking aloud, we was smoking quietly’ (73). MacCabe adds some stories of his life, such as an account of an ‘itinerant polyphonist’ he saw as a boy on a ferryboat between Liverpool and Seacombe. Much later he saw a music hall advertisement for somebody he calls Professor Somebody with his talking dolls, Tommy and Joe. The nature of what performers such as MacCabe saw as ‘proper’ entertainment is demonstrated by his description of the act in the music hall. He writes: ‘It was the same man, yet not the same; the simple wit, the pure humour, the individuality and naturalness of the dolls, all were changed, and the coarseness of dialogue, indecent innuendo and vulgarity had taken their place’. (79)
腹语术虽然在古代就为人所知，但作为一种娱乐形式，在18、19世纪取得了越来越大的成功。这种形式的潜力在小说中得到了赞颂，比如亨利·科克顿(Henry Cockton)的《腹语者瓦伦丁·沃克斯》(Valentine Vox, The Ventriloquist)(1840年)，舞台腹语表演在19世纪成为音乐厅表演的主要内容。到本世纪末，腹语术在音乐厅和家庭娱乐中都很流行，以至于出现了大量的“如何”书籍，供业余爱好者或想成为专业人士的人使用。本文将介绍其中的四本书以及它们的教学性质。必须指出的是，尽管这些大部头都是纯粹的实用艺术指南，但它们同时也揭示了那个时代的一些偏见。Frederic MacCabe可能是这里最著名的作家。马卡布没有使用口技假人;相反，他创造了其他角色在舞台上的错觉，但对观众来说是隐藏的。项目1:Frederic MacCabe，《腹语术的艺术》:包括对学习者如何通过有趣的对话获得令人愉悦的发声的完整指导(1875)(图1)。这本书仍然以再版形式存在，被广泛认为是一本经典的指导手册。本选集的最后一本书，Hercat的《腹语者与腹语对话》(1905)，以这样的评论开始:“关于腹语的主题已经写了好几本书，其中我亲爱的老朋友，已故的Frederic MacCabe的书是迄今为止最好的”(5)。在介绍了腹语的历史和本质之后，MacCabe继续给出了如何发展这项技能的说明。并给出了想要成为腹语家的人可以练习的样本剧本(见图2)。就像那个时期的许多幽默一样，这些剧本依赖于文字游戏，看起来显然是疲惫和可预测的。例如，在英国的铁路搬运工小品中，标题中的搬运工与各种麻烦的乘客打交道，都是由腹语者自己扮演的。典型的对话是看门人说:“喂，年轻人，你不能在这里抽烟。”这里不准吸烟。”一个“诙谐的人”回答说:“我们没有大声抽烟，我们只是悄悄地抽烟”(73页)。麦凯布补充了一些他的生活故事，比如他小时候在利物浦和西科姆之间的渡船上看到的一个“巡回复音师”的故事。很久以后，他看到一个音乐厅的广告，招聘一个他称之为“某某教授”的人，他的会说话的玩偶是汤米和乔。表演者如MacCabe所认为的“适当的”娱乐的本质是通过他对音乐厅行为的描述来证明的。他写道:“这是同一个人，但不是同一个人;娃娃们单纯的机智、纯粹的幽默、个性和自然，一切都变了，取而代之的是粗俗的对话、不雅的影射和粗俗。”(79)
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Pub Date : 2022-01-02DOI: 10.1080/17460654.2022.2045055
J. Shelton
[. . response time the mood of the Some respondents made media specific arguments objecting to the verse, which they felt was acceptable on stage but not on television, and the length of the speeches was also problematic.
{"title":"The Origins of Transmedia Storytelling in Early Twentieth Century Adaptation","authors":"J. Shelton","doi":"10.1080/17460654.2022.2045055","DOIUrl":"https://doi.org/10.1080/17460654.2022.2045055","url":null,"abstract":"[. . response time the mood of the Some respondents made media specific arguments objecting to the verse, which they felt was acceptable on stage but not on television, and the length of the speeches was also problematic.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"97 1","pages":"89 - 92"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76733440","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 : 2022-01-02DOI: 10.1080/17460654.2022.2076356
David Huxley
ABSTRACT In Manchester in 1890 a court case was heard in which the singer Peggy Pryde was accused of singing an obscene song at the Folly Theatre of Varieties. The case provides a detailed examination of the arguments about the nature of music hall performance. Local newspapers reported the case in detail and this provides unparalleled evidence about the attitude of the authorities to specific performances, the nature of censorship and definitions of obscenity at this time.
{"title":"A ‘great outrage on human decency’: a trial on lewdness and indecency at a Manchester music hall in 1890","authors":"David Huxley","doi":"10.1080/17460654.2022.2076356","DOIUrl":"https://doi.org/10.1080/17460654.2022.2076356","url":null,"abstract":"ABSTRACT In Manchester in 1890 a court case was heard in which the singer Peggy Pryde was accused of singing an obscene song at the Folly Theatre of Varieties. The case provides a detailed examination of the arguments about the nature of music hall performance. Local newspapers reported the case in detail and this provides unparalleled evidence about the attitude of the authorities to specific performances, the nature of censorship and definitions of obscenity at this time.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"18 1","pages":"21 - 33"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76455126","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 : 2022-01-02DOI: 10.1080/17460654.2022.2062934
Bart G. Moens
{"title":"Pictures of poverty: the works of George R. Sims and their screen adaptations","authors":"Bart G. Moens","doi":"10.1080/17460654.2022.2062934","DOIUrl":"https://doi.org/10.1080/17460654.2022.2062934","url":null,"abstract":"","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"35 1","pages":"81 - 83"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80806596","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 : 2022-01-02DOI: 10.1080/17460654.2022.2076355
David James
ABSTRACT This article examines the way that early female film stars from both Britain and America are portrayed in the popular magazine The Red Letter. It argues that even in 1920, there was already a common pattern to notions of female stardom that essentially revolved around ideas of class, and that rather than being newly minted, these notions of the female star were in several ways appropriated from the music hall, a form of entertainment that was firmly established by this time.
{"title":"Class, stardom and film: how early film stars were portrayed in The Red Letter","authors":"David James","doi":"10.1080/17460654.2022.2076355","DOIUrl":"https://doi.org/10.1080/17460654.2022.2076355","url":null,"abstract":"ABSTRACT This article examines the way that early female film stars from both Britain and America are portrayed in the popular magazine The Red Letter. It argues that even in 1920, there was already a common pattern to notions of female stardom that essentially revolved around ideas of class, and that rather than being newly minted, these notions of the female star were in several ways appropriated from the music hall, a form of entertainment that was firmly established by this time.","PeriodicalId":42697,"journal":{"name":"Early Popular Visual Culture","volume":"6 1","pages":"3 - 20"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85382236","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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