Andrew Shail is Lecturer in Film in the Department of English at Newcastle University, UK.

"It is difficult to do justice to the richness of each of these chapters. Each one contains fine discriminations and subtle distinctions." - Terry Caesar, English Literature in Transition 1880-1920"This book provides a more precise reinterpretation of the core formal characteristics—the innovative narrative structures and stream-of-consciousness techniques—of the high-modernist novel." - Jesse Schotter, James Joyce Quarterly

• Selected Contents: Introduction: From ‘the Cinematograph’ to ‘the Pictures' 1. The Cinema of Narrative Integration, the Demise of Impressionism and the Rise of Modernism 2. Cinema’s Continuous Present and Modernist Temporality 3. Mass Consciousness and Mass Cinema 4. Afterword: ‘a picture feverishly turned’

Andrew Shail is Lecturer in Film in the Department of English at Newcastle University, UK.

"It is difficult to do justice to the richness of each of these chapters. Each one contains fine discriminations and subtle distinctions." - Terry Caesar, English Literature in Transition 1880-1920"This book provides a more precise reinterpretation of the core formal characteristics—the innovative narrative structures and stream-of-consciousness techniques—of the high-modernist novel." - Jesse Schotter, James Joyce Quarterly

• Selected Contents: Introduction: From ‘the Cinematograph’ to ‘the Pictures' 1. The Cinema of Narrative Integration, the Demise of Impressionism and the Rise of Modernism 2. Cinema’s Continuous Present and Modernist Temporality 3. Mass Consciousness and Mass Cinema 4. Afterword: ‘a picture feverishly turned’

Andrew Shail is Lecturer in Film in the Department of English at Newcastle University, UK.

"It is difficult to do justice to the richness of each of these chapters. Each one contains fine discriminations and subtle distinctions." - Terry Caesar, English Literature in Transition 1880-1920"This book provides a more precise reinterpretation of the core formal characteristics—the innovative narrative structures and stream-of-consciousness techniques—of the high-modernist novel." - Jesse Schotter, James Joyce Quarterly

• Selected Contents: Introduction: From ‘the Cinematograph’ to ‘the Pictures' 1. The Cinema of Narrative Integration, the Demise of Impressionism and the Rise of Modernism 2. Cinema’s Continuous Present and Modernist Temporality 3. Mass Consciousness and Mass Cinema 4. Afterword: ‘a picture feverishly turned’