Andrew Shail - Böcker

As people of the modern era were singularly prone to nervous disorders, the nervous system became a model for describing political and social organization. This volume untangles the mutual dependencies of scientific neurology and the cultural attitudes of the period 1800-1950, exploring how and why modernity was a fundamentally nervous state.

Modernist writing has always been linked with cinema. The recent renaissance in early British film studies has allowed cinema to emerge as a major historical context for literary practice. Treating cinema as a historical rather than an aesthetic influence, this book analyzes the role of early British film culture in literature, thus providing the first account of cinema as a cause for modernism. Shail’s study draws on little-known sources to create a detailed picture of cinema following its ‘second birth’ as both institution and medium. The book presents a comprehensive account of how UK-based modernism originated as a consequence of—rather than a conscious aesthetic response to—this new component of the cultural landscape. Film’s new accounts of language, endeavor, time, collectivity and political change are first considered, then related to the patterns that comprised modernist texts. Authors discussed include Ford Madox Ford, Joseph Conrad, Wyndham Lewis, Ezra Pound, H.D., James Joyce, Virginia Woolf and Dorothy Richardson.

The birth of cinema coincided with the heyday of the short story. This book studies the relationship between popular magazine short stories and the very early British films. It pairs eight intriguing short stories on cinema with eight new essays unveiling the rich documentary value of the original fiction and using the stories as touchstones for a discussion of the popular culture of the period during which cinema first developed. The short stories are by authors ranging from the notable (Rudyard Kipling and Sax Rohmer) to the unknown (Raymond Rayne and Mrs. H.J. Bickle); their endearing tributes to the new cinematograph chart its development from unintentional witness to entertainment institution.

The birth of cinema coincided with the heyday of the short story. This book studies the relationship between popular magazine short stories and the very early British films. It pairs eight intriguing short stories on cinema with eight new essays unveiling the rich documentary value of the original fiction and using the stories as touchstones for a discussion of the popular culture of the period during which cinema first developed. The short stories are by authors ranging from the notable (Rudyard Kipling and Sax Rohmer) to the unknown (Raymond Rayne and Mrs. H.J. Bickle); their endearing tributes to the new cinematograph chart its development from unintentional witness to entertainment institution.

Modernist writing has always been linked with cinema. The recent renaissance in early British film studies has allowed cinema to emerge as a major historical context for literary practice. Treating cinema as a historical rather than an aesthetic influence, this book analyzes the role of early British film culture in literature, thus providing the first account of cinema as a cause for modernism. Shail’s study draws on little-known sources to create a detailed picture of cinema following its ‘second birth’ as both institution and medium. The book presents a comprehensive account of how UK-based modernism originated as a consequence of—rather than a conscious aesthetic response to—this new component of the cultural landscape. Film’s new accounts of language, endeavor, time, collectivity and political change are first considered, then related to the patterns that comprised modernist texts. Authors discussed include Ford Madox Ford, Joseph Conrad, Wyndham Lewis, Ezra Pound, H.D., James Joyce, Virginia Woolf and Dorothy Richardson.

As people of the modern era were singularly prone to nervous disorders, the nervous system became a model for describing political and social organization. This volume untangles the mutual dependencies of scientific neurology and the cultural attitudes of the period 1800-1950, exploring how and why modernity was a fundamentally nervous state.

Drawing on a wide range of archival sources, Andrew Shail traces the emergence of film stardom in Europe and North America in the early 20th century. Modifying and supplementing Richard deCordova’s account of the birth of the US star system, Shail describes the complex set of economic circumstances that led film studios and actors to consent to the adoption of a star system. He then explores the film industry’s turn, from 1908, to making character-based series films. He details how these characters both prefigured and precipitated the star system, demonstrating that series characters and the ‘firmament’ of film stars are functionally equivalent, and shows how openly fictional characters still provide the model for ‘real’ film stars.