This book examines early British film and film culture as a substantial context for the emergence of modernism in literature. The study considers Conrad, Joyce, Woolf, Yeats, and Eliot, and treats literary modernism as a consequence of cinema's new accounts of language, time, collectivity, and the self.
This book examines early British film and film culture as a substantial context for the emergence of modernism in literature. The study considers Conrad, Joyce, Woolf, Yeats, and Eliot, and treats literary modernism as a consequence of cinema's new accounts of language, time, collectivity, and the self.
Andrew Shail is Lecturer in Film in the Department of English at Newcastle University, UK.
Inhaltsangabe
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'
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'
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