Details
| Originalsprache | Englisch |
|---|---|
| Seiten (von - bis) | 16-31 |
| Seitenumfang | 16 |
| Fachzeitschrift | Film Studies |
| Jahrgang | 17 |
| Ausgabenummer | 1 |
| Publikationsstatus | Veröffentlicht - Sept. 2017 |
Abstract
This article explores the transmedial seriality of Winsor McCay's newspaper comic strip Dream of the Rarebit Fiend (1904-24), tracking the narrative's evolution from comic to trick film (Edwin S. Porter's The Dream of a Rarebit Fiend, 1906) and animation (McCay's own Bug Vaudeville, 1921). In contrast to large parts of the critical response to McCay's work, this article does not foreground the subversive and disruptive dimension of the Rarebit narratives. Instead, it reads both the graphic and filmic narratives as integral parts of the larger serialised culture of modernity, and as attempts to chart this reality, in order to make it navigable.
ASJC Scopus Sachgebiete
- Geisteswissenschaftliche Fächer (insg.)
- Bildende und darstellende Künste
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in: Film Studies, Jahrgang 17, Nr. 1, 09.2017, S. 16-31.
Publikation: Beitrag in Fachzeitschrift › Artikel › Forschung › Peer-Review
}
TY - JOUR
T1 - Bits and Pieces
T2 - Seriality, Shortness and Dream of the Rarebit Fiend
AU - Mayer, Ruth
PY - 2017/9
Y1 - 2017/9
N2 - This article explores the transmedial seriality of Winsor McCay's newspaper comic strip Dream of the Rarebit Fiend (1904-24), tracking the narrative's evolution from comic to trick film (Edwin S. Porter's The Dream of a Rarebit Fiend, 1906) and animation (McCay's own Bug Vaudeville, 1921). In contrast to large parts of the critical response to McCay's work, this article does not foreground the subversive and disruptive dimension of the Rarebit narratives. Instead, it reads both the graphic and filmic narratives as integral parts of the larger serialised culture of modernity, and as attempts to chart this reality, in order to make it navigable.
AB - This article explores the transmedial seriality of Winsor McCay's newspaper comic strip Dream of the Rarebit Fiend (1904-24), tracking the narrative's evolution from comic to trick film (Edwin S. Porter's The Dream of a Rarebit Fiend, 1906) and animation (McCay's own Bug Vaudeville, 1921). In contrast to large parts of the critical response to McCay's work, this article does not foreground the subversive and disruptive dimension of the Rarebit narratives. Instead, it reads both the graphic and filmic narratives as integral parts of the larger serialised culture of modernity, and as attempts to chart this reality, in order to make it navigable.
KW - Dream of a Rarebit Fiend
KW - Edwin S. Porter
KW - seriality
KW - transmedia
KW - Winsor McCay
UR - http://www.scopus.com/inward/record.url?scp=85145028564&partnerID=8YFLogxK
U2 - 10.7227/FS.17.0002
DO - 10.7227/FS.17.0002
M3 - Article
AN - SCOPUS:85145028564
VL - 17
SP - 16
EP - 31
JO - Film Studies
JF - Film Studies
SN - 1469-0314
IS - 1
ER -