Details
| Original language | English |
|---|---|
| Pages (from-to) | 16-31 |
| Number of pages | 16 |
| Journal | Film Studies |
| Volume | 17 |
| Issue number | 1 |
| Publication status | Published - 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.
Keywords
- Dream of a Rarebit Fiend, Edwin S. Porter, seriality, transmedia, Winsor McCay
ASJC Scopus subject areas
- Arts and Humanities(all)
- Visual Arts and Performing Arts
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In: Film Studies, Vol. 17, No. 1, 09.2017, p. 16-31.
Research output: Contribution to journal › Article › Research › 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
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DO - 10.7227/FS.17.0002
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VL - 17
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EP - 31
JO - Film Studies
JF - Film Studies
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