Details
| Original language | English |
|---|---|
| Pages (from-to) | 302-315 |
| Number of pages | 14 |
| Journal | Screen |
| Volume | 57 |
| Issue number | 3 |
| Publication status | Published - 1 Oct 2016 |
Abstract
This essay approaches the US cinema of the 1920s from the vantage point of the film serial, exploring the contexts of production, exhibition, distribution and reception that are specific to this format during the decade. As a consequence, it foregrounds how the film serial differs markedly in style and language from the contemporaneous feature films. Both film serials and feature films take up the decade's discourses of efficiency, seriality and mass culture - but they do so in radically different ways. Focusing specifically on the serial Officer 444 (Francis Ford, 1926), the paper charts how serial structures of production and narration are put to use to enact mass actions on the screen and to fashion mass audiences through this enactment, preparing them for the challenges of modernity along the way.
ASJC Scopus subject areas
- Social Sciences(all)
- Cultural Studies
- Social Sciences(all)
- Communication
- Arts and Humanities(all)
- Visual Arts and Performing Arts
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In: Screen, Vol. 57, No. 3, 01.10.2016, p. 302-315.
Research output: Contribution to journal › Article › Research
}
TY - JOUR
T1 - Modernity Management
T2 - 1920s Cinema, Mass Culture and the Film Serial
AU - Mayer, Ruth
AU - Brasch, Ilka
PY - 2016/10/1
Y1 - 2016/10/1
N2 - This essay approaches the US cinema of the 1920s from the vantage point of the film serial, exploring the contexts of production, exhibition, distribution and reception that are specific to this format during the decade. As a consequence, it foregrounds how the film serial differs markedly in style and language from the contemporaneous feature films. Both film serials and feature films take up the decade's discourses of efficiency, seriality and mass culture - but they do so in radically different ways. Focusing specifically on the serial Officer 444 (Francis Ford, 1926), the paper charts how serial structures of production and narration are put to use to enact mass actions on the screen and to fashion mass audiences through this enactment, preparing them for the challenges of modernity along the way.
AB - This essay approaches the US cinema of the 1920s from the vantage point of the film serial, exploring the contexts of production, exhibition, distribution and reception that are specific to this format during the decade. As a consequence, it foregrounds how the film serial differs markedly in style and language from the contemporaneous feature films. Both film serials and feature films take up the decade's discourses of efficiency, seriality and mass culture - but they do so in radically different ways. Focusing specifically on the serial Officer 444 (Francis Ford, 1926), the paper charts how serial structures of production and narration are put to use to enact mass actions on the screen and to fashion mass audiences through this enactment, preparing them for the challenges of modernity along the way.
UR - http://www.scopus.com/inward/record.url?scp=84994180694&partnerID=8YFLogxK
U2 - 10.1093/screen/hjw031
DO - 10.1093/screen/hjw031
M3 - Article
VL - 57
SP - 302
EP - 315
JO - Screen
JF - Screen
SN - 0036-9543
IS - 3
ER -