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Abstract: The proper use of periodicals, in my opinion, requires a more sophisticated methodology and a more thorough knowledge of the period than does almost any other use of printed materials.When I began to work seriously with periodicals in 2006 as a postgraduate student, my attitude developed along lines predicted some forty years earlier by Walter Cannon in the first issue of Victorian Periodicals Newsletter. I initially felt excitement at the prospect of this huge drift of unrecorded and under-discussed material. This excitement was, of course, sweetened by the possibility of what Cannon called a “shortcut”:2 why speculate what “the man on the street” might have thought about something when you can simply glance at an ... Read More PubDate: 2024-02-03T00:00:00-05:00
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Abstract: The French sociologist and film historian Pierre Sorlin once observed that cinema as a medium uses the past as a means to reorganize the present.1 The capacity of cinema to mummify time and present historical reality in its audiovisual stream has given it an inherently futural orientation whereby film’s rapport with history is primarily understood as a tool to preserve and illustrate the past for future generations, a tool whose own origins and process of development are often summarily dismissed as of too recent vintage.2 Many historians have expressed their enthusiasm for cinema, but significantly fewer in academia, the film industry, and beyond have paused to consider where this way of writing about cinema came ... Read More PubDate: 2024-02-03T00:00:00-05:00
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Abstract: The editorial in the second issue of the Russian film journal Pegasus (Pegas, 1915–1917) boldly announced that its readers would have “the opportunity to assess the author’s conception [of film], regardless of the director’s creative work and the artists’ performance.”1 The “author’s conception” of film that the journal promised was nothing other than the film’s screenplay. Pegasus filled between a quarter and a half of each issue with complete screenplays, publishing up to three original scripts per issue. Such editorial policy was unprecedented for the time. Pegasus was not only the first journal in the world to print screenplays in full on a regular basis, but it also remained the only journal to have done so ... Read More PubDate: 2024-02-03T00:00:00-05:00
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Abstract: The American leftist journal Experimental Cinema stated in 1930 that one of its goals was to “introduce to film students and laymen the films, criticism, theories, stills, etc.” of avant-garde and leftist creators.1 Sergei Eisenstein, Man Ray, Robert Flaherty, F. W. Murnau, Alexander Bakshy, Béla Balázs, László Moholy-Nagy, and others appear inside the front cover as examples of the authors readers could find in Experimental Cinema. Self-proclaimed by editors Lewis Jacobs and David Platt as the “only magazine in America devoted to the principles of the art of the motion picture,” it was the first journal in America focused solely on art cinema. It was, however, a culmination of decades of art film writing, which ... Read More PubDate: 2024-02-03T00:00:00-05:00
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Abstract: In June 1917, the movie fan magazine Photoplay announced the creation of a new recurring feature called “Why-Do-They-Do-It'” (fig. 1) Posing the question, “What have you seen, in the past month, that was stupid, unlifelike, ridiculous or merely incongruous',” the editors of Photoplay invited readers to contribute letters regarding alleged mistakes they had observed in the movies. The second-person address to the reader promised that “[y]our identity will be protected. Your observation will be listed among the indictments of carelessness on the part of the actor, author, or director.”1 From its second appearance in August 1917 until its final one in January 1924, the preamble to each collection of reader ... Read More PubDate: 2024-02-03T00:00:00-05:00
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Abstract: Periodicals in the early twentieth century communicated with a large number of readers, chronicled history in detail, and now reveal rich and valuable information about the past. During the three decades of the Republic of China alone, there were more than 100,000 books published, up to 20,000 journals, and around 13,000 newspapers, covering topics including politics, the economy, and the military.1 The Chinese print industry was booming. For instance, Zhou Taofen’s publishing company Life Bookstore issued more than twenty periodicals. The figure of circulation for his weekly magazine Life (Shenghuo) reached 155,000 while another periodical, Life of the Mass (Dazhong shenghuo), reached an unprecedented circulation ... Read More PubDate: 2024-02-03T00:00:00-05:00
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Abstract: Most of the films that were produced by local people or screened in Siam (later renamed Thailand in 1945) from the late nineteenth century to the 1920s were lost, and Siam did not produce any domestic fictional films arguably until 1922 or 1923.1 For that reason, I turn to the question of film culture and modernity by focusing on the materials written by the general public. Even though film historians have generally had to rely on film magazines and periodicals if the moving images were lost, it is not often that one would question the form of writing that produced the discourses about cinema. While one might examine promotional materials and columns of written prose, this article turns to an unusual choice of ... Read More PubDate: 2024-02-03T00:00:00-05:00
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Abstract: We know that Musidora will be vital to Louis Feuillade’s notorious French crime serial, Les Vampires (1915–1916), because the film emphatically tells us so—indeed, it gleefully pitches Musidora as its prime textual asset. Early in episode three, undercover reporter Philippe Guérande (Édouard Mathé) visits the “Chat Huant” [Howling Cat] nightclub, which is, an intertitle confirms, “one of the most disreputable cabarets in Paris.” Guérande is there to investigate a lead that the club is a front for the Vampires crime syndicate. Top billed that night is Irma Vep, whose glamorous face we see on a giant billboard sign out front (fig. 1): enormous eyes ringed with dark eyeliner, impish smirk on lipsticked mouth ... Read More PubDate: 2024-02-03T00:00:00-05:00
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Abstract: “The ’nineties was a good and stimulating period for a short-story writer,” wrote H. G. Wells in the introduction to his 1911 volume of short fiction, The Country of the Blind and Other Stories. “[N]o short story of the slightest distinction went for long unrecognised. . . . Short stories broke out everywhere.”1 In Wells’s account, the fin de siècle saw the “outbreak” of the short story genre coinciding with a proliferation of new periodicals—the Pall Mall Budget (1868–1920), Longman’s Magazine (1882–1905), and Yellow Book (1894–1897) being among the titles he quotes—which offered newly expansive publication opportunities for short story writers. Elke D’hoker and Chris Mourant’s edited essay collection, The Modern ... Read More PubDate: 2024-02-03T00:00:00-05:00
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Abstract: What questions do you have about the Sunday newspaper' I’ll start: How did the Sunday paper differ from the Monday through Saturday editions' What features were included on Sundays that might appeal to, say, women and children, readers who were implicitly (and sometimes explicitly) excluded from daily readership' When did Sunday papers start offering subscriptions, and how did readers subscribe, and why' What new forms of technology were required to print newspapers and then to circulate those newspapers' What is the relationship between newspapers and advertising' How did newspapers interact or intersect with other emerging media forms, like radio and film' What are the origins of syndication' How did familiar ... Read More PubDate: 2024-02-03T00:00:00-05:00
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Abstract: Francesca Bratton’s Visionary Company shows readers that Hart Crane was most certainly misunderstood, yet this study of his work and reception does not argue that the American poet has been criminally under-rated and belongs atop some reordered modernist hierarchy. The value in tracing Crane’s output here through more than two dozen magazines, in large part during the 1920s, is the recognition that some artists and their works will sit as meaningful artefacts contemporaneous with the literature that defines a creative movement. Refuting and seeking to redress any canonical injustice may be less interesting, less significant, than understanding the conditions under which those literary works were created and ... Read More PubDate: 2024-02-03T00:00:00-05:00
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