Información General

• Autores: Deborah L. Madsen (coord.), Mario Klarer (coord.)
• Editores: Gunter Narr Verlag Tübingen
• Año de publicación: 2011
• Colecciones: SPELL. Swiss Papers in English Language and Literature, 26
• País: Alemania
• Idioma: inglés
• ISBN: 978-3-8233-6673-7
• Texto completo no disponible (Saber más ...)

Resumen

• The topic of this volume “The Visual Culture of Modernism” immediately provokes two related questions: why bother with the visuality of a historical period which is separated from our own times by almost an entire century? And, what is the relevance of such an historically informed topic for the present?The recent paradigmatic changes in media culture, which occurred around the turn of the millennium, parallel the media revolution before and after World War I in more than one way. Groundbreaking transitions in modes of communication and representation, epitomized in the new medium of cinema, immediately started to compete with literature’s longstanding status as the accepted cultural leit-medium. While rivaling literature, film also exerted an unprecedented influence on all other cultural fields by testing its supremacy within the arts, communication, education, and science, to mention just a few.

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Listado de artículos

• • Introduction

    Mario Klarer

    págs. 11-20

    

  • Modernity: the Troubled Trope

    Scott Curtis

    págs. 21-40

    

  • Body Rebuilding: tracing the Body at the Dawn of the Cybernetic Age

    Vinzenz Hediger

    págs. 61-83

    

  • Hitler Goes Pop: Totalitarianism, Avant-garde Aesthetics and Hollywood Entertainment

    Elisabeth Bronfen

    págs. 85-104

    

  • Promotion vs. Suppression: intermedial Relationships between Early Narrative Film and its Fan Magazine Fictionalizations

    Johannes Mahlknecht

    págs. 105-118

    

  • I Am a Camera: The Development of Christopher Isherwood’s Goodbye to Berlin across Stage, Screen and Time: the Development of Christopher Isherwood’s Goodbye to Berlin across Stage, Screen and Time

    Christian Quendler

    págs. 119-135

    

  • The Poetics of the Avant-Garde: Modernist Poetry and Visual Arts

    Viorica Patea Birk

    págs. 137-152

    

  • Presenting the Real: Hopperesque Updike in “In Football Season” (1962)

    Kangqin Li

    págs. 153-167

    

  • The Cinema and Modernist Innovation: Serial Representation and Cinematic Immediacy Effects in Gertrude Stein’s Early Portraits

    Heike Schäfer

    págs. 169-183

    

  • Picturing the Depression: Ambivalent Politics of Representation in FSA Photography

    Michael Röösli

    págs. 185-196

    

  • Haptic Close-ups and Montage: Surrealist Desire in Erich von Stroheim’s Greed and Luis Buñuel’s Un Chien Andalou

    Carola Moresche

    págs. 197-207

    

  • Time- and Space-Montage in Mrs. Dalloway and The Hours

    Cornelia Klecker

    págs. 209-223

    

  • Pathetic Copycats: Female Victimhood and Visuality in Melodramatic Films

    Julia Straub

    págs. 225-237

    

  • Making the “Monstrous” Visible? Reading “Difference” in Contemporary Fantastic Film and Television

    Kimberly A. Frohreich

    págs. 239-253