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Omschrijving
Silent Film and the Formations of U.S. Literary Culture: Literature in Motion discovers the considerable impact of motion pictures on literary culture across the early decades of the twentieth century by exploring how motion pictures spurred change in twentieth century literature.
Silent Film and the Formations of U.S. Literary Culture elegantly maps the ways silent cinema reshaped American literary culture. If you're wondering where the study of film and literature should go, Sarah Gleeson-White shows the way.
Silent Film and the Formations of U.S. Literary Culture is striking for its ambitions and its generosity. In it, Sarah Gleeson-White defines a pervasive and significant phenomenon that has been heretofore ignored: her term 'motion-picture print culture' so perfectly defines the proliferation of film-engaged texts and texts on film that it will surely become part of the lexicon for describing the period's cultural exchanges. Beginning by identifying film's effects on authorship and ending with an analysis of how readers, too, were changed by 'motion-picture print culture,' this book is a model for reading new cultural forms, from the author cameo to the storyization.
Sarah Gleeson-White is Associate Professor of English at the University of Sydney. She has published widely on early twentieth-century U.S. literature and film in PMLA, Modernism/modernity, and African American Review, among others. Her books include William Faulkner at Twentieth Century-Fox: The Annotated Screenplays, Strange Bodies: Gender and Identity in the Novels of Carson McCullers, and The New William Faulkner Studies.
Silent Film and the Formations of U.S. Literary Culture elegantly maps the ways silent cinema reshaped American literary culture. If you're wondering where the study of film and literature should go, Sarah Gleeson-White shows the way.
Silent Film and the Formations of U.S. Literary Culture is striking for its ambitions and its generosity. In it, Sarah Gleeson-White defines a pervasive and significant phenomenon that has been heretofore ignored: her term 'motion-picture print culture' so perfectly defines the proliferation of film-engaged texts and texts on film that it will surely become part of the lexicon for describing the period's cultural exchanges. Beginning by identifying film's effects on authorship and ending with an analysis of how readers, too, were changed by 'motion-picture print culture,' this book is a model for reading new cultural forms, from the author cameo to the storyization.
Sarah Gleeson-White is Associate Professor of English at the University of Sydney. She has published widely on early twentieth-century U.S. literature and film in PMLA, Modernism/modernity, and African American Review, among others. Her books include William Faulkner at Twentieth Century-Fox: The Annotated Screenplays, Strange Bodies: Gender and Identity in the Novels of Carson McCullers, and The New William Faulkner Studies.