Camera Works: Photography and the Twentieth-Century WordOxford University Press, USA, 2005 - 255 Seiten Camera Works is about the impact of photography and film on modern art and literature. For many artists and writers, these new media offered hope of new means of representation, neither linguistic nor pictorial, but hovering in a kind of utopian space between. At the same time, the new media introduced a dramatic element of novelty into the age-old evidence of the senses. For the avant-garde, the challenges of the new media were the modern in its most concentrated form, but even for aesthetically unadventurous writers they constituted an element of modern experience that could hardly be ignored.Camera Works thus traces some of the more utopian projects of the transatlantic avant-garde, including the Readie machine of Bob Brown, which was to turn stories and poems into strips of linguistic film. The influence of photography and film on the avant-garde is traced from the early days of Camera Work, through the enthusiasm of Eugene Jolas and the contributors to his magazine transition, to the crisis created by the introduction of sound in the late 1920s.Subsequent chapters describe the entirely new kind of sensory enjoyment brought into modern American fiction by the new media. What Fitzgerald calls "spectroscopic gayety," the enjoyable disorientation of the senses by machine perception, turns out to be a powerful force in much American fiction. The revolutionary possibilities of this new spectatorship and its limitations are pursued through a number of examples, including Dos Passos, James Weldon Johnson, and Hemingway. Together, these chapters offer a new and substantially different account of the relationship between modern American literature and the mediatized society of the early twentieth century.With a comprehensive introduction and detailed particular readings, Camera Works substantiates a new understanding of the formal and historical bases of modernism. It argues that when modern literature and art respond to modernity, on a formal level, they are responding to the intervention of technology in the transmission of meaning, an intervention that unsettles all the terms in the essential relationship of human consciousness to the world of phenomena. |
Inhalt
| 35 | |
| 61 | |
| 83 | |
| 109 | |
An Eyeminded People Spectatorship in Dos Passoss USA | 140 |
Du Bois Johnson and the Recordings of Race | 164 |
Ernest Hemingways Media Relations | 186 |
CONCLUSION | 208 |
NOTES | 213 |
INDEX | 247 |
Andere Ausgaben - Alle anzeigen
Camera Works: Photography and the Twentieth-century Word Michael North Eingeschränkte Leseprobe - 2005 |
Camera Works: Photography and the Twentieth-Century Word Michael North Eingeschränkte Leseprobe - 2005 |
Häufige Begriffe und Wortgruppen
actually advertising aesthetic African American Alfred Stieglitz appeared artists associated audience avant-garde become Bob Brown Bois Brown called Cambridge Camera Eye characters Cinema Close color Crafton critics Cubism cultural D. W. Griffith Dateline Dorothy Richardson Duchamp early edited Engine of Visualization Ernest Hemingway Eugene Jolas example eyesight fact fiction Fitzgerald Gatsby Hemingway Hemingway's hieroglyphic Hollywood human idea images imagine intertitles Johnson kind Krauss language literary literature looking machine magazine Marcel Duchamp means medium metaphor Modern Art modernist narrative narrator newsreels Nick Nick's notion novel optical painting particular Passos perception perhaps photogra photography Picasso picture possible race racial reading reality recording Rosalind Krauss Sadakichi Hartmann Savage scene seems sense silent film simply snapshot social songs Souls of Black sound spectatorial Star Weekly story suggests T. S. Eliot Talkies Technology tion transition trilogy University Press vision visual arts words writing York
Beliebte Passagen
Seite 116 - I wanted to get out and walk eastward toward the park through the soft twilight, but each time I tried to go I became entangled in some wild, strident argument which pulled me back, as if with ropes, into my chair.
Seite 169 - These powers of body and mind have in the past been strangely wasted, dispersed, or forgotten. The shadow of a mighty Negro past flits through the tale of Ethiopia the Shadowy and of Egypt the Sphinx. Throughout history, the powers of single black men flash here and there like falling stars, and die sometimes before the world has rightly gauged their brightness.
Seite 110 - News — and now I was going to bring back all such things into my life and become again that most limited of all specialists, the "well-rounded man.
Seite 124 - As we crossed Blackwell's Island a limousine passed us, driven by a white chauffeur, in which sat three modish negroes, two bucks and a girl. I laughed aloud as the yolks of their eyeballs rolled toward us in haughty rivalry. "Anything can happen now that we've slid over this bridge,
Seite 116 - I liked to walk up Fifth Avenue and pick out romantic women from the crowd and imagine that in a few minutes I was going to enter into their lives, and no one would ever know or disapprove. Sometimes, in my mind, I followed them to their apartments on the corners of hidden streets, and they turned and smiled back at me before they faded through a door into warm darkness.
Seite 167 - ... and girls' heads to buy gorgeous visiting-cards — ten cents a package — and exchange. The exchange was merry, till one girl, a tall newcomer, refused my card — refused it peremptorily, with a glance. Then it dawned upon me with a certain suddenness that I was different from the others; or like, mayhap, in heart and life and longing, but shut out from their world by a vast veil.
Seite 123 - Then it was all true. I saw the skins of tigers flaming in his palace on the Grand Canal; I saw him opening a chest of rubies to ease, with their crimson-lighted depths, the gnawings of his broken heart. "I'm going to make a big request of you today," he said, pocketing his souvenirs with satisfaction, "so I thought you ought to know something about me.
Seite 123 - Over the great bridge, with the sunlight through the girders making a constant flicker upon the moving cars, with the city rising up across the river in white heaps and sugar lumps all built with a wish out of non-olfactory money. The city seen from the Queensboro Bridge is always the city seen for the first time, in its first wild promise of all the mystery and the beauty in the world.
Seite 170 - ... is the Negro Problem, and the spiritual striving of the freedmen's sons is the travail of souls whose burden is almost beyond the measure of their strength, but who bear it in the name of an historic race, in the name of this the land of their fathers' fathers, and in the name of human opportunity. And now what I have briefly sketched in large outline let me on coming pages tell again in many ways, with loving emphasis and deeper detail, that men may listen to the striving in the souls of black...