Leo Charney - Cinema and the Invention of Modern Life
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Casting aside the traditional conception of film as an outgrowth of photography, theater, and the novel, the essays in this volume reassess the relationship between the emergence of film and the broader culture of modernity. Contributors, leading scholars in film and cultural studies, link the popularity of cinema in the late nineteenth century to emerging cultural phenomena such as window shopping, mail-order catalogs, and wax museums.
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Motion pictures--Social aspects, Popular culture--History--20th century.
publication date
:
1995
lcc
:
PN1995.9.S6C47 1995eb
ddc
:
302.23/43
subject
:
Motion pictures--Social aspects, Popular culture--History--20th century.
Page iii
Cinema and the Invention of Modern Life
Edited by Leo Charney Vanessa R. Schwartz
UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London
Page iv
University of California Press Berkeley and Los Angeles, California
University of California Press London, England
Copyright 1995 by The Regents of the University of California
Library of Congress Cataloging-in-Publication Data Charney, Leo. Cinema and the invention of modern life / edited by Leo Charney, Vanessa R. Schwartz. p. cm. Includes bibliographical references and index. ISBN 0-520-20111-6 (alk. paper). ISBN 0-520-20112-4 (pbk.: alk. paper 1. Motion picturesSocial aspects. 2. Popular culture History 20th century. I. Charney, Leo. II. Schwartz, Vanessa R. PN1995.9.S6C47 1995 302.23'43dc20 9510821 CIP
Printed in the United States of America
1 2 3 4 5 6 7 8 9
The paper used in this publication meets the minimum requirements of American National Standard for Information SciencesPermanence of Paper for Printed Library Materials, ANSI Z39.481984
Page v
CONTENTS
Acknowledgments
vii
Introduction
Leo Charney and Vanessa R. Schwartz
1
Part I Bodies and Sensation
1. Tracing the Individual Body: Photography, Detectives, and Early Cinema
Tom Gunning
15
2. Unbinding Vision: Manet and the Attentive Observer in the Late Nineteenth Century
Jonathan Crary
46
3. Modernity, Hyperstimulus, and the Rise of Popular Sensationalism
Ben Singer
72
Part II Circulation and Consumer Desire
4. The Poster in Fin-de-Sicle Paris: "That Mobile and Degenerate Art"
Marcus Verhagen
103
5. "A New Era of Shopping": The Promotion of Women's Pleasure in London's West End, 19091914
Erika D. Rappaport
130
6. Disseminations of Modernity: Representation and Consumer Desire in Early Mail-Order Catalogs
Alexandra Keller
156
Page vi
7. The Perils of Path, or the Americanization of the American Cinema
Richard Abel
183
Part III Ephemerality and the Moment
8. Panoramic Literature and the Invention of Everyday Genres
Margaret Cohen
227
9. Moving Pictures: Photography, Narrative, and the Paris Commune of 1871
Jeannene M. Przyblyski
253
10. In a Moment: Film and the Philosophy of Modernity
Leo Charney
279
Part IV Spectacles and Spectators
11. Cinematic Spectatorship before the Apparatus: The Public Taste for Reality in Fin-de-Sicle Paris
Vanessa R. Schwartz
297
12. Effigy and narrative: Looking into the Nineteenth-Century Folk Museum
Mark B. Sandberg
320
13. America, Paris, the Alps: Kracauer (and Benjamin) on Cinema and Modernity
Miriam Bratu Hansen
362
Contributors
403
Index
405
Page vii
ACKNOWLEDGMENTS
The editors thank Edward Dimendberg for his encouragement and enthusiasm from the start of this project. We would also like to express our gratitude to Rebecca Frazier, Stephanie Emerson, Diana Feinberg, Barbara Jellow and the rest of the University of California Press staff. Jim Loter deftly compiled the index, Angela Blake provided research assistance, and the American University College of Arts and Science, especially Dean Betty T. Bennett, supplied generous support.
Chapter 11, "Cinematic Spectatorship before the Apparatus" by Vanessa Schwartz, was first published in Viewing Positions, Linda Williams, editor, copyright 1994 by Rutgers, The State University.
Page 1
INTRODUCTION
Leo Charney and Vanessa R. Schwartz
"Triumphant, exultant, brushed down, pasted, torn in a few hours and continually sapping the heart and soul with its vibrant futility, the poster is indeed the art... of this age of fever and laughter, of violence, ruin, electricity, and oblivion."1 The rush of adjectives used by this French social commentator in 1896 to describe the poster as product of the "modern age" typifies the way in which modernity has elicited vigorous discourses that have attempted to construct, define, characterize, analyze, and understand it.2 ''Modernity," as an expression of changes in so-called subjective experience or as a shorthand for broad social, economic, and cultural transformations, has been familiarly grasped through the story of a few talismanic innovations: the telegraph and telephone, railroad and automobile, photograph and cinema. Of these emblems of modernity, none has both epitomized and transcended the period of its initial emergence more successfully than the cinema.
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