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Babel and Babylon : Spectatorship in American Silent Film 🔍
Miriam Bratu Hansen Harvard University, Department of Sanskrit & Indian Studies, Harvard University Press, Cambridge, Mass, 1991
English [en] · PDF · 19.1MB · 1991 · 📘 Book (non-fiction) · 🚀/lgli/lgrs/nexusstc/upload/zlib · Save
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Although cinema was invented in the mid-1890s, it was a decade more before the concept of a "film spectator" emerged. As the cinema began to separate itself from the commercial entertainments in whose context films initially had been shown--vaudeville, dime museums, fairgrounds--a particular concept of its spectator was developed on the level of film style, as a means of predicting the reception of films on a mass scale. In Babel and Babylon Miriam Hansen offers an original perspective on American film by tying the emergence of spectatorship to the historical transformation of the public sphere. Hansen builds a critical framework for understanding the cultural formation of spectatorship, drawing on the Frankfurt School's debates on mass culture and the public sphere. Focusing on exemplary moments in the American silent era, she explains how the concept of the spectator evolved as a crucial part of the classical Hollywood paradigm--as one of the new industry's strategies to integrate ethnically, socially, and sexually differentiated audiences into a modern culture of consumption. In this process, Hansen argues, the cinema might also have provided the conditions of an alternative public sphere for particular social groups, such as recent immigrants and women, by furnishing an intersubjective context in which they could recognize fragments of their own experience. After tracing the emergence of spectatorship as an institution, Hansen pursues the question of reception through detailed readings of a single film, D. W. Griffith's Intolerance (1916), and of the cult surrounding a single star, Rudolph Valentino. In each case the classical construction of spectatorship is complicated by factors of gender and sexuality, crystallizing around the fear and desire of the female consumer. Babel and Babylon recasts the debate on early American cinema--and by implication on American film as a whole. It is a model study in the field of Cinema Studies, mediating the concerns of recent film theory with those of recent film history.
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lgli/D:\!genesis\library.nu\dd\_303797.dd0c8ac49ef01bcaeaf0f6727691d9ec.pdf
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lgrsnf/D:\!genesis\library.nu\dd\_303797.dd0c8ac49ef01bcaeaf0f6727691d9ec.pdf
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nexusstc/Babel and Babylon: Spectatorship in American Silent Film/dd0c8ac49ef01bcaeaf0f6727691d9ec.pdf
Alternative author
Hansen, Miriam
Alternative publisher
Belknap Press of Harvard University Press
Alternative edition
Cambridge, Massachusetts; London, England, 2009
Alternative edition
ACLS Humanities E-Book, Cambridge, Mass, 1991
Alternative edition
United States, United States of America
Alternative edition
Cambridge, Mass, Massachusetts, 1991
Alternative edition
Cambridge Mass. ; London, 1991
Alternative edition
Cambridge Mass. ; London, 1994
Alternative edition
New ed., England, 1994
Alternative edition
Revised ed., PT, 1994
Alternative edition
First Edition, 1991
Alternative edition
December 8, 2006
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до 2011-01
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lg467987
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producers:
Adobe Acrobat 8.14 Paper Capture Plug-in
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{"isbns":["0674058305","0674058313","9780674058309","9780674058316"],"last_page":390,"publisher":"Harvard University Press"}
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Includes bibliographical references and index.
Alternative description
<p><P>Although cinema was invented in the mid-1890s, it was a decade more before the concept of a "film spectator" emerged. As the cinema began to separate itself from the commercial entertainments in whose context films initially had been shown&#151;vaudeville, dime museums, fairgrounds&#151;a particular concept of its spectator was developed on the level of film style, as a means of predicting the reception of films on a mass scale. In <i>Babel and Babylon</i> Miriam Hansen offers an original perspective on American film by tying the emergence of spectatorship to the historical transformation of the public sphere.<br>Hansen builds a critical framework for understanding the cultural formation of spectatorship, drawing on the Frankfurt School's debates on mass culture and the public sphere. Focusing on exemplary moments in the American silent era, she explains how the concept of the spectator evolved as a crucial part of the classical Hollywood paradigm&#151;as one of the new industry's strategies to integrate ethnically, socially, and sexually differentiated audiences into a modern culture of consumption. In this process, Hansen argues, the cinema might also have provided the conditions of an alternative public sphere for particular social groups, such as recent immigrants and women, by furnishing an intersubjective context in which they could recognize fragments of their own experience.<P>After tracing the emergence of spectatorship as an institution, Hansen pursues the question of reception through detailed readings of a single film, D. W. Griffith's <i>Intolerance</i> (1916), and of the cult surrounding a single star, Rudolph Valentino. In each case the classical construction of spectatorship is complicated by factors of gender and sexuality, crystallizing around the fear and desire of the female consumer.<P><i>Babel and Babylon</i> recasts the debate on early American cinema&#151;and by implication on American film as a whole. It is a model study in the field of Cinema Studies, mediating the concerns of recent film theory with those of recent film history.</p> <h3>Dana Polan - Film Criticism</h3> <p><i>Babel and Babylon</i> is a far-reaching book that leads us to new questions about history and theory. It amply proves that early cinema can be one of the most intriguing and productive domains of film study today.</p>
Alternative description
Offers a perspective on American film by tying the growth of spectatorship to the historical transformation of the public sphere. Focusing on silent films, this text examines how the spectator concept evolved, integrating ethnically, socially and sexually differentiated audiences. Although cinema was invented in the mid-1890s, it was a decade more before the concept of a "film spectator" emerged. As the cinema began to separate itself from the commercial entertainments in whose context films initially had been shown--vaudeville, dime museums, fairgrounds--a particular concept of its spectator was developed on the level of film style, as a means of predicting the reception of films on a mass scale. In Babel and Babylon Miriam Hansen offers an original perspective on American film by tying the emergence of spectatorship to the historical transformation of the public sphere. Hansen builds a critical framework for understanding the cultural formation of spectatorship, drawing on the Frankfurt School's debates on mass culture and the public sphere. Focusing on exemplary moments in the American silent era, she explains how the concept of the spectator evolved as a crucial part of the classical Hollywood paradigm--as one of the new industry's strategies to integrate ethnically, socially, and sexually differentiated audiences into a modern culture of consumption. In this process, Hansen argues, the cinema might also have provided the conditions of an alternative public sphere for particular social groups, such as recent immigrants and women, by furnishing an intersubjective context in which they could recognize fragments of their own experience. After tracing the emergence of spectatorship as an institution, Hansen pursues the question of reception through detailed readings of a single film, D.W. Griffith's Intolerance (1916), and of the cult surrounding a single star, Rudolph Valentino. In each case the classical construction of spectatorship is complicated by factors of gender and sexuality, crystallizing around the fear and desire of the female consumer. Babel and Babylon recasts the debate on early American cinema--and by implication on American film as a whole. It is a model study in the field of Cinema Studies, mediating the concerns of recent film theory with those of recent film history. -- Publisher
Alternative description
Contents......Page 10
Introduction: Cinema Spectatorship and Public Life......Page 14
I Rebuilding the Tower of Babel: The Emergence of Spectatorship......Page 34
1 A Cinema in Search of a Spectator: Film-Viewer Relations before Hollywood......Page 36
2 Early Audiences: Myths and Models......Page 73
3 Chameleon and Catalyst: The Cinema as an Alternative Public Sphere......Page 103
II Babel in Babylon: D. W. Griffith’s Intolerance (1916)......Page 140
4 Reception, Textual System, and Self-Definition......Page 142
5 “A Radiant Crazy-Quilt”: Patterns of Narration and Address......Page 154
6 Genesis, Causes, Concepts of History......Page 176
7 Film History, Archaeology, Universal Language......Page 186
8 Hieroglyphics, Figurations of Writing......Page 201
9 Riddles of Maternity......Page 212
10 Crisis of Femininity, Fantasies of Rescue......Page 231
III The Return of Babylon: Rudolph Valentino and Female Spectatorship (1921-1926)......Page 256
11 Male Star, Female Fans......Page 258
12 Patterns of Vision, Scenarios of Identification......Page 282
Notes......Page 310
Illustration Credits......Page 379
Index......Page 380
date open sourced
2011-06-04
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