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Full Description
Velvet Curtains and Gilded Frames explores the intermedial context of early cinema. It tackles the first European feature films' intricate relationship with its sister arts to reveal that the period referred to by historians as the "long nineteenth century" was one in which Bourgeois Realism reigned supreme. The nineteenth-century rise of the middle class coincided with realism becoming the dominant artistic mode in both form and content, leading to a revival of genre painting in the art academies; the supremacy of the social melodrama on the stage; and the advent of Pictorialism in photography. In its quest for artistic legitimacy, European filmmakers sought to win over middle-class audiences with films based on popular works of art - the first "art films" - by employing similar visual and narrative strategies as its artistic counterparts.
Contents
List of Figures
Acknowledgements
Introduction: History, Intermediality and Early European Cinema
The Birth of a Sixth Art: The Art Film and the Film-as-Art Discourse
Behind the Velvet Curtain: The Cultural Communion between Stage and Screen
An Actress for Our Age: Betty Nansen, Modern Media Icon
In Another Light: Academic Painting, Pictorial Photography, Bourgeois Cinema
Old Masters Endure: Victor Sjöström's Netherlandish Tableaux
Conclusion: Towards a Cultural Poetics of Early European Cinema
Bibliography and Filmography
About the Author
Index
