The topic of this volume “The Visual Culture of Modernism” immediately provokes two related questions: why bother with the visuality of a historical period which is separated from our own times by almost an entire century? And, what is the relevance of such an historically informed topic for the present?The recent paradigmatic changes in media culture, which occurred around the turn of the millennium, parallel the media revolution before and after World War I in more than one way. Groundbreaking transitions in modes of communication and representation, epitomized in the new medium of cinema, immediately started to compete with literature’s longstanding status as the accepted cultural leit-medium. While rivaling literature, film also exerted an unprecedented influence on all other cultural fields by testing its supremacy within the arts, communication, education, and science, to mention just a few.
Mario Klarer
págs. 11-20
Modernity: the Troubled Trope
págs. 21-40
Body Rebuilding: tracing the Body at the Dawn of the Cybernetic Age
págs. 61-83
Hitler Goes Pop: Totalitarianism, Avant-garde Aesthetics and Hollywood Entertainment
Elisabeth Bronfen
págs. 85-104
Promotion vs. Suppression: intermedial Relationships between Early Narrative Film and its Fan Magazine Fictionalizations
págs. 105-118
I Am a Camera: The Development of Christopher Isherwood’s Goodbye to Berlin across Stage, Screen and Time: the Development of Christopher Isherwood’s Goodbye to Berlin across Stage, Screen and Time
págs. 119-135
The Poetics of the Avant-Garde: Modernist Poetry and Visual Arts
págs. 137-152
Presenting the Real: Hopperesque Updike in “In Football Season” (1962)
págs. 153-167
The Cinema and Modernist Innovation: Serial Representation and Cinematic Immediacy Effects in Gertrude Stein’s Early Portraits
págs. 169-183
Picturing the Depression: Ambivalent Politics of Representation in FSA Photography
págs. 185-196
Haptic Close-ups and Montage: Surrealist Desire in Erich von Stroheim’s Greed and Luis Buñuel’s Un Chien Andalou
págs. 197-207
págs. 209-223
Pathetic Copycats: Female Victimhood and Visuality in Melodramatic Films
págs. 225-237
págs. 239-253
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