BÜCHER VERSANDKOSTENFREI INNERHALB DEUTSCHLANDS
Screening Europe in Australasia
Transnational Silent Film Before and After the Rise of Hollywood
UNIVERSITY OF EXETER PRESS
ISBN 978-1-905816-89-7
Standardpreis
Bibliografische Daten
Online-Produkt
2022
Verlag: UNIVERSITY OF EXETER PRESS
ISBN: 978-1-905816-89-7
Produktbeschreibung
This book challenges the historical myopia that treats Hollywood films as always having dominated global film culture through a detailed study of the circulation of European silent film in Australasia in the early twentieth century.
Before World War I, European silent feature films were ubiquitous in Australia and New Zealand, teaching Antipodean audiences about Continental cultures and familiarizing them with glamorous European stars, from Asta Nielsen to Emil Jannings. After the rise of Hollywood and then the shift to sound film, this history—and its implications for cross-cultural exchange—was lost.
Julie K. Allen recovers that history, with its flamboyant participants, transnational currents, innovative genres, and geopolitical complications, and brings it vividly to life. She reveals the complexity and competitiveness of the early cinema market, in a region with high consumer demand and low domestic production, and frames the dramatic shift to almost exclusively American cinema programming during World War I, contextualizing the rise of the art film in the 1920s in competition with mainstream Hollywood productions.
DOI: https://doi.org/10.47788/ITZE9134
Before World War I, European silent feature films were ubiquitous in Australia and New Zealand, teaching Antipodean audiences about Continental cultures and familiarizing them with glamorous European stars, from Asta Nielsen to Emil Jannings. After the rise of Hollywood and then the shift to sound film, this history—and its implications for cross-cultural exchange—was lost.
Julie K. Allen recovers that history, with its flamboyant participants, transnational currents, innovative genres, and geopolitical complications, and brings it vividly to life. She reveals the complexity and competitiveness of the early cinema market, in a region with high consumer demand and low domestic production, and frames the dramatic shift to almost exclusively American cinema programming during World War I, contextualizing the rise of the art film in the 1920s in competition with mainstream Hollywood productions.
DOI: https://doi.org/10.47788/ITZE9134
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