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|Material Type:||Document, Thesis/dissertation, Manuscript, Internet resource|
|Document Type:||Book, Computer File, Archival Material, Internet Resource|
|All Authors / Contributors:||
Torey Liepa; Zhen Zhang; William Simon; Dana B Polan; Steven Higgins
|Notes:||Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2914.
Adviser: Robert Sklar.
|Description:||561 p. digital.|
The study begins by describing the tension within which film dialogue emerged, between the institutionalizing and rationalizing film industry and the audiences that made the cinema a popular entertainment. Dialogue was shaped, on one hand, by the standardization of scriptwriting in the film industry, and on the other hand by a popular scriptwriting movement and mobilization of popular forms of speech. The project continues by analyzing the significant effects of global film circulation on intertitle development. As non-'universal' forms, intertitles did not travel well, but rather required translation. Finally, this dissertation analyzes the divergent intertitling styles in the works of D.W. Griffith and Thomas Ince, examining the effects of two influential types of film production on intertitle development.
The primary aim of this dissertation is to redraw the cultural map of the emergence of speech in the American cinema, tracing its origins in the silent era. The redrawn map is multi-dimensional, characterized by competing representational forms and the languages of a culture in transition. This dissertation demonstrates that silent cinema was never a purely pictorial medium, and that intertitles played a much larger role than they have been credited with in previous scholarship, contributing to an understanding of the silent cinema as a fundamentally hybrid discursive representation, governed by the dialectic of its multiple historical forms.