Transforming Faces for the Screen [electronic resource] : Horror and Romance in the 1920s / by Karen Randell, Alexis Weedon.
Randell, Karen.
Transforming Faces for the Screen
EK/2736
Erişim Adresi
ISBN
9783031400292
Yer Numarası
EK/2736
Yazar
Basım Bildirimi
1st ed. 2023.
Yayın Bilgisi
Cham : Springer International Publishing : Imprint: Palgrave Macmillan, 2023.
Fiziksel Niteleme
XVII, 139 p. 44 illus., 1 illus. in color. online resource.
İçindekiler Notu
Chapter 1: Introduction -- Chapter 2: Vilray Blair MD, Lon Chaney and The Phantom of the Opera -- Chapter 3: Beauty Regimes, Facial Surgery and Elinor Glyn’s Such Men are Dangerous -- Chapter 4: Masks, Prosthetics and Performance -- Chapter 5: Unveiling Romance, Elinor Glyn’s Man and Maid -- Chapter 6: In Conclusion, Visual Culture in the Archive.
Özet, vb.
“Transforming Faces for the Screen: Horror and Romance in the 1920s is an impressive scholarly achievement, standing as both a fascinating study of the relationship between film and war trauma during a specific era and as a model for approaching film and culture more generally through meticulous archival research and bold interdisciplinary thinking”. Gaylyn Studlar, David May Distinguished Professor in the Humanities, Washington University in St. Louis,USA. This book brings together research from medical and film archives to illustrate the cultural impact of film and literature in its relationship to the discourse of plastic surgery in the 1920s. This different take on reading the body after the First World War enables students of multiple disciplines, and readers interested in both Hollywood and post-war culture, to understand some of the complexities of medical interventions gained after the First World War and the way in which they filtered intothe world of Hollywood film making. It also allows readers who may not be familiar with these two 1920s stars to access the films of Lon Chaney and the books and films of Elinor Glyn and gain new insights into 1920s visual culture. For ease of readership, the book is organised so that each of the main chapters focuses on a particular film (either Lon Chaney or Elinor Glyn). This is particularly useful for use in the classroom or for online education. Readers can refer to the film directly, aided by illustrations of frames from the films. This book tells the story of how two stars of Hollywood film transformed their character’s faces on screen through a close reading of three films in the 1920s. It reveals how they applied their embodied knowledge of surgery and surgical procedures to broaden their audience’s emotional and intellectual understanding of the treatment of deformity and disability. Alexis Weedon is Professor of Publishing Studies and Karen Randell is Professor of Film and Culture, both at the University of Bedfordshire, UK. Their British Academy funded project explores attitudes to the reconstructed body through the creative work of these two Hollywood stars of the 1920s. Their research investigates medical procedures, photos and diaries located at archives in the UK and USA to analyse films which creatively and successfully addressed the latent fears of technologizing the body. .
Konu
Motion pictures __ History.
Medicine and the humanities.
Film and TV History.
Medical Humanities.
Medicine and the humanities.
Film and TV History.
Medical Humanities.
Diğer Yazarlar
Kurum Adı
Eseri Alıntıla
Referansları kullanmadan önce gözden geçirmeniz ve varsa gerekli düzeltmeleri yapmanız önerilir.
Dijital Kaynak
MARC Görünümü
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264 1|aCham :|bSpringer International Publishing :|bImprint: Palgrave Macmillan,|c2023.
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505 0 |aChapter 1: Introduction -- Chapter 2: Vilray Blair MD, Lon Chaney and The Phantom of the Opera -- Chapter 3: Beauty Regimes, Facial Surgery and Elinor Glyn’s Such Men are Dangerous -- Chapter 4: Masks, Prosthetics and Performance -- Chapter 5: Unveiling Romance, Elinor Glyn’s Man and Maid -- Chapter 6: In Conclusion, Visual Culture in the Archive.
520 |a“Transforming Faces for the Screen: Horror and Romance in the 1920s is an impressive scholarly achievement, standing as both a fascinating study of the relationship between film and war trauma during a specific era and as a model for approaching film and culture more generally through meticulous archival research and bold interdisciplinary thinking”. Gaylyn Studlar, David May Distinguished Professor in the Humanities, Washington University in St. Louis,USA. This book brings together research from medical and film archives to illustrate the cultural impact of film and literature in its relationship to the discourse of plastic surgery in the 1920s. This different take on reading the body after the First World War enables students of multiple disciplines, and readers interested in both Hollywood and post-war culture, to understand some of the complexities of medical interventions gained after the First World War and the way in which they filtered intothe world of Hollywood film making. It also allows readers who may not be familiar with these two 1920s stars to access the films of Lon Chaney and the books and films of Elinor Glyn and gain new insights into 1920s visual culture. For ease of readership, the book is organised so that each of the main chapters focuses on a particular film (either Lon Chaney or Elinor Glyn). This is particularly useful for use in the classroom or for online education. Readers can refer to the film directly, aided by illustrations of frames from the films. This book tells the story of how two stars of Hollywood film transformed their character’s faces on screen through a close reading of three films in the 1920s. It reveals how they applied their embodied knowledge of surgery and surgical procedures to broaden their audience’s emotional and intellectual understanding of the treatment of deformity and disability. Alexis Weedon is Professor of Publishing Studies and Karen Randell is Professor of Film and Culture, both at the University of Bedfordshire, UK. Their British Academy funded project explores attitudes to the reconstructed body through the creative work of these two Hollywood stars of the 1920s. Their research investigates medical procedures, photos and diaries located at archives in the UK and USA to analyse films which creatively and successfully addressed the latent fears of technologizing the body. .
650 0|aMotion pictures|xHistory.
650 0|aMedicine and the humanities.
650 14|aFilm and TV History.
650 24|aMedical Humanities.
700 1 |aWeedon, Alexis.|eauthor.|4aut|4http://id.loc.gov/vocabulary/relators/aut
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049 |aTürk Dil Kurumu Kütüphanesi
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072 7|aPER004030|2bisacsh
072 7|aATFA|2thema
082 04|a791.409|223
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100 1 |aRandell, Karen.|eauthor.|4aut|4http://id.loc.gov/vocabulary/relators/aut
245 10|aTransforming Faces for the Screen|h[electronic resource] :|bHorror and Romance in the 1920s /|cby Karen Randell, Alexis Weedon.
250 |a1st ed. 2023.
264 1|aCham :|bSpringer International Publishing :|bImprint: Palgrave Macmillan,|c2023.
300 |aXVII, 139 p. 44 illus., 1 illus. in color.|bonline resource.
336 |atext|btxt|2rdacontent
337 |acomputer|bc|2rdamedia
338 |aonline resource|bcr|2rdacarrier
347 |atext file|bPDF|2rda
505 0 |aChapter 1: Introduction -- Chapter 2: Vilray Blair MD, Lon Chaney and The Phantom of the Opera -- Chapter 3: Beauty Regimes, Facial Surgery and Elinor Glyn’s Such Men are Dangerous -- Chapter 4: Masks, Prosthetics and Performance -- Chapter 5: Unveiling Romance, Elinor Glyn’s Man and Maid -- Chapter 6: In Conclusion, Visual Culture in the Archive.
520 |a“Transforming Faces for the Screen: Horror and Romance in the 1920s is an impressive scholarly achievement, standing as both a fascinating study of the relationship between film and war trauma during a specific era and as a model for approaching film and culture more generally through meticulous archival research and bold interdisciplinary thinking”. Gaylyn Studlar, David May Distinguished Professor in the Humanities, Washington University in St. Louis,USA. This book brings together research from medical and film archives to illustrate the cultural impact of film and literature in its relationship to the discourse of plastic surgery in the 1920s. This different take on reading the body after the First World War enables students of multiple disciplines, and readers interested in both Hollywood and post-war culture, to understand some of the complexities of medical interventions gained after the First World War and the way in which they filtered intothe world of Hollywood film making. It also allows readers who may not be familiar with these two 1920s stars to access the films of Lon Chaney and the books and films of Elinor Glyn and gain new insights into 1920s visual culture. For ease of readership, the book is organised so that each of the main chapters focuses on a particular film (either Lon Chaney or Elinor Glyn). This is particularly useful for use in the classroom or for online education. Readers can refer to the film directly, aided by illustrations of frames from the films. This book tells the story of how two stars of Hollywood film transformed their character’s faces on screen through a close reading of three films in the 1920s. It reveals how they applied their embodied knowledge of surgery and surgical procedures to broaden their audience’s emotional and intellectual understanding of the treatment of deformity and disability. Alexis Weedon is Professor of Publishing Studies and Karen Randell is Professor of Film and Culture, both at the University of Bedfordshire, UK. Their British Academy funded project explores attitudes to the reconstructed body through the creative work of these two Hollywood stars of the 1920s. Their research investigates medical procedures, photos and diaries located at archives in the UK and USA to analyse films which creatively and successfully addressed the latent fears of technologizing the body. .
650 0|aMotion pictures|xHistory.
650 0|aMedicine and the humanities.
650 14|aFilm and TV History.
650 24|aMedical Humanities.
700 1 |aWeedon, Alexis.|eauthor.|4aut|4http://id.loc.gov/vocabulary/relators/aut
710 2 |aSpringerLink (Online service)
773 0 |tSpringer Nature eBook
776 08|iPrinted edition:|z9783031400285
776 08|iPrinted edition:|z9783031400308
856 40|uhttps://doi.org/10.1007/978-3-031-40029-2
912 |aZDB-2-LCM
912 |aZDB-2-SXL
950 |aLiterature, Cultural and Media Studies (SpringerNature-41173)
950 |aLiterature, Cultural and Media Studies (R0) (SpringerNature-43723)
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