Spectacular Realities: Early Mass Culture in Fin-de-Siècle ParisUniversity of California Press, 1998年1月25日 - 243 頁 During the second half of the nineteenth century, Paris emerged as the entertainment capital of the world. The sparkling redesigned city fostered a culture of energetic crowd-pleasing and multi-sensory amusements that would apprehend and represent real life as spectacle. Vanessa R. Schwartz examines the explosive popularity of such phenomena as the boulevards, the mass press, public displays of corpses at the morgue, wax museums, panoramas, and early film. Drawing on a wide range of written and visual materials, including private and business archives, and working at the intersections of art history, literature, and cinema studies, Schwartz argues that "spectacular realities" are part of the foundation of modern mass society. She refutes the notion that modern life produced an unending parade of distractions leading to alienation, and instead suggests that crowds gathered not as dislocated spectators but as members of a new kind of crowd, one united in pleasure rather than protest. |
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artistic attraction audience became Berkeley BHVP Bibliothèque boulevard Montmartre bourgeois café California Press celebrities cinema cinématographe corpses crime crowd current events death diorama directors display Emile entertainment exhibit room exposition fait divers Figaro film fin-de-siècle flânerie flâneur France French Gabriel Thomas Georges Méliès grands boulevards Guillot Haussmann Histoire Ibid illustrated images Journal illustré Jules Jules Chéret June Le Figaro Le Petit Journal London Lumière Lumière brothers Madame Tussaud's mass culture mass press Meyer MGCA modern morgue's Musée Grévin Musée Grévin archives narrative newspaper nineteenth century noted offered opened painting panorama pantomimes lumineuses Paris Paris Morgue Parisian Petit Journal photographs police popular realism reality reported representation represented Reynaud scene seemed serial novel social spectacle spectacular spectators tableau theater Théâtre théâtre optique Thérèse Raquin tion transformation Tussaud's University of California University Press urban visitors visual wax figures wax museum wax tableaux XIXe Siècle Zola
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第 43 頁 - A la lanterne" and "A bas" this man and that. I don't think they know the meaning of shame or fear; the women no less than the men crowd round nudities as much as they do round corpses in the morgue or the ghastly posters in the streets announcing a new novel in this or that newspaper and simultaneously showing a sample of its content. They are people given to psychical epidemics, historical mass convulsions and they haven't changed since Victor Hugo wrote Notre-Dame.
第 26 頁 - It is thus that in a great country like France, the same thought, at one...
第 16 頁 - The person who is able to see but unable to hear is much more . . . troubled than the person who is able to hear but unable to see. Here is something . . . characteristic of the big city. The interpersonal relationships of people in big cities are characterized by a markedly greater emphasis on the use of the eyes than on that of the ears.
第 10 頁 - There is no question of inventing the flaneuse: the essential point is that such a character was rendered impossible by the sexual divisions of the nineteenth century. Nor is it appropriate to reject totally the existing literature on modernity, for the experiences it describes certainly defined a good deal of the lives of men, and were also (but far less centrally) a part of the experience of women.
第 6 頁 - For these forms provided the technical means for 'representing' the kind of imagined community that is the nation.
第 2 頁 - Popular culture can be understood broadly as beliefs and practices, and the objects through which they are organized, that are widely shared among a population.
第 6 頁 - Paris created a common culture and a sense of shared experiences through which people might begin to imagine themselves as participating in a metropolitan culture because they had visual evidence that such a shared world, of which they were a part, existed.
第 116 頁 - Neil Harris, Humbug; The Art of PT Barnum (Boston: Little. Brown. 1973). See also Carroll Smith-Rosenberg and Charles E. Rosenberg. "The Female Animal: Medical and Biological Views of Woman and Her Role in Nineteenth-Century America," Journal of American History, 1973, 60:332-356.
第 92 頁 - Les musees de cire en France, Curtius, le 'Banquet Royal', les Tetes coupees," Gazette des beaux-arts 92 (1978), 205—10.
第 69 頁 - Once the newspapers announce a crime, one sees a great number of the curious arrive at the Morgue."20 And, of course, when a large crowd gathered at the Morgue, it then became the subject of further news reports, which in turn kept the corpse, the unsolved crime, and the Morgue in the public eye and guaranteed a steady stream of spectators on the quai de I'Archeveche.