Babel and Babylon: spectatorship in American silent film 1 A Cinema in Search of a Spectator: Film-Viewer Relations before Hollywoodpage 23; 2 Early. Babel and Babylon: Spectatorship in American Silent Film. By Miriam Hansen. ( Cambridge: Harvard University Press, xii + pp. Babel and Babylon: spectatorship in American silent film / Miriam Hansen Topic: Silent films–History and criticism: Motion picture audiences–History.

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Edward Lear is an apt character to think about at Christmas-time. Spectatorship in American Silent Film. As the cinema began to separate itself from the commercial entertainments in whose context films initially had been shown—vaudeville, dime museums, fairgrounds—a particular concept of its spectator was developed on the level of film style, as a means of predicting the reception of films on a mass scale.

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His nonsense books, mo …. Harvard University Press, In each case the classical construction of spectatorship is complicated by factors of gender and sexuality, crystallizing around the fear and desire of abbel female consumer. After tracing the emergence of spectatorship as an institution, Hansen pursues the question of reception through detailed readings of a single film, D.

Babel and Babylon Spectatorship in American Silent Film

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This article is also available for rental through DeepDyve. In Babel and BabylonMiriam Hansen offers an original perspective on American film by tying the emergence of spectatorship to the historical transformation of the public sphere. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Babel and Babylon recasts the debate on early American cinema—and by implication on American film as a whole.

Babel and Babylon: spectatorship in American silent film

You do not currently have access to this article. An Environmental History since In this process, Hansen argues, the cinema might also have provided the conditions of an alternative public sphere for particular social groups, such as recent immigrants and women, by furnishing an intersubjective context in which they could recognize fragments of their own experience.

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