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Serializing Mass Culture: Popular Film Serials and Serial Structures in the United States, 1910-1940

连载大众文化：美国的流行电影连续剧和连续剧结构，1910 年至 1940 年

基本信息

批准号：
240384362
负责人：
Professorin Dr. Ruth Mayer
金额：
--
依托单位：
Englisches Seminar
依托单位国家：
德国
项目类别：
Research Units
财政年份：
2013
资助国家：
德国
起止时间：
2012-12-31 至无数据
项目状态：
未结题

来源：
https://gepris.dfg.de/gepris/projekt/240384362?language=en
关键词：
Serializing Mass Culture Popular Film

项目摘要

The film serial constituted one of the most popular cinematic narrative formats in the United States and in Europe between 1910 and the 1940s. It emerged in the context of competing medial forms and gained momentum especially in competition with serial media: Film serials drew on serial novels, the serialized periodical press, on comic strips or radio serials, but they also influenced these serial formats in return. The complex structures of serial cross-reference that inform the film serial challenge established vocabularies of intertextuality or intermediality, as they were not only engendered by competing and converging medial forms and procedures but were tied up much more fundamentally in a mediatized mass culture. Investigating a range of film serials from various genres (Fantômas, 1913-14; Perils of Pauline, 1914; Exploits of Elaine, 1914; Officer 444, 1926; Tarzan the Tiger, 1929; The Vanishing Legion, 1931; Hurricane Express, 1932; Flash Gordon, 1936/38/40; Dick Tracy, 1937/38/39/41, and others), the subproject considers the structures and practices of filmic seriality (cliffhanger, tableaux, repetition/variation, suspense management, audience address) in their intersections with the figurations and functions of a serialized mass culture (fashion/consumer practices, totalitarian/populist formats of politicization, community-building media ensembles). Thus, the subproject does not focus solely on the selected serials' narratives but is interested in the expansive momentum of popular seriality itself: the spin-offs in the form of mass-produced extra-textual merchandizing, the multilayered medial interlinkages of various serial formats in film, radio, comics, etc., and the "serial" adjustment of audiences in the intersection of political propaganda and economic streamlining. Situated in the realm of cultural theory, the project is informed methodologically by approaches from film semiotics, narratology, and discourse analysis. Within the Research Unit, the project's foremost function consists in an exploration of the narrative and politico-ideological dimensions of a semantics of the serial, focusing on specific historical constellations and medial configurations. Together with TP-HG1 and TP-HG2, this subproject explores the historical foundations of popular seriality as it is investigated in the Research Unit at large. It aims at reassessing the filmic material from the vantage point of seriality studies and, additionally, investigating this material's implications for a newly accentuated history of twentieth-century American mass culture. Its engagement with the film serial offers a point of departure for a critical revision of the media ecology from 1910 to 1940 (i.e., the subproject's historical focus). In doing so, the subproject provides the material and references for other subprojects within the Research Group which investigate the media-historical premises for the following decades, especially TP-KV2. The subproject follows research on processes of media change and media breaks conducted in the Research Unit's first phase by TP3. It also relies conceptually on the findings of TP5 (on gestures of outbidding as serial procedures) and TP7 (on the everyday integration and fan reception of serial formats).

该系列电影是1910年至1940年代美国和欧洲最流行的电影叙事形式之一。它出现在竞争的媒体形式的背景下，并获得了动力，特别是在与系列媒体的竞争中：电影系列借鉴了系列小说，系列期刊，漫画或广播系列，但它们也反过来影响了这些系列格式。系列交叉引用的复杂结构为电影系列挑战确立了互文性或中介性的词汇，因为它们不仅是由竞争和融合的媒介形式和程序产生的，而且更根本地与媒介化的大众文化联系在一起。调查各种类型的系列电影（《方托马斯》，1913- 1914年;《宝莲的危险》，1914年;《伊莲的剥削》，1914年;《军官444》，1926年;《虎泰山》，1929年;《消失的军团》，1931年;《飓风快车》，1932年;《飞侠戈登》，1936/38/40年;迪克·特雷西，1937/38/39/41等），该子项目考虑了电影序列性的结构和实践（扣人心弦，场景，重复/变化，悬念管理，观众地址）与系列化大众文化的形象和功能的交叉点（时尚/消费者行为、极权主义/民粹主义的政治化形式、社区建设媒体组合）。因此，该子项目不仅关注选定的连续剧的叙事，而且对流行连续剧本身的扩张势头感兴趣：大规模生产的文本外商品形式的副产品，电影，广播，漫画等各种连续剧格式的多层次媒介相互联系，以及政治宣传与经济精简交叉的受众“序列”调整。该项目位于文化理论领域，从电影符号学、叙事学和话语分析的方法论角度进行研究。在研究单位内，该项目的首要功能包括探索系列语义的叙事和政治意识形态维度，重点关注特定的历史星座和媒介配置。与TP-HG 1和TP-HG 2一起，这个子项目探索了流行序列的历史基础，因为它是在整个研究单位进行调查。它的目的是重新评估的电影材料，从连续性研究的Vantage位置，此外，调查这种材料的影响，一个新强调的20世纪美国大众文化的历史。它与电影系列的接触为1910年至1940年的媒体生态的批判性修订提供了一个出发点（即，子项目的历史重点）。在这样做的过程中，该子项目为研究小组内的其他子项目提供了材料和参考，这些子项目调查了随后几十年的媒体历史前提，特别是TP-KV 2。该分项目是在研究股第一阶段由TP 3进行的关于媒体变化和媒体间歇过程的研究之后进行的。它还依赖于TP 5（出价高于序列程序的姿态）和TP 7（序列格式的日常整合和粉丝接受）的研究结果。