Mozgó fényképek. The scandal and debate around moving images in early Hungarian cinema.
This paper traces the Budapest staging of a very popular German play in Europe and US at the end of the 19 century that can be regarded as one of the earliest narratives of the cinematic experience in Hungary. Originally published with the title Hans Huckebein in 1897 and written by Oscar Blumenthal...
| Publicado en: | Early Popular Visual Culture Vol. 21; no. 4; pp. 451 - 471 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Nov2023
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=172868489&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 172868489 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 17460654 15UY jtl: Early Popular Visual Culture issn: 17460654 maglogo: N pubinfo: dt: Nov2023 vid: 21 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 172868489 10.1080/17460654.2023.2242593 ppf: 451 ppct: 20 formats: fmt: – @attributes: type: T – @attributes: type: P size: 7.3MB tig: atl: Mozgó fényképek. The scandal and debate around moving images in early Hungarian cinema. aug: au: Füzi, Izabella affil: Department of Visual Culture and Literary Theory, Faculty of Humanities and Social Sciences, University of Szeged, Szeged, HU su: Narration in motion pictures Self Public spaces Biblical criticism Public sphere Scandals Budapest (Hungary) sug: subj: Budapest (Hungary) Narration in motion pictures Self Public spaces Biblical criticism Public sphere Scandals keyword: Early cinema image protection Lumière screen-and-stage hybrids visual public sphere ab: This paper traces the Budapest staging of a very popular German play in Europe and US at the end of the 19 century that can be regarded as one of the earliest narratives of the cinematic experience in Hungary. Originally published with the title Hans Huckebein in 1897 and written by Oscar Blumenthal and Gustav Kadelburg, the play remained outside the horizon of early cinema scholars, although it is a rich inventory of different modes of using and interpreting moving images. The Budapest performance of the play incorporates the screening of a cinema program, including a hitherto unknown (Lumière?) film commissioned by the theatre. The characters and the theatrical audience become film viewers, and this experience is extensively debated on stage. Instantaneous photography and moving image recording allowed for trespassing the boundary between private and public, since the model's consent was not technically required for the recording process. The 'scandal' staged by the play is the presentation of a (moving) image ‒ considered personal and private ‒ in the public space of the cinema. The debate around this scandal contributes to the redefinition of both personal identity, construed increasingly as an image, and the public sphere as a realm of censored images. The article sets out to map the variability of practices and cultural codes ‒ such as theatrical plots, practices of instant and studio photography, personal image protection, copyright ‒ that affected the interpretation and uses of moving images. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Early Popular Visual Culture is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Early Popular Visual Culture holder: Taylor & Francis Ltd dt: @attributes: year: 2023 holdings: @attributes: islocal: N |
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