| Summary: | The article looks at Robert Hamilton Ball's study "Shakespeare on Silent Film" to analyze the critical subject-positions it performs as it navigates the different media temporalities of its objects of study. The phrase temporal drag is coined by Elizabeth Freeman as that affirms the impulse to affiliate with past critics and methods and claims it as an oppositional practice. According to the author, the larger critical narrative of the study is biased by a progressivist, modernist, aesthetic that stages clear breaks between the modern and the primitive along a fault line of different media.
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