Narrative Cinema and Popular Literary Culture: The Beginning of a Dual Culture (1908 – 1928) (notice n° 562788)

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041 ## - LANGUAGE CODE
Language code of text/sound track or separate title fre
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100 10 - MAIN ENTRY--PERSONAL NAME
Personal name Carou, Alain
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245 00 - TITLE STATEMENT
Title Narrative Cinema and Popular Literary Culture: The Beginning of a Dual Culture (1908 – 1928)
260 ## - PUBLICATION, DISTRIBUTION, ETC.
Date of publication, distribution, etc. 2004.<br/>
500 ## - GENERAL NOTE
General note 67
520 ## - SUMMARY, ETC.
Summary, etc. During its first two decades, French narrative cinema largely borrowed from the repertoires and practices of a flourishing mass literature. SCAGL, a 1908-established company, defined a new model, based on “popular classic” adaptations, at the very moment when theaters began to show less interest in those works. Notorious literary titles helped the advancement of feature film. A few years later, cinematographic societies turned more and more to contemporary literature. In the same vein, mass readership partly led to an interest in cinema: film novelizations were distributed in halls, then from 1915, widespread through press and books. Innovation came again from a sort of resurrection of old-fashioned serial stories. The economic synergy benefited the expansion of cinema towards a new potential spectatorship. Film novelization really played a complex role in acculturizing the new media.
786 0# - DATA SOURCE ENTRY
Note Revue d’histoire moderne & contemporaine | o 51-4 | 4 | 2004-10-01 | p. 21-38 | 0048-8003
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Uniform Resource Identifier <a href="https://shs.cairn.info/journal-revue-d-histoire-moderne-et-contemporaine-2004-4-page-21?lang=en&redirect-ssocas=7080">https://shs.cairn.info/journal-revue-d-histoire-moderne-et-contemporaine-2004-4-page-21?lang=en&redirect-ssocas=7080</a>

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