000			01484cam a2200157 4500500
005			20250121124349.0
041			_afre
042			_adc
100	1	0	_aCarou, Alain _eauthor
245	0	0	_aNarrative Cinema and Popular Literary Culture: The Beginning of a Dual Culture (1908 – 1928)
260			_c2004.
500			_a67
520			_aDuring 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		_nRevue d’histoire moderne & contemporaine | o 51-4 | 4 | 2004-10-01 | p. 21-38 | 0048-8003
856	4	1	_uhttps://shs.cairn.info/journal-revue-d-histoire-moderne-et-contemporaine-2004-4-page-21?lang=en&redirect-ssocas=7080
999			_c562788 _d562788