Spectacular Realities: Early Mass Culture in Fin-de-Siècle Paris
During the second half of the nineteenth century, Paris emerged as the entertainment capital of the world. The sparkling redesigned city fostered a culture of energetic crowd-pleasing and multi-sensory amusements that would apprehend and represent real life as spectacle.
Vanessa R. Schwartz examines the explosive popularity of such phenomena as the boulevards, the mass press, public displays of corpses at the morgue, wax museums, panoramas, and early film. Drawing on a wide range of written and visual materials, including private and business archives, and working at the intersections of art history, literature, and cinema studies, Schwartz argues that "spectacular realities" are part of the foundation of modern mass society. She refutes the notion that modern life produced an unending parade of distractions leading to alienation, and instead suggests that crowds gathered not as dislocated spectators but as members of a new kind of crowd, one united in pleasure rather than protest.
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April Arthur Meyer artistic attraction audience became Berkeley BHVP bodies boulevard Montmartre bourgeois cafe California Press catalog celebrities Charles Baudelaire cinema cited corpses crime crowd current events death described diorama directors display Emile Emile Reynaud Emile Zola entertainment everyday exhibit room exposition fait divers Figaro film fin-de-siecle France French Gabriel Thomas Guillot Haussmann Histoire Ibid illusion images institution Journal illustre Jules June Le Figaro Le Petit Journal Le Petit Parisien Lumiere Lumiere brothers Madame Tussaud's Mareorama mass culture mass press Meyer MGCA modern morgue's Musee Grevin archives narrative newspaper nineteenth century noted novelty offered opened painting panorama pantomimes lumineuses Paris Morgue Parisian Petit Journal photographs police popular realism reality reported representation represented Reynaud scene seemed serial novel social spectacle spectacular spectators tableau theater tion transformation Tussaud's University Press urban visitors visual wax figures wax museum wax tableaux XIXe Siecle Zola
Page 16 - The person who is able to see but unable to hear is much more . . . troubled than the person who is able to hear but unable to see. Here is something . . . characteristic of the big city. The interpersonal relationships of people in big cities are characterized by a markedly greater emphasis on the use of the eyes than on that of the ears.
Page 10 - There is no question of inventing the flaneuse: the essential point is that such a character was rendered impossible by the sexual divisions of the nineteenth century. Nor is it appropriate to reject totally the existing literature on modernity, for the experiences it describes certainly defined a good deal of the lives of men, and were also (but far less centrally) a part of the experience of women.
Page 6 - For these forms provided the technical means for 'representing' the kind of imagined community that is the nation.
Page 2 - Popular culture can be understood broadly as beliefs and practices, and the objects through which they are organized, that are widely shared among a population.