Moving Pictures, Music and Theatrical Exhibition in London, 1914-1930

伦敦电影、音乐和戏剧展，1914-1930 年

• 批准号: 2887735
• 金额: --
• 依托单位: Royal Holloway University of London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2887735
• 关键词: Moving; Pictures; Music; Theatrical; Exhibition

After many years of reading silent cinema as an evolution away from theatrical practices (Sadoul 1947, Vardac 1949, Salt 1992), film scholarship in recent decades has begun recognizing and celebrating the many ways filmgoing experiences were inherently live and theatrical throughout the silent era (Altman 2004, Mayer 2009, Brown 2013, Waltz 2015, Lowe 2020). Within this emerging theorisation is a need to look further into the backgrounds and methods of the creative professionals, including actors andmusicians, who delivered these intermedial experiences. Faced with constantly evolving local government regulations and decisions pertaining to film exhibition, alongside new technologies and differently organized performing spaces, to what extent did such professionals call upon specific practices they had acquired in previous stage work - and how did these adapted practices, in turn, shape and affect the development of the new form?Unexplored film-related materials at the London Metropolitan Archive are likely to provide extensive witness to how licensing and legislations interacted with the intertwined British lineages of stage work and silent cinema. This PhD project uses these holdings, augmented by additional textual and on-site research, to investigate case studies of British creative workers whose experience straddled theatre and film, applying a practical performance-based perspective to shed new light on how these workers' theatrical 'embodied knowledges' (Johnson 1989) interacted with new regulations, spaces, and technologies. Reading historical theatre practices as 'pattern languages' (Alexander 1979) will allow the project to question and complicate existing models of film history with theoretical rigour, with potential to inform both film and theatre studies.Outcomes of the project will include a dissertation; new assessment and indexing of LMA holdings; academic presentations and publications; public-facing creative outreach, including a demonstrative performance; and, above all and throughout, fresh and detailed recognition of little-known British creative practitioners and their intermedial achievements.

经过多年将无声电影视为远离戏剧实践的演变（Sadoul 1947，Vardac 1949，Salt 1992）之后，近几十年来电影学术界开始认识到并庆祝整个无声时代电影观看体验本质上是现场和戏剧的许多方式（奥特曼 2004 年、梅耶 2009 年、布朗 2013 年、华尔兹 2015 年、洛威 2020 年）。在这一新兴理论中，需要进一步研究提供这些中间体验的创意专业人士（包括演员和音乐家）的背景和方法。面对不断变化的地方政府有关电影放映的法规和决策，以及新技术和不同组织的表演空间，这些专业人士在多大程度上调用了他们在前期工作中获得的具体实践——以及这些实践又是如何适应的？ 、塑造并影响新形式的发展？伦敦大都会档案馆中未经探索的电影相关材料很可能为许可和立法如何与英国舞台作品和无声电影的相互交织的血统相互作用提供广泛的见证。该博士项目利用这些资料，并通过额外的文本和现场研究来增强英国创意工作者的案例研究，他们的经验横跨戏剧和电影，应用基于实际表演的视角来揭示这些工作者的戏剧“ “具体知识”（Johnson 1989）与新的法规、空间和技术相互作用。将历史戏剧实践解读为“模式语言”（Alexander 1979）将使该项目能够以理论严谨的方式质疑和复杂化现有的电影史模式，并有可能为电影和戏剧研究提供信息。该项目的成果将包括一篇论文； LMA 持有量的新评估和索引；学术演讲和出版物；面向公众的创意推广，包括示范表演；最重要的是，贯穿始终的是对鲜为人知的英国创意从业者及其中间成就的新鲜而详细的认可。