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The Progress and Poetry of the Movies: A Second Book of Film Criticism by Vachel Lindsay
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The Progress and Poetry of the Movies: A Second Book of Film Criticism by Vachel Lindsay
Current price: $231.00
Barnes and Noble
The Progress and Poetry of the Movies: A Second Book of Film Criticism by Vachel Lindsay
Current price: $231.00
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In 1925, Vachel Lindsay wrote
The Progress and Poetry of the Movies
as a sequel to his pioneering
Art of the Moving Picture
(1915) and a reconsideration of a popular entertainment form that dominated the commercialized leisure of his fellow Americans. Seeking to counter his reputation as a much-traveled "jazz poet," Lindsay offered his services as an arbiter of taste to such influential members of the Hollywood movie colony as Douglas Fairbanks and invited the ordinary spectator to imagine the 1920s photoplay as intimately linked to an emerging hieroglyphic civilization.The present edition of
, never published in Lindsay's lifetime, contributes to our understanding of the origins of contemporary film studies. The reproduction of family-album photographs and pen-and-ink drawings as well as publicity stills from
The Thief of Bagdad
,
The Covered Wagon
Peter Pan
Monsieur Beaucaire
, and
Merton of the Movies
spotlights the pleasure he derived from visual forms of communication. Lindsay's attempt to recapture public recognition failed, however, and he was unable to secure a stable position for himself in America after World War I.
The Progress and Poetry of the Movies
as a sequel to his pioneering
Art of the Moving Picture
(1915) and a reconsideration of a popular entertainment form that dominated the commercialized leisure of his fellow Americans. Seeking to counter his reputation as a much-traveled "jazz poet," Lindsay offered his services as an arbiter of taste to such influential members of the Hollywood movie colony as Douglas Fairbanks and invited the ordinary spectator to imagine the 1920s photoplay as intimately linked to an emerging hieroglyphic civilization.The present edition of
, never published in Lindsay's lifetime, contributes to our understanding of the origins of contemporary film studies. The reproduction of family-album photographs and pen-and-ink drawings as well as publicity stills from
The Thief of Bagdad
,
The Covered Wagon
Peter Pan
Monsieur Beaucaire
, and
Merton of the Movies
spotlights the pleasure he derived from visual forms of communication. Lindsay's attempt to recapture public recognition failed, however, and he was unable to secure a stable position for himself in America after World War I.
In 1925, Vachel Lindsay wrote
The Progress and Poetry of the Movies
as a sequel to his pioneering
Art of the Moving Picture
(1915) and a reconsideration of a popular entertainment form that dominated the commercialized leisure of his fellow Americans. Seeking to counter his reputation as a much-traveled "jazz poet," Lindsay offered his services as an arbiter of taste to such influential members of the Hollywood movie colony as Douglas Fairbanks and invited the ordinary spectator to imagine the 1920s photoplay as intimately linked to an emerging hieroglyphic civilization.The present edition of
, never published in Lindsay's lifetime, contributes to our understanding of the origins of contemporary film studies. The reproduction of family-album photographs and pen-and-ink drawings as well as publicity stills from
The Thief of Bagdad
,
The Covered Wagon
Peter Pan
Monsieur Beaucaire
, and
Merton of the Movies
spotlights the pleasure he derived from visual forms of communication. Lindsay's attempt to recapture public recognition failed, however, and he was unable to secure a stable position for himself in America after World War I.
The Progress and Poetry of the Movies
as a sequel to his pioneering
Art of the Moving Picture
(1915) and a reconsideration of a popular entertainment form that dominated the commercialized leisure of his fellow Americans. Seeking to counter his reputation as a much-traveled "jazz poet," Lindsay offered his services as an arbiter of taste to such influential members of the Hollywood movie colony as Douglas Fairbanks and invited the ordinary spectator to imagine the 1920s photoplay as intimately linked to an emerging hieroglyphic civilization.The present edition of
, never published in Lindsay's lifetime, contributes to our understanding of the origins of contemporary film studies. The reproduction of family-album photographs and pen-and-ink drawings as well as publicity stills from
The Thief of Bagdad
,
The Covered Wagon
Peter Pan
Monsieur Beaucaire
, and
Merton of the Movies
spotlights the pleasure he derived from visual forms of communication. Lindsay's attempt to recapture public recognition failed, however, and he was unable to secure a stable position for himself in America after World War I.
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