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Exporting Perilous Pauline: Pearl White And The Serial Film Craze (#110 of 2)

The 10 Best Film-Studies Books of 2013

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The 10 Best Film-Studies Books of 2013
The 10 Best Film-Studies Books of 2013

Several major university presses such as Duke, Texas, California, and Indiana continue to set the benchmark for scholarly film studies. However, none of the following books are for academics only, since their authors have clearly written them with a larger audience in mind—an encouraging trend that understands intelligent writing need not be impossible to decipher. Moreover, each of the following books isn’t just a stellar examination of a given director, genre, or cinematic trend, but an advancement of thought within the field, whether auteur theory, queer studies, documentary, or film history, and reaches beyond the bounds of the university setting by articulating how these films, both old and new, are still relevant and, even, essential to becoming fully cognizant of the daily constraints that must be undertaken in a media-driven, convergence culture.

The Most Assassinated Woman in the World Exporting Perilous Pauline: Pearl White and the Serial Film Craze

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The Most Assassinated Woman in the World: Exporting Perilous Pauline: Pearl White and the Serial Film Craze
The Most Assassinated Woman in the World: Exporting Perilous Pauline: Pearl White and the Serial Film Craze

“Garbo still belongs to that moment in cinema when capturing the human face still plunged audiences into the deepest ecstasy.” Thus begins famed cultural theorist Roland Barthes’s 1957 essay entitled “The Face of Garbo,” which concluded by claiming that Greta Garbo’s face, unlike that of the contemporary Audrey Hepburn, belonged to the realm of ideas, rather than events. One should take such a proclamation to mean that Garbo’s face—its projection on a large screen—transcended the bounds of nationalistic interest and attained a degree of universality: an idea. Barthes’s interests embody an Eisensteinian notion of cinematic signification, emphasizing individual frames and filmic components over narrative coherence. Such an aesthetic leaning will not be surprising, however, after reading editor Marina Dahlquist’s recently published collection of essays on silent serial queen Pearl White, who, much like Garbo in later years, was valued across the globe for her face and body—and, more to the point, what each of those stood for in relation to an articulation of the femme nouvelle blossoming at the end of the 1910s.

Of particular reference here is the serialized film The Perils of Pauline (1914), though various, subsequent films are discussed. Over the course of seven essays, White is discussed in a global context, trotting the globe from France, to Sweden, to Czechoslovakia, to India, and to China, respectively. Alone, each essay provides clear historical context. Together, they assemble an invaluable addition to the canon of what Miriam Hansen terms “vernacular Modernism,” and supplements previous understandings and articulations of this concept with rigorously detailed examinations of precisely how White’s body and persona impacted various cultural and nationalistic, artistic movements. In some cases, as with the surrealists and the French, the impact was exponential. In Sweden, censorship prevented Pauline and her serial sisters from frequenting screens. Yet, regardless of the degrees of impact, these essays conduct their historicity with a sensitive, keen eye for not just culturally specific detail, but together provide a comprehensive approach to the topic in ways that few edited collections manage.