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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situated the cinema and other forms of both "natural" and artificial spectacles in a larger historical context. an inspiring way of interpreting "mass culture". however, the discussion of the formation of the "Parisian crowd" is a bit unsatisfying.
评分世纪末巴黎Mass Culture的兴起，报纸、停尸房、蜡像馆、全景画透视画、早期电影将寻常生活的banality景观化，只是不知谁因谁果。电影一章全是可以开启另一叙事的开头，只不过主角不再是巴黎而是好莱坞了，停尸房一章涨姿势了，原来世纪末巴黎人民好这个…
评分世纪末巴黎Mass Culture的兴起，报纸、停尸房、蜡像馆、全景画透视画、早期电影将寻常生活的banality景观化，只是不知谁因谁果。电影一章全是可以开启另一叙事的开头，只不过主角不再是巴黎而是好莱坞了，停尸房一章涨姿势了，原来世纪末巴黎人民好这个…
评分世纪末巴黎Mass Culture的兴起，报纸、停尸房、蜡像馆、全景画透视画、早期电影将寻常生活的banality景观化，只是不知谁因谁果。电影一章全是可以开启另一叙事的开头，只不过主角不再是巴黎而是好莱坞了，停尸房一章涨姿势了，原来世纪末巴黎人民好这个…
评分situated the cinema and other forms of both "natural" and artificial spectacles in a larger historical context. an inspiring way of interpreting "mass culture". however, the discussion of the formation of the "Parisian crowd" is a bit unsatisfying.
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