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Off to the Pictures: Cinemagoing, Women’s Writing and Movie Culture in Interwar Britain PDF

233 Pages·2018·3.315 MB·English
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Preview Off to the Pictures: Cinemagoing, Women’s Writing and Movie Culture in Interwar Britain

O ‘Lisa Stead’s methodologically sophisticated and impeccably researched F study of women and cinema culture between the wars brings under F the spotlight a transformative moment when popular media,modernity, modernism and femininity came together in shaping unprecedented new T ways of being a woman.’ O AnnetteKuhn,QueenMaryUniversityofLondon Off to the Pictures offers a rich new exploration of gendered cultures of T cinema between the wars,and their complex intersections with literary H media. Examining a range of writings,from newspapers and magazines to middlebrow and modernist fictions,Lisa Stead argues that the diverse E storytelling media that women constructed around filmgoing came to constitute a gendered intermedial movie culture at this time. Looking at P the writings of figures such asWinifred Holtby, Stella Gibbons, Elizabeth I Bowen, Jean Rhys, Elinor Glyn, C. A.Lejeune and Iris Barry, the book C draws upon new archival research and close textual readings to T interrogate a literary preoccupation with the figure of the female cinemagoer. U R A series of case studies reveal that film and literary media created new identities for women as both the creators and consumers of interwar E movie culture, intervening in the way women saw and thought about S themselves,and how they navigated the everyday experiences of modernity. Off to the Pictures thus presents a bold new view of interwar movie culture,read through the creative reflections of the women who experienced it. L I Lisa Stead is a Lecturer in Film Studies in the School ofArt,Media and S O F F T O T H E American Studies at the University of EastAnglia. She is the co-editor of A The Boundaries of the LiteraryArchive:Reclamation and Representation (2013). Her essays on fandom,archives and women’s cinema have appeared in S P I C T U R E S Women’s History Review andTransformativeWorks and Cultures,among other T publications. E A D CINEMA-GOING , WOMEN’S Coverimage:Cinemapublicityprogramme:RegentCinema,Brighton,weekcommencing28October WRITING AND MOVIE CULTURE 1923/Ifwintercomes.CourtesyofTheBillDouglasCinemaMuseum,UniversityofExeter. Coverdesign: AndrewMcColm IN INTERWAR BRITAIN L I S A S T E A D ISBN978-0-7486-9488-4 edinburghuniversitypress.com Off to the Pictures Off to the Pictures Cinema-going, Women’s Writing and Movie Culture in Interwar Britain Lisa Stead Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Lisa Stead, 2016 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 9488 4 (hardback) ISBN 978 0 7486 9489 1 (webready PDF) ISBN 978 1 4744 1395 4 (epub) The right of Lisa Stead to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents List of Figures vi Acknowledgements vii Introduction 1 1 Off to the Pictures: Cinema, Fiction and Interwar Culture 8 2 Screen Fantasies: Tie-ins and the Short Story 32 3 Middlebrow Modernity: Class, Cinema-going and Selfhood 69 4 Wander, Watch, Repeat: Jean Rhys and Cinema 93 5 Film Talk: C. A. Lejeune and the Female Film Critic 127 6 Elinor Glyn: Intermedial Romance and Authorial Stardom 156 Afterword 189 Bibliography 199 Index 217 Figures 1.1 Comic postcard circa 1929 28 1.2 Comic postcard circa 1930s 29 2.1 An early cover for Girls’ Cinema, featuring Rudolph Valentino’s life story 37 2.2 The opening instalment of the original serial ‘The Girl who Dared’ 50 2.3 The Violet Novels cover featuring Jean Harlow 54 2.4 Cover of the 1927 Scala Tatler, featuring stories written by Lilian Laine 57 2.5 Beth Mavor’s The Cinema Star, part of the Smart Novels series, no. 1,990 60 4.1 The Court Cinema, Tottenham Court Road, at the junction with Oxford Street and Charing Cross Road, as it appeared in 1927 103 4.2 Cinema-going stereotypes from a Bamforth & Co. ‘Comic’ Series postcard, circa 1930 105 4.3 The Three Fingered Kate episode ‘The Case of the Chemical Fumes’ adapted as a short story for the British fan magazine The Pictures, 17 August 1912 116 6.1 ‘I’m not a film star, but I’ve certainly got IT!’ postcard 162 6.2 An illustrated cigarette-card profile of Elinor Glyn 163 Acknowledgements I would like to thank everyone who encouraged and advised me across the process of writing this book. I am grateful to those who offered helpful comments at conferences, talked through ideas and helped me to see new angles on the material. I thank the Arts and Humanities Research Council (AHRC) for the research scholarships that helped set me on the initial path for this project. Thank you to Gillian Leslie at Edinburgh University Press (EUP) for her interest in and support with the proposal, to the anonymous readers who gave invaluable commentary at this early stage, to the final reader whose feedback was so encouraging and to Richard Strachan and Rebecca Mackenzie for all their assistance. I am grateful to the archivists and curators who have been generous with their time and expertise, particularly those at the British Library, the Women’s Library @ LSE (the London School of Economics and Political Science), Reading Special Collections, the British Film Institute (BFI), the Bill Douglas Cinema Museum, and the University of Exeter Heritage Collections. I am grateful also to mentors, former teachers and past and present colleagues for their invaluable perspectives and general good wishes – especially Steve Neale, Nick Hall and Jana Funke. My thanks go most particularly to Carrie Smith, who has offered a great deal of time with proofreading, good advice, moral support and friendship across the life of this project. Thanks also to Kate Saunders for a long afternoon in Boston Tea Party mulling over an initial proposal, and to Duncan Carson for his words of wisdom and keen editorial eye on the final draft. I especially want to thank Helen Hanson and Phil Wickham for the time, encouragement and friendship they have given me. Finally, I would like to thank my parents for their support and enthusiasm, and for putting up with me. For CRS Introduction ‘Where i’you going, Ma?’ gasped George. ‘The pictures!’ She might have been saying ‘The Devil.’ And to the pictures she went, catching the afternoon bus to Kiplington. W. Holtby1 The movies, and going to the movies, were for many British women an integral part of their experience of modernity. ‘The pictures’ as both a representational media and everyday leisure activity was intertwined in the changing fabric of women’s everyday lives between the world wars. The street, the shop, what you read, how you dressed – these things were increasingly coded for and by women through mass culture, and in no small part by cinema. Cinema intersected with changing relationships between work and play, the relationship between the sexes in public and private spaces, the movement of bodies within these spaces and ways of thinking about the self through dress, cosmetics, dance, advertising and shopping. This was the period in which fleapits were overtaken by purpose-built picture-palaces and super-cinemas. Feature films came to dominate exhibition, and sound eclipsed the silent film. It was also a time in which British cinema-going was progressively geared towards women. If pre-war cinema had attracted a more working-class, mixed-gender audience base, it now extended its address to a feminised and more middle-class consumer. Cinema and the cinema programme became a much more established and embedded part of everyday British life for women. Film- going soon became, according to Iris Barry writing in the mid-1920s, ‘as standardized as a church service or a daily newspaper’ (1972 [1926]): 5). Alongside film, popular fiction was addressing a similar audience. Books were increasingly a commodity form as growing levels of literacy resulted in a larger reading public, and a rise in the price of printing costs helped push the primacy of the bestseller, reprints, cheap editions and paperback

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