By Keith Williams
Everyone seems to be acquainted with H.G. Wells’s pioneering works of technology fiction, The warfare of the Worlds, The Time laptop, and The Invisible Man—but fewer detect how those works helped to technically boost the cinematic narrative. An beautiful and obtainable examine geared toward the scholar of modernism and early cinema, H.G. Wells, Modernity, and the flicks reconsiders Well’s development of the cinematic narrative along the social and political effect of early media. together with infrequent illustrations from the unique magazines which released Wells’s early paintings, this groundbreaking examine may be of curiosity to an individual occupied with Wells, his paintings, and the technological parameters of contemporary tradition.
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Extra resources for H.G. Wells, Modernity and the Movies (Liverpool University Press - Liverpool Science Fiction Texts & Studies)
Sample text
The hypnotist is actually employed by the heroine’s father to induce her to forget her underachieving lover. Deceived by this ‘novel entertainment’, she voluntarily steps through a portal ‘into that land of dreams where there is neither any freedom of choice nor will’ (CSS, pp. p65 36 9/12/2007, 9:37 AM OPTICAL SPECULATIONS IN THE EARLY WRITINGS 37 anticipates E. M. Forster’s ‘The Machine Stops’ (1909). Such early texts refute the widespread misconception that Wells suffered from a naive enthusiasm for communications technology that blinded him to its dehumanising potential for severing contact with concrete experience and direct human interaction, an alleged flaw that Forster’s satire is seen as targeting (see, for example, CSS, p.
The screen’s ‘door in the wall’, from what ‘The New Accelerator’ called the ‘stresses of these pushful days’, provided temporary wish-fulfilment but sometimes rendered audiences less content with their everyday lives in the long term. Like an early film fan, the disappointed protagonist becomes addicted to a virtual experience of beauty and happiness ‘full of the quality and promise of heart’s desire’, but which then ‘made all the interests and spectacle of worldly life seem dull and tedious and vain’ (CSS, pp.
Similarly, fiction films or ‘features’ never were pure entertainment and were quickly harnessed for campaigns of various kinds. Interventions by vested interests became particularly influential in shaping cinema’s narrative forms. The issue of censorship and control was made more complex than ever before by a mass-entertainment medium bypassing language to communicate directly through the visual sense. Late Victorian moral panic is reflected in WTSW’s erotic ‘videos’, but its advertisements, huckstering evangelical filmshows and giant moving images of the crucifixion also anticipate the other side of the question: a modern medium need not entail use for progressive purposes.