Love and revenge in The Eagle (1925)

Agata Frymus

Love and revenge in The Eagle (1925)

Research output: Other contribution › Other

Abstract

Big budget costume dramas were a prominent fixture in the changing landscape of early and mid-1920s Hollywood. Such productions were instructive in responding to ‘a specific spectatorial desire for escapism into an ahistorical time of myth and magic, inured to the ravages of urbanization [and] industrialization.’[1] In other words, silent historical epics were tailored to cater to audiences’ desire for spectacle, whilst also providing a conceptualisation of chivalry and romance untarnished by the shifting gender discourse of the time of their production.

Original language	English
Type	Blog post
Publisher	The International Association for Media and History
Publication status	Published - 23 Jan 2018
Externally published	Yes

Keywords

film history
silent film

Access to Document

https://iamhist.net/2018/01/love-revenge-eagle-1925/

1 Book
1 Article

Damsels and Divas: European Stardom in Silent Hollywood
Frymus, A., 2020, New Brunswick NJ USA: Rutgers University Press. 260 p.
Research output: Book/Report › Book › Research › peer-review
‘The almost perfect Anglo-Saxon type, more English than the English’: Vilma Bánky’s star image in 1920s America
Frymus, A., 2017, In: Early Popular Visual Culture. 15, 4, p. 425-441 17 p.
Research output: Contribution to journal › Article › Research › peer-review

Open Access
File

1 Citation (Scopus)

Cite this

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title = "Love and revenge in The Eagle (1925)",

abstract = "Big budget costume dramas were a prominent fixture in the changing landscape of early and mid-1920s Hollywood. Such productions were instructive in responding to {\textquoteleft}a specific spectatorial desire for escapism into an ahistorical time of myth and magic, inured to the ravages of urbanization [and] industrialization.{\textquoteright}[1] In other words, silent historical epics were tailored to cater to audiences{\textquoteright} desire for spectacle, whilst also providing a conceptualisation of chivalry and romance untarnished by the shifting gender discourse of the time of their production. ",

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author = "Agata Frymus",

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N2 - Big budget costume dramas were a prominent fixture in the changing landscape of early and mid-1920s Hollywood. Such productions were instructive in responding to ‘a specific spectatorial desire for escapism into an ahistorical time of myth and magic, inured to the ravages of urbanization [and] industrialization.’[1] In other words, silent historical epics were tailored to cater to audiences’ desire for spectacle, whilst also providing a conceptualisation of chivalry and romance untarnished by the shifting gender discourse of the time of their production.

AB - Big budget costume dramas were a prominent fixture in the changing landscape of early and mid-1920s Hollywood. Such productions were instructive in responding to ‘a specific spectatorial desire for escapism into an ahistorical time of myth and magic, inured to the ravages of urbanization [and] industrialization.’[1] In other words, silent historical epics were tailored to cater to audiences’ desire for spectacle, whilst also providing a conceptualisation of chivalry and romance untarnished by the shifting gender discourse of the time of their production.

KW - film history

KW - silent film

M3 - Other contribution

PB - The International Association for Media and History

ER -

Love and revenge in The Eagle (1925)

Abstract

Keywords

Access to Document

Research output

Damsels and Divas: European Stardom in Silent Hollywood

‘The almost perfect Anglo-Saxon type, more English than the English’: Vilma Bánky’s star image in 1920s America

Cite this