001484055 000__ 05039cam\\2200577\i\4500
001484055 001__ 1484055
001484055 003__ OCoLC
001484055 005__ 20240117003312.0
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001484055 008__ 231114s2023\\\\sz\a\\\\ob\\\\001\0\eng\d
001484055 020__ $$a9783031400292$$q(electronic bk.)
001484055 020__ $$a3031400291$$q(electronic bk.)
001484055 020__ $$z3031400283
001484055 020__ $$z9783031400285
001484055 0247_ $$a10.1007/978-3-031-40029-2$$2doi
001484055 035__ $$aSP(OCoLC)1409224465
001484055 040__ $$aGW5XE$$beng$$erda$$epn$$cGW5XE$$dGW5XE$$dN$T
001484055 043__ $$an-us-ca
001484055 049__ $$aISEA
001484055 050_4 $$aPN1995.9.S84
001484055 08204 $$a791.43/6561$$223/eng/20231114
001484055 1001_ $$aRandell, Karen,$$eauthor.
001484055 24510 $$aTransforming faces for the screen :$$bhorror and romance in the 1920s /$$cKaren Randell, Alexis Weedon.
001484055 264_1 $$aCham :$$bPalgrave Macmillan,$$c[2023]
001484055 264_4 $$c©2023
001484055 300__ $$a1 online resource (xvii, 139 pages) :$$billustrations (some color)
001484055 336__ $$atext$$btxt$$2rdacontent
001484055 337__ $$acomputer$$bc$$2rdamedia
001484055 338__ $$aonline resource$$bcr$$2rdacarrier
001484055 504__ $$aIncludes bibliographical references and index.
001484055 5050_ $$aChapter 1: Introduction -- Chapter 2: Vilray Blair MD, Lon Chaney and The Phantom of the Opera -- Chapter 3: Beauty Regimes, Facial Surgery and Elinor Glyns Such Men are Dangerous -- Chapter 4: Masks, Prosthetics and Performance -- Chapter 5: Unveiling Romance, Elinor Glyns Man and Maid -- Chapter 6: In Conclusion, Visual Culture in the Archive.
001484055 506__ $$aAccess limited to authorized users.
001484055 520__ $$aTransforming Faces for the Screen: Horror and Romance in the 1920s is an impressive scholarly achievement, standing as both a fascinating study of the relationship between film and war trauma during a specific era and as a model for approaching film and culture more generally through meticulous archival research and bold interdisciplinary thinking. Gaylyn Studlar, David May Distinguished Professor in the Humanities, Washington University in St. Louis,USA. This book brings together research from medical and film archives to illustrate the cultural impact of film and literature in its relationship to the discourse of plastic surgery in the 1920s. This different take on reading the body after the First World War enables students of multiple disciplines, and readers interested in both Hollywood and post-war culture, to understand some of the complexities of medical interventions gained after the First World War and the way in which they filtered into the world of Hollywood film making. It also allows readers who may not be familiar with these two 1920s stars to access the films of Lon Chaney and the books and films of Elinor Glyn and gain new insights into 1920s visual culture. For ease of readership, the book is organised so that each of the main chapters focuses on a particular film (either Lon Chaney or Elinor Glyn). This is particularly useful for use in the classroom or for online education. Readers can refer to the film directly, aided by illustrations of frames from the films. This book tells the story of how two stars of Hollywood film transformed their characters faces on screen through a close reading of three films in the 1920s. It reveals how they applied their embodied knowledge of surgery and surgical procedures to broaden their audiences emotional and intellectual understanding of the treatment of deformity and disability. Alexis Weedon is Professor of Publishing Studies and Karen Randell is Professor of Film and Culture, both at the University of Bedfordshire, UK. Their British Academy funded project explores attitudes to the reconstructed body through the creative work of these two Hollywood stars of the 1920s. Their research investigates medical procedures, photos and diaries located at archives in the UK and USA to analyse films which creatively and successfully addressed the latent fears of technologizing the body. .
001484055 588__ $$aDescription based on print version record.
001484055 60010 $$aChaney, Lon,$$d1883-1930$$1https://isni.org/isni/0000000121336898$$d1883-1930$$0(OCoLC)oca02561981
001484055 60010 $$aGlyn, Elinor,$$d1864-1943$$1https://isni.org/isni/000000011027656X
001484055 650_0 $$aMotion pictures$$zCalifornia$$zLos Angeles$$xHistory$$y20th century.$$0(DLC)sh 85088126
001484055 650_0 $$aSurgery, Plastic in motion pictures.
001484055 655_7 $$aHistory.$$2fast$$0(OCoLC)fst01411628
001484055 655_0 $$aElectronic books.
001484055 7001_ $$aWeedon, Alexis,$$eauthor.
001484055 77608 $$iPrint version:$$aRANDELL, KAREN. WEEDON, ALEXIS.$$tTRANSFORMING FACES FOR THE SCREEN.$$d[Place of publication not identified] : PALGRAVE MACMILLAN, 2023$$z3031400283$$w(OCoLC)1390877159
001484055 852__ $$bebk
001484055 85640 $$3Springer Nature$$uhttps://univsouthin.idm.oclc.org/login?url=https://link.springer.com/10.1007/978-3-031-40029-2$$zOnline Access$$91397441.1
001484055 909CO $$ooai:library.usi.edu:1484055$$pGLOBAL_SET
001484055 980__ $$aBIB
001484055 980__ $$aEBOOK
001484055 982__ $$aEbook
001484055 983__ $$aOnline
001484055 994__ $$a92$$bISE