Abstract
Devine situates Stephen Crane’s “The Open Boat” at the end of the panoramic age, when the 360-degree promise of encyclopedic perception gave way to a very different kind of visual turn: what Tom Gunning terms “the cinema of attractions.” Crane’s work is read as an allegory of the machine age, when new audiences were consuming a cinematic culture of incessant motion, which blurred the line between spectator and participant. Drawing on early panoramic films and the work of painter Everett Shinn and his contemporaries in the Ashcan School, Devine shows how the panorama was inflected across the arts as a century turned.
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Devine, M. (2017). The Whole Thing (and Other Things): From Panorama to Attraction in Stephen Crane’s “The Open Boat,” Ashcan Painting, and Early Cinema. In: Gabriele, A. (eds) Sensationalism and the Genealogy of Modernity. Palgrave Macmillan, New York. https://doi.org/10.1057/978-1-137-56148-0_10
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