Abstract
The sole direct reference to moving picture technology in Ulysses names the mutoscope, hand-cranked alternative to Edison's peepshow kinetoscope which spurred the Lumières to solve the problem of projection with their 1895 Cinématographe. Joyce's reference highlights how "Nausicaa" critiques modernity's "media-cultural imaginary," particularly its objectifying consumerist gaze for both sexes. The mutoscope is framed within a wider cinematic structure which engages with how film culture and narrative had developed by 1922, long after Ulysses' diegetic present (1904). Hence the overall "cinematicity" of "Nausicaa" epitomizes Joyce's ongoing engagement with moving image media. The 1930s Reisman-Zukofsky film treatment sheds valuable light on this process.
| Original language | English |
|---|---|
| Pages (from-to) | 45-64 |
| Number of pages | 20 |
| Journal | Modernism/modernity |
| Volume | 31 |
| Issue number | 1 |
| DOIs | |
| Publication status | Published - 29 Aug 2024 |
Keywords
- Mutoscope
- Nausicaa
- cinematicity
- film treatment
- media-cultural imaginary
ASJC Scopus subject areas
- Cultural Studies
- Visual Arts and Performing Arts
- History
- Sociology and Political Science
- Music
- Literature and Literary Theory