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Late 1920s film theory and criticism as a test-case for Benjamin’s generalizations on the experiential effects of editing

Mario Slugan (UGent)
(2016) EARLY POPULAR VISUAL CULTURE. 14(3). p.215-233
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Keywords
Modernity thesis, hyper-stimulation, classical Hollywood editing, Soviet montage, classical film theory, historical reception in Weimar

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Chicago
Slugan, Mario. 2016. “Late 1920s Film Theory and Criticism as a Test-case for Benjamin’s Generalizations on the Experiential Effects of Editing.” Early Popular Visual Culture 14 (3): 215–233.
APA
Slugan, M. (2016). Late 1920s film theory and criticism as a test-case for Benjamin’s generalizations on the experiential effects of editing. EARLY POPULAR VISUAL CULTURE, 14(3), 215–233.
Vancouver
1.
Slugan M. Late 1920s film theory and criticism as a test-case for Benjamin’s generalizations on the experiential effects of editing. EARLY POPULAR VISUAL CULTURE. Informa UK Limited; 2016;14(3):215–33.
MLA
Slugan, Mario. “Late 1920s Film Theory and Criticism as a Test-case for Benjamin’s Generalizations on the Experiential Effects of Editing.” EARLY POPULAR VISUAL CULTURE 14.3 (2016): 215–233. Print.
@article{8542091,
  author       = {Slugan, Mario},
  issn         = {1746-0654},
  journal      = {EARLY POPULAR VISUAL CULTURE},
  language     = {eng},
  number       = {3},
  pages        = {215--233},
  publisher    = {Informa UK Limited},
  title        = {Late 1920s film theory and criticism as a test-case for Benjamin{\textquoteright}s generalizations on the experiential effects of editing},
  url          = {http://dx.doi.org/10.1080/17460654.2016.1199322},
  volume       = {14},
  year         = {2016},
}

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