By Richard Koszarski
The silent cinema used to be America's first glossy leisure undefined, a posh social, cultural, and technological phenomenon that swept the rustic within the early years of the 20 th century. Richard Koszarski examines the underlying buildings that made the silent-movie period paintings, from the operations of japanese bankers to the issues of local theater musicians. He deals a brand new standpoint at the improvement of this significant new and paintings shape and the public's reaction to it.
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Additional resources for An Evening's Entertainment: The Age of the Silent Feature Picture, 1915-1928 (History of the American Cinema, Volume 3)
The nausea disappears. 43 Cf. Walter Benjamin. On Hashish (Cambridge, Massachusetts and London: Harvard University Press, 2006). )‖44. But then also, a new experience of time and space follows, collapsing temporal or geographical distance: ―Versailles, for one who has taken hashish, is not too large, or eternity too long. Against the background of these immense dimensions of inner experience, of absolute duration and immeasurable space, a wonderful, beatific humor dwells…‖45 Slowly but surely, Benjamin becomes a connoisseur of faces, of singular physiognomies: ―I positively fixed my gaze on the faces around me, some of which were of remarkable coarseness or ugliness … I especially remember an infinitely bestial, vulgar male face in which the ―line of renunciation‖ struck me with sudden violence‖46.
For Spinoza, this third kind of knowledge, the knowledge of singular essences, induces a series of unique affective experiences as well, constituting as it does the highest conatus of the human mind, its highest virtue134. It is also capable of producing a profound and unparalleled contentment of the mind135; and is a source of genuine unadulterated joy accompanied by the idea of God as a cause136. Most of all, it gives rise to a radically new form of love, one superior to any other affect: that of the intellectual love of God.
48 blockage for another. But what is crucial strategically, the tactical differences notwithstanding, is the body‘s growing experience of commonality, of being-in-common with other bodies, which snowballs with time: the more we have of it, the more we want; and the more we want, the more we get. If no single universal method works for everybody, then at least there are (universal) external signs and indices assuring us that we are on the right path. As our powers of activity increase, so will our experiences of joy and relative immunity to sadness, along with an increase in the adequacy of our ideas.
An Evening's Entertainment: The Age of the Silent Feature Picture, 1915-1928 (History of the American Cinema, Volume 3) by Richard Koszarski