Ryan Copping - Academia.edu (original) (raw)
Papers by Ryan Copping
Palgrave Studies in the History of the Media, 2020
Palgrave Studies in the History of the Media, 2020
If the underlying theme of the "Universal Fraternity" movies I discuss in this chapter could be r... more If the underlying theme of the "Universal Fraternity" movies I discuss in this chapter could be redacted down to a sentence, it would echo the words of Rodney King: "Can't we all just get along?" The Great War films during this period, made as the world seemed to move towards a conflict the vast majority of the populations of the UK and US dreaded, tended to emphasize the oneness of humanity-a brotherhood (and sisterhood) beyond nation or culture. Of course, this did not mean that all nations were equal-the German government could not be trusted and the Allied soldiers were still noble in their bravery. However, according to these films, the "good" people of Germany could not really be blamed for fighting, after all, who fights against their own country? These apolitical Germans were just used as pawns and manipulated by their government, in the same way, if to a greater extent, that almost everyone else had. If another war was to happen, it would be because of crazed political fanatics in some country, somewhere. Regular people were not to blame. This concept of the essential fraternity of the human race necessitated a kind of resignation and acceptance as to the nature of the world in the outlook of these films. Since the grand narratives of political and military pursuits do not lead to happiness, individuals must look to interpersonal relationships to create meaning. This implicit belief in the inability of governments and societies to solve problems at the end of a decade of economic privation and the spectre of war is not particularly surprising,
Palgrave Studies in the History of the Media, 2020
On September 29th, 1919, the Park Hall Cinema in Cardiff, Wales, ran a brief advertisement in the... more On September 29th, 1919, the Park Hall Cinema in Cardiff, Wales, ran a brief advertisement in the Western Mail for Inside the Lines , an American import. The ad, only a few sentences long, read in its entirety, with the original capitalization: "Stupendous Attraction! 'Inside the Lines' is a film version of the famous Play which ran at the Apollo for more than 12 months. It should be distinctly understood that this is NOT in any sense a War Film, but a great Spy Play which grips with an intensity seldom seen. The Grand Organ will be used Twice Daily in conjunction with Garforth Hobitmer's Orchestra." 1 The 1918 version of the film, directed by David Hartford, is not in circulation and possibly lost. However, we know the movie, a filmed version of a popular play by Earl Derr Biggers, involved a German spy plot to destroy the British fleet during the war. Since the entire plot of the film is motivated by war concerns, what are we to make of the claim that it is "NOT in any sense a War Film"? Even a casual reading of cinema-related documents in both the United States and Britain from the period after the November 1918 Armistice indicates that a perception existed among both commentators (what we
This thesis is an examination of the reception of selected films from the United States concernin... more This thesis is an examination of the reception of selected films from the United States concerning the Great War during the interwar period. Despite the influential nature of these films at the time of their release, relatively few studies have been conducted on the response of contemporary audiences to these texts. Given the significance of the Great War as a critical event in modern history and culture, it is important to study the responses of audiences to works concerning the war during this period. Taking the war as a cinematic subject as opposed to a genre, I analyse both the content and reception of significant war-related films, using the movies themselves and contemporary newspaper and magazine articles and reviews, advertising and internal studio memoranda. I use this method in reference to the following films: The Heart of Humanity (1918), The Four Horseman of the Apocalypse (1921), The Big Parade (1925), What Price Glory (1926), Wings (1927), Hell’s Angels (1930), Journe...
Palgrave Studies in the History of the Media, 2020
Palgrave Studies in the History of the Media publishes original, high quality research into the c... more Palgrave Studies in the History of the Media publishes original, high quality research into the cultures of communication from the middle ages to the present day. The series explores the variety of subjects and disciplinary approaches that characterize this vibrant field of enquiry. The series will help shape current interpretations not only of the media, in all its forms, but also of the powerful relationship between the media and politics, society, and the economy.
Palgrave Studies in the History of the Media, 2020
Palgrave Studies in the History of the Media, 2020
Palgrave Studies in the History of the Media, 2020
If the underlying theme of the "Universal Fraternity" movies I discuss in this chapter could be r... more If the underlying theme of the "Universal Fraternity" movies I discuss in this chapter could be redacted down to a sentence, it would echo the words of Rodney King: "Can't we all just get along?" The Great War films during this period, made as the world seemed to move towards a conflict the vast majority of the populations of the UK and US dreaded, tended to emphasize the oneness of humanity-a brotherhood (and sisterhood) beyond nation or culture. Of course, this did not mean that all nations were equal-the German government could not be trusted and the Allied soldiers were still noble in their bravery. However, according to these films, the "good" people of Germany could not really be blamed for fighting, after all, who fights against their own country? These apolitical Germans were just used as pawns and manipulated by their government, in the same way, if to a greater extent, that almost everyone else had. If another war was to happen, it would be because of crazed political fanatics in some country, somewhere. Regular people were not to blame. This concept of the essential fraternity of the human race necessitated a kind of resignation and acceptance as to the nature of the world in the outlook of these films. Since the grand narratives of political and military pursuits do not lead to happiness, individuals must look to interpersonal relationships to create meaning. This implicit belief in the inability of governments and societies to solve problems at the end of a decade of economic privation and the spectre of war is not particularly surprising,
Palgrave Studies in the History of the Media, 2020
On September 29th, 1919, the Park Hall Cinema in Cardiff, Wales, ran a brief advertisement in the... more On September 29th, 1919, the Park Hall Cinema in Cardiff, Wales, ran a brief advertisement in the Western Mail for Inside the Lines , an American import. The ad, only a few sentences long, read in its entirety, with the original capitalization: "Stupendous Attraction! 'Inside the Lines' is a film version of the famous Play which ran at the Apollo for more than 12 months. It should be distinctly understood that this is NOT in any sense a War Film, but a great Spy Play which grips with an intensity seldom seen. The Grand Organ will be used Twice Daily in conjunction with Garforth Hobitmer's Orchestra." 1 The 1918 version of the film, directed by David Hartford, is not in circulation and possibly lost. However, we know the movie, a filmed version of a popular play by Earl Derr Biggers, involved a German spy plot to destroy the British fleet during the war. Since the entire plot of the film is motivated by war concerns, what are we to make of the claim that it is "NOT in any sense a War Film"? Even a casual reading of cinema-related documents in both the United States and Britain from the period after the November 1918 Armistice indicates that a perception existed among both commentators (what we
This thesis is an examination of the reception of selected films from the United States concernin... more This thesis is an examination of the reception of selected films from the United States concerning the Great War during the interwar period. Despite the influential nature of these films at the time of their release, relatively few studies have been conducted on the response of contemporary audiences to these texts. Given the significance of the Great War as a critical event in modern history and culture, it is important to study the responses of audiences to works concerning the war during this period. Taking the war as a cinematic subject as opposed to a genre, I analyse both the content and reception of significant war-related films, using the movies themselves and contemporary newspaper and magazine articles and reviews, advertising and internal studio memoranda. I use this method in reference to the following films: The Heart of Humanity (1918), The Four Horseman of the Apocalypse (1921), The Big Parade (1925), What Price Glory (1926), Wings (1927), Hell’s Angels (1930), Journe...
Palgrave Studies in the History of the Media, 2020
Palgrave Studies in the History of the Media publishes original, high quality research into the c... more Palgrave Studies in the History of the Media publishes original, high quality research into the cultures of communication from the middle ages to the present day. The series explores the variety of subjects and disciplinary approaches that characterize this vibrant field of enquiry. The series will help shape current interpretations not only of the media, in all its forms, but also of the powerful relationship between the media and politics, society, and the economy.
Palgrave Studies in the History of the Media, 2020