Table of Contents

Introduction: Mechanical Recording and the Modern Arts ; Part One: The Logocinema of the Little Magazines ; Chapter 1 Camera Work: The Hieroglyphics of the New Photography ; Chapter 2 transition: The Movies, the Readies, and the Revolution of the Word ; Chapter 3 Close Up: International Modernisms Struggle with Sound ; Part Two: Spectatorship, Media Relations, and Modern American Fiction ; Chapter 4 F. Scott Fitzgeralds Spectroscopic Fiction ; Chapter 5 An Eyeminded People: Spectatorship in Dos Passos U.S.A. ; Chapter 6 Du Bois, Johnson, and the Recordings of Race ; Chapter 7 Ernest Hemingways Media Relations ; Conclusion

About the Author

Michael North is Professor of English at the University of California, Los Angeles. His books include The Waste `and: A Norton Critical Edition (ed.), Reading 1922: A Return to the Scene of the Modern, and The Dialect of ModernismL Race, Language, and Twentieth-Century Literature.

Reviews

"Photography, Michael North argues in this exciting and profoundly original stude, has for too long been understood as just another medium, with its particular possibilities and conventions--a medium, moreover, that provides for 'realistic' representation. But understood properly in its mode and function, photography emerges as itself a kind of modern writing, its inherent mediation itself determining how we view the world in words. In a series of provocative
and groundbreaking chapters, ranging from Stieglitz's Camera Work and the Readies of Bob Brown to the novels of Fitzgerald, Dos Passos, and Hemingway, North shows that recorded mediation, in its
aesthetic, social, and cultural effects, is at the very core of the literature we call Modernist." --Marjorie Perloff, Stanford University
Camera Works offers vivid new takes on literary Modernism, showing how the evolving technologies of photography and film exerted a profound and often problematic influence on the writings of the period. North's readings of even the most familiar modernist texts offer a range of excitingly unfamiliar perspectives." --Peter Nicholls, University of Sussex