TY - JOUR
AU - Williams, Michael
AB - new medium that was itself the product of technological and economic developments, in order for artists and activists to engage with modernity itself by engaging with film. Third, Turvey does not just implicitly deplete the avant garde of its revolutionary and iconoclastic energy, he also fails to recognize how the reflexive turn of many of the artworks addressed questions of representation, iconology, the status of art and modern life. Turvey is correct in reminding us that the avant garde did not appear from nowhere but was a movement that drew ideas and inspiration from the surrounding world and artistic tradition, yet he again overshoots the target by failing to see the rupture brought about by the avant-garde modernism of the early twentieth century. Taking a step back from this dispute in order to get a different perspective, one could ask if the modernity debate, on both sides, is not in fact part of a (strategic) misunderstanding about the methodologies and aims that can be usefully applied in the historiography of media and film. How do we make claims for knowledge and how far-reaching are they? What are the questions that can be usefully asked and what methods do we 
TI - Flickers of Desire: Movie Stars of the 1910sTwilight of the Idols: Hollywood and the Human Sciences in 1920s America
JF - Screen
DO - 10.1093/screen/hjs046
DA - 2012-12-01
UR - https://www.deepdyve.com/lp/oxford-university-press/flickers-of-desire-movie-stars-of-the-1910stwilight-of-the-idols-Y31KgieVcb
SP - 486
EP - 490
VL - 53
IS - 4
DP - DeepDyve
ER -