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Slapstick Modernism: Charley Bowers and Industrial Modernity

Slapstick Modernism: Charley Bowers and Industrial Modernity <jats:p> William Solomon (SUNY-Buffalo) asks us how vernacular and avant-garde comic practice might function as twinned responses to standardised mass-production and the rationalisation of the workplace. Returning us to the recently rediscovered comic films of Charley Bowers - a pioneer of animated silent film and a proto-surrealist bricoleur lionised by André Breton, Solomon demonstrates how Bowers' absurd machinic assemblages “generate laughter at the expense of the ethos of productive rationalism, in the process of opening up an alternative understanding of machinery as the locus of exuberantly unsettling bursts of joy”. </jats:p> http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Modernist Cultures Edinburgh University Press

Slapstick Modernism: Charley Bowers and Industrial Modernity

Modernist Cultures , Volume 2 (2): 170 – Oct 1, 2006

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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press, 2010
ISSN
2041-1022
eISSN
1753-8629
DOI
10.3366/E2041102209000264
Publisher site
See Article on Publisher Site

Abstract

<jats:p> William Solomon (SUNY-Buffalo) asks us how vernacular and avant-garde comic practice might function as twinned responses to standardised mass-production and the rationalisation of the workplace. Returning us to the recently rediscovered comic films of Charley Bowers - a pioneer of animated silent film and a proto-surrealist bricoleur lionised by André Breton, Solomon demonstrates how Bowers' absurd machinic assemblages “generate laughter at the expense of the ethos of productive rationalism, in the process of opening up an alternative understanding of machinery as the locus of exuberantly unsettling bursts of joy”. </jats:p>

Journal

Modernist CulturesEdinburgh University Press

Published: Oct 1, 2006

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