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首页> 外文期刊>Early Popular Visual Culture >Atlantic crossings: Exhibiting Scandinavian-American relations in scale models and moving pictures during the mid-1910s
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Atlantic crossings: Exhibiting Scandinavian-American relations in scale models and moving pictures during the mid-1910s

机译：大西洋穿越：在1910年代中期的比例模型和动态图片中展示斯堪的纳维亚与美国的关系

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摘要

Among the many endeavours of visualization that took place in fairs and expositions at the time of early cinema, one medium warrants closer attention than it has hitherto received: the scale model. Well suited to pedagogical ideals of overview and visual compression, the model may shed light on the specifically three-dimensional branch of exhibitory items, particularly in instances when it was used in conjunction with moving pictures. Chiefly on the basis of contemporary press sources, this essay explores two occurrences of smaller-scale farm models that were used in exhibitions in a context of multiple other media, including cinema. These instances of model culture reflect two very different aspects of Scandinavian-American relations during the mid-teens: on the one hand, a Swedish government-funded organization used the 1915 Panama-Pacific Exposition for political purposes, attempting to convince Swedish Americans to go back to Sweden and build their own small farms; on the other, a Norwegian official exposition in 1914 instead celebrated the success of Norwegian-American settlers. The essay investigates how the specific uses of the assembled media in each case articulate these aims and refract the more abstract political ideals behind them. It argues that in the media discourse surrounding these cases, the scale model was overwhelmingly favoured, at this point outshining the cinema as a perceived beacon of scientific exactitude and intuitive meaning. Perhaps for this very reason, the miniature in particular seems to have been allowed to invite affective relations with the spectator.View full textDownload full textKeywordsscale model, cinema, fair, exposition, intermediality, migration, Scandinavian AmericanRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/17460654.2012.724566
机译：在早期电影院展览会和展览会中进行的许多可视化工作中，一种比以往更受关注的媒体是比例模型。该模型非常适合概述和视觉压缩的教学理想，可以阐明展览品的特定三维分支，尤其是在与运动图片结合使用的情况下。本文主要基于当代新闻资源，探讨了两次在较小的农场模型中出现的两种情况，这些模型在包​​括电影在内的多种其他媒体的背景下用于展览。这些典范文化实例反映了斯堪的纳维亚与美国关系在青少年时期的两个截然不同的方面：一方面，瑞典政府资助的组织将1915年巴拿马太平洋博览会用于政治目的，试图说服瑞典裔美国人参加回到瑞典并建立自己的小农场；另一方面，1914年的挪威官方博览会反而庆祝了挪威裔美国定居者的成功。本文探讨了在每种情况下组合媒体的特定用法如何阐明这些目标并折射出其背后更抽象的政治理想。它认为，在围绕这些案例的媒体讨论中，比例模型得到了压倒性的支持，这时电影作为一种科学的正确性和直觉意义的信标就比电影更耀眼。也许由于这个原因，似乎特别允许使用缩影来吸引与观众的情感关系。 ＆Francis Online”，services_compact：“ citeulike，netvibes，twitter，technorati，delicious，linkedin，facebook，stumbleupon，digg，google，更多”，发布号：“ ra-4dff56cd6bb1830b”};添加到候选列表链接永久链接http://dx.doi.org/10.1080/17460654.2012.724566

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