Bits and Pieces

Seriality, Shortness and Dream of the Rarebit Fiend
dc.bibliographicCitation.firstPage1en_US
dc.bibliographicCitation.issue1en_US
dc.bibliographicCitation.lastPage28en_US
dc.bibliographicCitation.volume17en_US
dc.contributor.authorMayer, Ruth
dc.date.accessioned2022-07-13T11:19:45Z
dc.date.available2022-07-13T11:19:45Z
dc.date.issued2017en_US
dc.description.abstractThis article explores the transmedial seriality of Winsor McCay‘s newspaper comic strip Dream of the Rarebit Fiend (1904–24), tracking the narratives evolution from comic to trick film (Edwin S. Porter‘s The Dream of a Rarebit Fiend, 1906) and animation (McCays own Bug Vaudeville, 1921). In contrast to large parts of the critical response to McCay‘s work, this article does not fore ground the subversive and disruptive dimension of the Rarebit narratives. Instead, it reads both the graphic and filmic narratives as integral parts of the larger serialised culture of modernity, and as attempts to chart this reality, in order to make it navigable.en_US
dc.description.publisherNoteThe definitive, Version of Record of this article is published in: Ruth Mayer, 2017, "Bits and Pieces: Seriality, Shortness and Dream of the Rarebit Fiend", Film Studies, 17:1, 16-31, DOI: http://dx.doi.org/10.7227/FS.17.0002 © 2017 Ruth Mayer. Published by Manchester University Press.en_US
dc.identifier.doi10.7227/FS.17.0002
dc.identifier.urihttp://resolver.sub.uni-goettingen.de/purl?fidaac-11858/2143
dc.language.isoengen_US
dc.relation.issn2054-2496en_US
dc.relation.journalFilm Studiesen_US
dc.rightsL::CC BY 4.0en_US
dc.subject.ddcddc:700en_US
dc.subject.fieldamericanstudiesen_US
dc.subject.fieldmediastudiesen_US
dc.subject.fieldpopularcultureen_US
dc.titleBits and Piecesen_US
dc.title.alternativeSeriality, Shortness and Dream of the Rarebit Fienden_US
dc.typearticleen_US
dc.type.versionacceptedVersionen_US
dspace.entity.typePublication
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