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By Keith Williams

Everyone seems to be conversant in H.G. Wells’s pioneering works of technological know-how fiction, The struggle of the Worlds, The Time computing device, and The Invisible Man—but fewer discover how those works helped to technically improve the cinematic narrative. An beautiful and obtainable learn aimed toward the coed of modernism and early cinema, H.G. Wells, Modernity, and the Movies reconsiders Well’s development of the cinematic narrative along the social and political effect of early media. together with infrequent illustrations from the unique magazines which released Wells’s early paintings, this groundbreaking research may be of curiosity to an individual taken with Wells, his paintings, and the technological parameters of contemporary tradition.

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Extra resources for H.G. Wells, Modernity and the Movies (Liverpool Science Fiction Texts & Studies)

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Like the medium itself, his work was a symptomatic site of transition between Victorian and twentieth-century traditions, between intellectual and popular culture, élite aesthetic standards and mass-produced cheapness. Tension between modern form and ideological reaction was epitomised by his historical epic Birth of a Nation (1915). p65 21 9/12/2007, 9:34 AM 22 H. G. WELLS, MODERNITY AND THE MOVIES cinematic narrative was matched by controversy over racial propaganda, allegedly instrumental in reviving the Ku Klux Klan and inspiring Nazi scapegoat films.

Hence, in Chapter 1, I want to begin by considering the implications of this in Wells’s first scientific romance and a range of early stories, to demonstrate the sheer diversity and prescience of his ‘optical speculations’ at the beginning of the medium. p65 23 9/12/2007, 9:34 AM 1 Optical Speculations in the Early Writings: The Time Machine and the Short Stories Wells’s early stories in particular (and this is also true of many scientific romances, though their techniques seem to have been ‘tried out’ in the stories) display a visual self-consciousness remarkable in its inventiveness and multiformity.

642). ‘A Story of the Days to Come’ (1899), a twenty-second-century urban Dystopia similar to WTSW (published the same year, and likewise warning against a laissez-faire capitalist version of modernity) is perhaps the early story most saturated with new visual media, in terms of both subject matter and techniques. The narrator says, ‘the nineteenth century was the dawn of a new epoch in the history of mankind – the epoch of the great cities, the end of the old order of country life’ (CSS, pp. 333–98, especially 46).

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