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Smut, Novelty, Indecency : = Reworking a History of Twentieth Century American "Stag Film".

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Smut, Novelty, Indecency :/
Reminder of title:	Reworking a History of Twentieth Century American "Stag Film".
Author:	Sheaffer, Russell Logan.
Description:	1 online resource (295 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 79-01(E), Section: A.
Subject:	Film studies. -
Online resource:	click for full text (PQDT)
ISBN:	9780355158564

Smut, Novelty, Indecency : = Reworking a History of Twentieth Century American "Stag Film".
Sheaffer, Russell Logan.

Smut, Novelty, Indecency :Reworking a History of Twentieth Century American "Stag Film". - 1 online resource (295 pages)

Source: Dissertation Abstracts International, Volume: 79-01(E), Section: A.

Thesis (Ph.D.)--Indiana University, 2017.

Includes bibliographical references

This dissertation examines cultural applications of the term "stag film" in the United States over the course of the early to mid-twentieth century. While scholars have understood the term "stag film" to mean sexually explicit films screened to groups of men illicitly before 1970, this dissertation argues that uses of the term during the first decades of the twentieth century break from this definition. By examining archives of print material, this dissertation argues that formal and informal institutions of policing worked to distill a complex, fluid cinematic formation into a stable set of tropes now known as the genre of "stag films." Instead of describing solely sexually explicit films, the term was utilized in print material early in the twentieth century to describe boxing films, repurposed mainstream films, sexually explicit material, and other moving image content shown in a variety of screening contexts, both illicit and not. Contrary to prior scholarly understandings of the term, this dissertation argues that "stag film" encompassed a variety of potential content and contexts in which pleasurable, collective experiences with media in the early twentieth century mixed the sexually explicit and not. As such, this dissertation argues that "stag films" were exhibited and consumed in ways that are strikingly similar to other forms of moving images produced during the first decades of the twentieth century. Where scholars have previously understood the films held in the Kinsey Institute for Sex, Gender, and Reproduction to demonstrate the breadth of the "stag film," this dissertation argues that it is crucial for scholars to reevaluate the bounds of the conceptual archive of "stag film," encompassing materials beyond the films that have become emblematic of the genre.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355158564Subjects--Topical Terms:

1179264
Film studies.
Index Terms--Genre/Form:

554714
Electronic books.

Smut, Novelty, Indecency : = Reworking a History of Twentieth Century American "Stag Film".
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500 $a Source: Dissertation Abstracts International, Volume: 79-01(E), Section: A.
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500 $a Adviser: Joan Hawkins.
502 $a Thesis (Ph.D.)--Indiana University, 2017.
504 $a Includes bibliographical references
520 $a This dissertation examines cultural applications of the term "stag film" in the United States over the course of the early to mid-twentieth century. While scholars have understood the term "stag film" to mean sexually explicit films screened to groups of men illicitly before 1970, this dissertation argues that uses of the term during the first decades of the twentieth century break from this definition. By examining archives of print material, this dissertation argues that formal and informal institutions of policing worked to distill a complex, fluid cinematic formation into a stable set of tropes now known as the genre of "stag films." Instead of describing solely sexually explicit films, the term was utilized in print material early in the twentieth century to describe boxing films, repurposed mainstream films, sexually explicit material, and other moving image content shown in a variety of screening contexts, both illicit and not. Contrary to prior scholarly understandings of the term, this dissertation argues that "stag film" encompassed a variety of potential content and contexts in which pleasurable, collective experiences with media in the early twentieth century mixed the sexually explicit and not. As such, this dissertation argues that "stag films" were exhibited and consumed in ways that are strikingly similar to other forms of moving images produced during the first decades of the twentieth century. Where scholars have previously understood the films held in the Kinsey Institute for Sex, Gender, and Reproduction to demonstrate the breadth of the "stag film," this dissertation argues that it is crucial for scholars to reevaluate the bounds of the conceptual archive of "stag film," encompassing materials beyond the films that have become emblematic of the genre.
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538 $a Mode of access: World Wide Web
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650 4 $a American history. $3 1179188
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710 2 $a Indiana University. $b Communication and Culture. $3 1185168
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