Rudmer Canjels
- Published in print:
- 2013
- Published Online:
- April 2017
- ISBN:
- 9780252037689
- eISBN:
- 9780252094941
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037689.003.0002
- Subject:
- Film, Television and Radio, Film
This chapter examines Pearl White's serials in France and the transformations made in tailoring them to the local French setting during World War I. It first provides an overview of the glocalization ...
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This chapter examines Pearl White's serials in France and the transformations made in tailoring them to the local French setting during World War I. It first provides an overview of the glocalization of American serial films in France before discussing two of Pearl White's serials, Les Mystères de New-York and The House of Hate (La Maison de la haine). It then considers the marketing adaptations and marketing tie-ins of the serials for the French market, along with the incorporation of anti-German propaganda in their French novelizations. In shows that the adaptation not only aligned promotional material or changing intertitles to accommodate viewership, but also, under the stress of war, localization transformed a supposedly national body of “foreign” films into a highly flexible transnational film form. The chapter also explains how Pearl White's love for France that was often made apparent in her serials boosted the French admiration of her.Less
This chapter examines Pearl White's serials in France and the transformations made in tailoring them to the local French setting during World War I. It first provides an overview of the glocalization of American serial films in France before discussing two of Pearl White's serials, Les Mystères de New-York and The House of Hate (La Maison de la haine). It then considers the marketing adaptations and marketing tie-ins of the serials for the French market, along with the incorporation of anti-German propaganda in their French novelizations. In shows that the adaptation not only aligned promotional material or changing intertitles to accommodate viewership, but also, under the stress of war, localization transformed a supposedly national body of “foreign” films into a highly flexible transnational film form. The chapter also explains how Pearl White's love for France that was often made apparent in her serials boosted the French admiration of her.
