![]() This authentication occurs automatically, and it is not possible to sign out of an IP authenticated account.Ĭhoose this option to get remote access when outside your institution. Typically, access is provided across an institutional network to a range of IP addresses. If you are a member of an institution with an active account, you may be able to access content in one of the following ways: Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. That notion operated on the premise, informed by Vienna’s nineteenth-century anatomical and physiological traditions, that bodies are not only fundamentally legible but also sources of initially hidden knowledge. In Viennese modernist dance, pantomime, and film, gesture was viewed as a kind of urlanguage, a seemingly more truthful, immediate, and universal form of communication than written language. The gestural principles and performative presence underlying pantomime and dance were important templates for silent film and, later, film theory. By the 1920s, Viennese dancers had begun critiquing the social implications of urban industrial modernization in their choreographies. Viennese cultural producers, moreover, used pantomime and dance to negotiate questions of Jewish identity. The development of free dance in Vienna after 1900 merged with this trend. ![]() Initially, authors and directors revived the folk tradition of pantomime, turning to gesture as an idealized mode of communication. What began as a response to a perceived crisis of language in the 1890s was increasingly seen as a way to address pressing social problems by the 1930s. ![]() This chapter traces the interdependence of three modes of cultural production-pantomime, dance, and silent film-that eschew spoken and written language in favor of body language.
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