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By Gosho Aoyama
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Additional resources for Detective Conan, tome 2 FRENCH
But this was less a result of the inevitable triumph of canonical film narrative than it was the inability of the fledgling film industry to market and commodify the same serialized, ritualized disorder that comics had exploited so effectively. And this failure has less to do, ultimately, with the antimodernism that will come to define Hollywood filmmaking than with the unique pressures of production, distribution, and exhibition presented by film. The unregulated meanings opened up by comic fragments lead inexorably to unregulated audiences, and as film costs and competition mounted, regulation of every aspect of the industry increasingly became the dominant pressure.
These were audiences who took their films the way they consumed their Sunday comics supplements, dime novels, and story papers: they carried them about the city, shared their stories, speculated on outcomes, weaved them into their daily lives. By 1912, film had decidedly turned away from the comic form and the discontinuous serial narrative, as we saw in Chapter 1. However, the shift to the feature film was motivated at least as much by the desire on the part of p roducers for market control and product differentiation as by any demands from audiences.
Fragments of Modernity, 1889–1920 11 modern body’s resilience in the face of these same forces, its ability to bounce back, to recover, and to find humor and humanity in the midst of these inhuman conditions. As the pioneering nineteenth-century illustrated magazine Puck commented wryly (and enviously) in 1910, about their successor, the Comic Supplement: Who fixes up the victim, And makes him good as new, When man and beast have kicked him, And stamped upon him, too? . 28 Indeed, the comics of the period as a whole offer a striking counterweight to the narrative of modernity’s traumas that has remained relatively intact from Simmel to Singer.