| This work attempts to examine Stephen Crane's novella, Maggie: A Girl of the Streets (Story of New York) as well as a sampling of his New York slum fiction known as his Bowery Tales and Midnight Sketches in light of the burgeoning technological revolution of cinema as a popular art form. By my estimation, Crane's prose style, though slightly removed from the birth of cinema as we know it, clearly makes use of some of the same features of early photography and other precursors to cinema particularly by its emphasis on spectacle, "actuality," and the episodic nature of the stories. These features are often related by way of a voyeuristic point-of-view that mirrors a relationship between early cinema and its audience. |
