A Companion to Early Cinema 9781444332315, 2011048257, 1444332317

Table of contents :
A Companion to Early Cinema......Page 5
Contents......Page 7
List of Contributors......Page 10
Acknowledgments......Page 16
Introduction......Page 17
Part I Early Cinema Cultures......Page 29
1 The Culture Broth and the Froth of Cultures of So-called Early Cinema......Page 31
2 Toward a History of Peep Practice......Page 48
3 “We are Here and Not Here”: Late Nineteenth-Century Stage Magic and the Roots of Cinema in the Appearance (and Disappearance) of the Virtual Image......Page 68
4 The Féerie between Stage and Screen......Page 80
5 The Théâtrophone, an Anachronistic Hybrid Experiment or One of the First Immobile Traveler Devices?......Page 96
6 The “Silent” Arts: Modern Pantomime and the Making of an Art Cinema in Belle Époque Paris: The Case of Georges Wague and Germaine Dulac......Page 115
Part II Early Cinema Discourses......Page 135
7 First Discourses on Film and the Construction of a “Cinematic Episteme”......Page 137
8 The Discourses of Art in Early Film, or, Why Not Rancière?......Page 157
9 Sensationalism and Early Cinema......Page 179
10 From Craft to Industry: Series and Serial Production Discourses and Practices in France......Page 199
11 Early American Film Publications: Film Consciousness, Self Consciousness......Page 218
12 Early Cinema and Film Theory......Page 240
Part III Early Cinema Forms......Page 259
13 A Bunch of Violets......Page 261
14 Modernity Stops at Nothing: The American Chase Film and the Specter of Lynching......Page 273
15 “The Knowledge Which Comes in Pictures”: Educational Films and Early Cinema Audiences......Page 293
16 Motion Picture Color and Pathé-Frères: The Aesthetic Consequences of Industrialization......Page 314
Part IV Early Cinema Presentations......Page 331
17 The European Fairground Cinema: (Re)defining and (Re)contextualizing the “Cinema of Attractions”......Page 333
18 Early Film Programs: An Overture, Five Acts, and an Interlude......Page 350
19 “Half Real-Half Reel”: Alternation Format Stage-and-Screen Hybrids......Page 376
20 Advance Newspaper Publicity for the Vitascope and the Mass Address of Cinema’s Reading Public......Page 397
21 Storefront Theater Advertising and the Evolution of the American Film Poster......Page 414
22 Bound by Cinematic Chains: Film and Prisons during the Early Era......Page 436
Part V Early Cinema Identities......Page 457
23 Anonymity: Uncredited and Unknown in Early Cinema......Page 459
24 The Invention of Cinematic Celebrity in the United Kingdom......Page 476
25 The Film Lecturer......Page 503
26 Richard Hoffman: A Collector’s Archive......Page 514
Part VI Early Cinema Recollections......Page 541
27 Early Films in the Age of Content; or, “Cinema of Attractions” Pursued by Digital Means......Page 543
28 Multiple Originals: The (Digital) Restoration and Exhibition of Early Films......Page 566
29 Pointing Forward, Looking Back: Reflexivity and Deixis in Early Cinema and Contemporary Installations......Page 584
30 Is Nothing New? Turn-of-the-Century Epistemes in Film History......Page 603
Index......Page 626