Early CinemaEarly Cinema



5 FILM FORM : GENRE AND NARRATIVE Imagine , for a moment , that the year is 1900 and you are about to see your first ... In part , this raises well - rehearsed questions concerned with the formal properties of early film texts and ...

Author: Simon Popple

Publisher: Wallflower Press

ISBN: 1903364582

Category:

Page: 136

View: 954

Focusing upon the period from 1895 to 1914, Popple and Kember introduce cinema enthusiasts to a series of debates on the aesthetic, technological, cultural, ideological and economic aspects of the medium, whilst exploring new and challenging approaches to the subject.

The Sounds of Early CinemaThe Sounds of Early Cinema



13 The Story of Percy Peashaker : Debates about Sound Effects in the Early Cinema Stephen Bottomore It has become a nostrum of modern silent film aficionados that “ silent films were never silent . ” While this is not strictly true ...

Author: Domitor Conference 1998 (Library of Congress)

Publisher: Indiana University Press

ISBN: 0253214793

Category:

Page: 327

View: 726

The Sounds of Early Cinema is devoted exclusively to a little-known, yet absolutely crucial phenomenon: the ubiquitous presence of sound in early cinema. "Silent cinema" may rarely have been silent, but the sheer diversity of sound(s) and sound/image relations characterizing the first 20 years of moving picture exhibition can still astonish us. Whether instrumental, vocal, or mechanical, sound ranged from the improvised to the pre-arranged (as in scripts, scores, and cue sheets). The practice of mixing sounds with images differed widely, depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in rural Iowa, the music hall in London or Paris versus the newest palace cinema in New York City) as well as on the historical moment (a single venue might change radically, and many times, from 1906 to 1910). Contributors include Richard Abel, Rick Altman, Edouard Arnoldy, Mats Björkin, Stephen Bottomore, Marta Braun, Jean Châteauvert, Ian Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane Gaines, André Gaudreault, Tom Gunning, François Jost, Charlie Keil, Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney, David Mayer, Domi-nique Nasta, Bernard Perron, Jacques Polet, Lauren Rabinovitz, Isabelle Raynauld, Herbert Reynolds, Gregory A. Waller, and Rashit M. Yangirov.

Encyclopedia of Early CinemaEncyclopedia of Early Cinema



NANNA VERHOEFF modernity and early cinema Modernity refers to the conditions of the modern world; while this can indicate the whole of western history since the Renaissance (or the Enlighten~ ment, or the French Revolution), ...

Author: Richard Abel

Publisher: Taylor & Francis

ISBN: 9780415234405

Category:

Page: 791

View: 961

This encyclopedia presents a wealth of information on early cinema history, with coverage of the techniques and equipment of film production, profiles of the pioneering directors and producers, analysis of individual films and the rapid growth of distinct film genres, and the emergence of something the world had never seen before - the movie star. The work also focuses on how the nature of film exhibition changed as the industry grew, and how the public's reception to films also changed. The pre-cinema period is closely examined to show those mass-cultural forms and practices - such as music hall and vaudeville - from within which cinema was to emerge. A perfect companion for any student of early cinema and film studies.

Early Cinema in AsiaEarly Cinema in Asia



Inevitably, this brings the author far beyond the domain of early cinema into a period that came after it— the rise of national cinemas. Arriving first as a colonial medium, film soon became nativized through the role it played in the ...

Author: Nick Deocampo

Publisher: Indiana University Press

ISBN: 9780253034441

Category:

Page: 342

View: 330

Early Cinema in Asia explores how cinema became a popular medium in the world’s largest and most diverse continent. Beginning with the end of Asia’s colonial period in the 19th century, contributors to this volume document the struggle by pioneering figures to introduce the medium of film to the vast continent, overcoming geographic, technological, and cultural difficulties. As an early form of globalization, film’s arrival and phenomenal growth throughout various Asian countries penetrated not only colonial territories but also captivated collective states of imagination. With the coming of the 20th century, the medium that began as mere entertainment became a means for communicating many of the cultural identities of the region’s ethnic nationalities, as they turned their favorite pastime into an expression of their cherished national cultures. Covering diverse locations, including China, India, Japan, Philippines, Malaysia, Thailand, Iran, and the countries of the Pacific Islands, contributors to this volume reveal the story of early cinema in Asia, helping us to understand the first seeds of a medium that has since grown deep roots in the region.

Provenance and Early CinemaProvenance and Early Cinema



Repurposing The volume closes with an interrogation of provenance in relation to the reuse and repurposing of early film prints and media in contemporary cinematic practices. As such, a number of essays examine the recycling of specific ...

Author: Joanne Bernardi

Publisher: Indiana University Press

ISBN: 9780253053008

Category:

Page: 430

View: 588

Remnants of early films often have a story to tell. As material artifacts, these film fragments are central to cinema history, perhaps more than ever in our digital age of easy copying and sharing. If a digital copy is previewed before preservation or is shared with a researcher outside the purview of a film archive, knowledge about how the artifact was collected, circulated, and repurposed threatens to become obscured. When the question of origin is overlooked, the story can be lost. Concerned contributors in Provenance and Early Cinema challenge scholars digging through film archives to ask, "How did these moving images get here for me to see them?" This volume, which features the conference proceedings from Domitor, the International Society for the Study of Early Cinema, 2018, questions preservation, attribution, and patterns of reuse in order to explore singular artifacts with long and circuitous lives.

A Companion to Early CinemaA Companion to Early Cinema



Obviously, such film forms become particular types of experiences and objects in definable contexts, an area of study taken up in Part IV, “Early Cinema Presentations.” It is widely recognized today that the reception of films is ...

Author: André Gaudreault

Publisher: John Wiley & Sons

ISBN: 9781444332315

Category:

Page: 631

View: 699

An authoritative and much–needed overview of the main issues in the field of early cinema from over 30 leading international scholars in the field First collection of its kind to offer in one reference: original theory, new research, and reviews of existing studies in the field Features over 30 original essays from some of the leading scholars in early cinema and Film Studies, including Tom Gunning, Jane Gaines, Richard Abel, Thomas Elsaesser, and André Gaudreault Caters to renewed interest in film studies historical methods, with strict analysis of multiple and competing sources, providing a critical re–contextualization of films, printed material and technologies Covers a range of topics in early cinema, such as exhibition, promotion, industry, pre–cinema, and film criticism Broaches the latest research on the subject of archival practices, important particularly in the current digital context

Fiction and Imagination in Early CinemaFiction and Imagination in Early Cinema



This is where a study of early cinema can help. Clearly, early cinema is a challenge for philosophical aesthetics as much as it once presented a challenge for film history. At the same time, much like early cinema offered a unique way ...

Author: Mario Slugan

Publisher: Bloomsbury Publishing

ISBN: 9781350115682

Category:

Page: 288

View: 573

When watching the latest instalment of Batman, it is perfectly normal to say that we see Batman fighting Bane or that we see Bruce Wayne making love to Miranda Tate. We would not say that we see Christian Bale dressed up as Batman going through the motions of punching Tom Hardy dressed up us Bane. Nor do we say that we see Christian Bale pretending to be Bruce Wayne making love with Marion Cotillard, who is playacting the role Miranda Tate. But if we look at the history of cinema and consider contemporary reviews from the early days of the medium, we see that people thought precisely in this way about early film. They spoke of film as no more than documentary recordings of actors performing on set. In an innovative combination of philosophical aesthetics and new cinema history, Mario Slugan investigates how our default imaginative engagement with film changed over the first two decades of cinema. It addresses not only the importance of imagination for the understanding of early cinema but also contributes to our understanding of what it means for a representational medium to produce fictions. Specifically, Slugan argues that cinema provides a better model for understanding fiction than literature.

The Image in Early CinemaThe Image in Early Cinema



AESTHETIC OF the image in early cinema has been given a name, a name that the “bible” of Domitor scholars, The Encyclopedia of Early Cinema, made official: “tableau style.”1 There the tableau aesthetic was described in detail by André ...

Author: Scott Curtis

Publisher: Indiana University Press

ISBN: 9780253034427

Category:

Page: 392

View: 320

In The Image in Early Cinema, the contributors examine intersections between early cinematic form, technology, theory, practice, and broader modes of visual culture. They argue that early cinema emerged within a visual culture composed of a variety of traditions in art, science, education, and image making. Even as methods of motion picture production and distribution materialized, they drew from and challenged practices and conventions in other mediums. This rich visual culture produced a complicated, overlapping network of image-making traditions, innovations, and borrowing among painting, tableaux vivants, photography, and other pictorial and projection practices. Using a variety of concepts and theories, the contributors explore these crisscrossing traditions and work against an essentialist notion of media to conceptualize the dynamic interrelationship between images and their context.

Early Cinema in Russia and Its Cultural ReceptionEarly Cinema in Russia and Its Cultural Reception



if all its films had been strictly decent , and all the prostitutes kept away from its audiences . ... GOING TO THE PICTURES ' : THE EVERYDAY BEHAVIOUR OF THE CINEMAGOER A key factor in the reception of early cinema was that it could ...

Author: Yuri Tsivian

Publisher: University of Chicago Press

ISBN: 0226814262

Category:

Page: 273

View: 735

Journal of Film, Radio, and Television "A work of fundamental importance."--Julian Graffy, Recent Studies of Russian and Soviet Cinema.

A Feminist Reader in Early CinemaA Feminist Reader in Early Cinema



See Gunning, "The Cinema of Attractions: Early Film, Its Spectator, and the Avant-Garde," in Early Cinema: Space, Frame, Narrative, ed. Thomas Elsaesser (London: British Film Institute, 1990), 56-67. 20 Quoted in Thomas Schatz, ...

Author: Jennifer M. Bean

Publisher: Duke University Press

ISBN: 9780822383840

Category:

Page: 592

View: 438

A Feminist Reader in Early Cinema marks a new era of feminist film scholarship. The twenty essays collected here demonstrate how feminist historiographies at once alter and enrich ongoing debates over visuality and identification, authorship, stardom, and nationalist ideologies in cinema and media studies. Drawing extensively on archival research, the collection yields startling accounts of women's multiple roles as early producers, directors, writers, stars, and viewers. It also engages urgent questions about cinema's capacity for presenting a stable visual field, often at the expense of racially, sexually, or class-marked bodies. While fostering new ways of thinking about film history, A Feminist Reader in Early Cinema illuminates the many questions that the concept of "early cinema" itself raises about the relation of gender to modernism, representation, and technologies of the body. The contributors bring a number of disciplinary frameworks to bear, including not only film studies but also postcolonial studies, dance scholarship, literary analysis, philosophies of the body, and theories regarding modernism and postmodernism. Reflecting the stimulating diversity of early cinematic styles, technologies, and narrative forms, essays address a range of topics—from the dangerous sexuality of the urban flâneuse to the childlike femininity exemplified by Mary Pickford, from the Shanghai film industry to Italian diva films—looking along the way at birth-control sensation films, French crime serials, "war actualities," and the stylistic influence of art deco. Recurring throughout the volume is the protean figure of the New Woman, alternately garbed as childish tomboy, athletic star, enigmatic vamp, languid diva, working girl, kinetic flapper, and primitive exotic. Contributors. Constance Balides, Jennifer M. Bean, Kristine Butler, Mary Ann Doane, Lucy Fischer, Jane Gaines, Amelie Hastie, Sumiko Higashi, Lori Landay, Anne Morey, Diane Negra, Catherine Russell, Siobhan B. Somerville, Shelley Stamp, Gaylyn Studlar, Angela Dalle Vacche, Radha Vatsal, Kristen Whissel, Patricia White, Zhang Zhen