By André Gaudreault, Nicolas Dulac, Santiago Hidalgo
An authoritative and much-needed evaluation of the most concerns within the box of early cinema from over 30 top foreign students within the field
* First number of its variety to supply in a single reference: unique concept, new study, and studies of latest stories within the field
* positive aspects over 30 unique essays from the various top students in early cinema and picture reviews, together with Tom Gunning, Jane Gaines, Richard Abel, Thomas Elsaesser, and André Gaudreault
* Caters to renewed curiosity in movie studies’ historic tools, with strict research of a number of and competing resources, delivering a severe re-contextualization of movies, revealed fabric and technologies
* Covers various issues in early cinema, corresponding to exhibition, merchandising, undefined, pre-cinema, and movie criticism
* Broaches the newest examine near to archival practices, vital really within the present electronic context
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Extra resources for A Companion to Early Cinema
The first are historiographical and the second historical. The historiographical reasons are easy to identify: today we no longer write history the way it was written in the latter half of the twentieth century. ” has been taken apart piece by piece and no longer has any meaning today. We now realize that if the answer to this question is not obvious, it is because the question is badly posed. What’s more, scholars today increasingly subscribe to the idea that the arrival of the kinematograph (whether the Lumière Cinématographe or the kinematographs of its competitors does not matter here) brought about a true rupture in those cultural series which took it up and were already the least bit institutionalized.
I am tempted to say, without taking my invective too seriously, in that the construction of series depends largely on the free will of each researcher and the needs of their work. What we should realize, however, is that in constructing a series which is not yet socially recognized, one runs the risk that this series will never be recognized. This is exactly what happened to Maurice Noverre when, in the early 1930s, he openly and passionately campaigned for the title “inventor of cinema” to be conferred on Étienne-Jules Marey: Our Victory is complete.
Mass produced perspective prints known as vues d’optique were certainly common. Most of them depicted identifiable locations, turning itinerant peep shows into a virtual voyaging medium. Hand-painted pictures of battles and natural catastrophes were shown, and probably also erotic and scatological scenes, although evidence is scarce. Atmospheric effects were often added to the pictures. These were created by changing the direction of light falling on views that had translucent parts. Public peep shows were one of the manifestations of a “culture of attractions” purporting to regulate the relationships among audiences, exhibitors, and attractions.
A Companion to Early Cinema by André Gaudreault, Nicolas Dulac, Santiago Hidalgo