A Companion to Early Cinema by Dulac, Nicolas -- Read -- Imperial Library of Trantor

Index

Cover Title page Copyright page List of Contributors Acknowledgments Introduction Part I: Early Cinema Cultures

1 The Culture Broth and the Froth of Cultures of So-called Early Cinema 2 Toward a History of Peep Practice

The Incubation Era of Peep Media Peep Shows and the Culture of Attractions Peep Media in Private The Cosmorama – An Urban Peeping Institution Peeping in Public: From Stereoscopy to Moving Images Between Peep Practice and Screen Practice Conclusion: From Peep Media to Mediated Voyeurism

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 4 The Féerie between Stage and Screen

The Stage Féerie: Stunning Magic and Visual Splendor Châtelet 1896: La biche au bois Châtelet 1905: Les 400 coups du diable Conclusion

5 The Théâtrophone, an Anachronistic Hybrid Experiment or One of the First Immobile Traveler Devices?

Between Performance and Attraction: Taking Another Look at the Théâtrophone From the Imagination to International Networks The Hybridization of the Théâtrophone as a Model for Future Applications

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

The Art of Running History Backwards The Modernization of the Arts in Belle Époque France The “Silent” Arts: Concepts of Wordlessness Pantomime and Cinema: A Shared Intermediality Pantomime, Cinema, and the Language of Signs: Early Abstraction “Classical” Pantomime and Early Cinema: From Adaptation to Integration Modern Pantomime: The Case of Georges Wague and Germaine Dulac Wague on Stage: Gestural Abstraction “Modern” Pantomime and “Pure” Cinema: A Shared “Visibilization” Beyond Word and Phrase: An Impressionist Proposal

Part II: Early Cinema Discourses

7 First Discourses on Film and the Construction of a “Cinematic Episteme”

The Cinematic Episteme Mechanics and the Mechanism The Modern Mind Epistemology and Film History

8 The Discourses of Art in Early Film, or, Why Not Rancière?

The Representative Regime: Quality Films and Historicism The Modes of Art: National Heritage and Reform in the Quality Film Aesthetic Regimes: Classical Cinema and the Avant-Garde Histories of Early Cinema: Rancière and Film Historiography

9 Sensationalism and Early Cinema

Introduction The Concept and Phenomenon of Sensationalism Explanations of Sensationalism Cine-sensationalism

10 From Craft to Industry: Series and Serial Production Discourses and Practices in France

The “Craft” Era The Transition to Another System An Industrial Conception of Kinematography The “Industrial” Discourse Becomes Generalized Putting Industrial Discourse into Practice Scenes in Series Series, Serial Production, and Mode of Exhibition

11 Early American Film Publications: Film Consciousness, Self Consciousness

The Four Language Traits of Early Film Publications Regions of Film Consciousness Regions of Self Consciousness Conclusion

12 Early Cinema and Film Theory

Topical Contributions Conceptual Contributions Film Theory Finally in Crisis

Part III: Early Cinema Forms

13 A Bunch of Violets 14 Modernity Stops at Nothing: The American Chase Film and the Specter of Lynching

Preamble Scholarship The Chase Model Newspaper Archives Putting Lynching in Context Bloodhounds Racial Merriment: Chickens, Watermelons – and Pumpkins Unscripted Vigilantism Conclusion

15 “The Knowledge Which Comes in Pictures”: Educational Films and Early Cinema Audiences

The Campaign to Promote Educational Films, 1910–13 Spectators and Educational Films

16 Motion Picture Color and Pathé-Frères: The Aesthetic Consequences of Industrialization

Motion Picture Color before World War I Pathé’s Commitment to Stencil Color Pathé’s Color Production: Some Statistics The Realist Aesthetic Early Stencil Color The New Stencil Films Kinemacolor

Part IV: Early Cinema Presentations

17 The European Fairground Cinema: (Re)defi ning and (Re)contextualizing the “Cinema of Attractions”

The Concept “Cinema of Attractions” Fairground Cinema Audiences and Film Programs A European Institution Summary and Discussion

18 Early Film Programs: An Overture, Five Acts, and an Interlude

Overture Act I: Novelty Era Programming Act II: Traveling Motion Picture Shows Act III: Variety Theater Shows Interlude: Alternative or Non-Theatrical Programs Act IV: Nickelodeon and Other Permanent-Venue Programs Act V: Multiple-Reel and Feature Film Programming Bonsoir or Good Night

19 “Half Real-Half Reel”: Alternation Format Stage-and-Screen Hybrids

Case Study: Winchester From Featured Sequences to Integration

20 Advance Newspaper Publicity for the Vitascope and the Mass Address of Cinema ’ s Reading Public

Readers, Publics, Audiences Telegraphing Cinematic Experience: The Vitascope’s Advance Publicity Cinema’s Publicity Beyond the Vitascope

21 Storefront Theater Advertising and the Evolution of the American Film Poster

First Film Advertising Show Printer Offerings Nickelodeon Posters Better Cinema Posters Nickelodeon Poster Practices Advertising Controversies Conclusion: Toward the Classical Hollywood Cinema Poster

22 Bound by Cinematic Chains: Film and Prisons during the Early Era

Film Spectatorship in Prison: The Early Years Cinemagoing at Sing Sing: The Emergence of Film Culture Behind Bars Reform and the Female Prisoner: Uplift and Knowing One’s Place “An Education in Americanism”: Concluding Thoughts

Part V: Early Cinema Identities

23 Anonymity: Uncredited and Unknown in Early Cinema

Conclusion: Retrospective Credit

24 The Invention of Cinematic Celebrity in the United Kingdom

Another Cinema A New Industry A Prehistory of the Picture Personality The Place of the United States

25 The Film Lecturer

Introduction History Politics Semiology Conclusion

26 Richard Hoff man: A Collector ’ s Archive

Pictures and Posters: The Airdome at Point Pleasant Commuting to the Movies In and Around Germantown Downtown Philly The Database

Part VI: Early Cinema Recollections

27 Early Films in the Age of Content; or, “Cinema of Attractions” Pursued by Digital Means 28 Multiple Originals: The (Digital) Restoration and Exhibition of Early Films

The Restoration of Early Films in Light of a Theory of Film Archival Practice Frameworks Concepts (Digital) Restoration of Early Films (Digital) Exhibition of Early Films

29 Pointing Forward, Looking Back: Refl exivity and Deixis in Early Cinema and Contemporary Installations

Reflexivity of the Medium Ride Films and Deixis of the Image Placing Screens Looking Forward: Archival Presence in Deictic Time

30 Is Nothing New? Turn-of-the-Century Epistemes in Film History

Epistemes 1900/2000: Nothing is New … Pre-cinema, Para-cinema, Proto-cinema Early Cinema: “Nitrate Can’t Wait” and the Policy of the Archive and the Festival Revisionist Historiographies Beginnings, Becomings, and Fateful Divisions Against Convergence: The Cinema Does Not (Yet) Exist Film History or Cinema History The Cinema is Always Complete

Index

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