A Companion to Early Cinema by André Gaudreault, Nicolas Dulac, Santiago Hidalgo

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 best overseas students within the field
* First choice of its sort to provide in a single reference: unique conception, new learn, and stories of present experiences within the field
* positive aspects over 30 unique essays from a number of the major students in early cinema and movie stories, together with Tom Gunning, Jane Gaines, Richard Abel, Thomas Elsaesser, and André Gaudreault
* Caters to renewed curiosity in movie studies’ old tools, with strict research of a number of and competing assets, offering a severe re-contextualization of flicks, revealed fabric and technologies
* Covers more than a few issues in early cinema, equivalent to exhibition, promoting, undefined, pre-cinema, and movie criticism
* Broaches the most recent study as regards to archival practices, vital fairly within the present electronic context

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Extra resources for A Companion to Early Cinema

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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.

We are witnessing a death, or a birth, no one can yet say which. Something decisive is happening in the world of screen images and sound. Second birth or death? ”16 Second birth or death? Arnoux’s subtle question refused to see the threat hanging over cinema (the disappearance of “silent” films) as something solely negative. ,”17 a good indication of the disturbing effect the arrival of television had on many people in the film world. In his article, Bazin refers to this “second birth” of cinema after the Lumières’ invention, which was initially a mere technological curiosity, became a form of entertainment: Perhaps it was only through a trick of the mind, an optical illusion of history, fleeting like a shadow cast by the sun, that for fifty years we have been able to believe in the existence of cinema.

Banners, signboards, and auditory signals, such as barkers’ cries and musical sounds, promised pleasures and curiosities kept just out of sight. For peep show exhibitors, puppets-on-a-string or caged animals on top of the box, as well as curious illustrations, written slogans, and marketing cries, served similar goals. 19 Crary contrasts it with the context, interpreting it as an early symptom of the process through which the viewing subject became modernized as a spectator. While the disorder of the carnival, to follow Crary’s logic, “overturns a distinction between spectator and performer,” the “immobile and absorbed figures, interfacing with the window of the peep show,” represent an interiorized and private mode of experience that soon manifested itself in the bourgeois reading subject, and eventually in media spectatorship.

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