
The Image in Early Cinema
Form and Material
Indiana University Press
Published on 22. March 2018
Book
Paperback/Softback
392 pages
978-0-253-03439-7 (ISBN)
Description
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.
More details
Language
English
Place of publication
Bloomington, IN
United States
Target group
Professional and scholarly
Product notice
Paperback (trade)
Illustrations
55 b&w illus. - 55 Illustrations, black and white
Dimensions
Height: 229 mm
Width: 152 mm
Thickness: 18 mm
Weight
499 gr
ISBN-13
978-0-253-03439-7 (9780253034397)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
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E-Book
03/2018
1st Edition
Indiana University Press
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Persons
Scott Curtis is Associate Professor in the Department of Radio/Television/Film at Northwestern University. He is author of The Shape of Spectatorship: Art, Science, and Early Cinema in Germany.
Philippe Gauthier lectures in cinema and media at the University of Ottawa. He is author of Le montage alterne avant Griffith.
Tom Gunning is Edwin A. and Betty L. Bergman Distinguished Service Professor in the Department of Cinema and Media Studies at the University of Chicago. He is author of D. W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph and The Films of Fritz Lang: Allegories of Vision and Modernity.
Joshua Yumibe is Associate Professor and Director of Film Studies at Michigan State University. He is author of Moving Color: Early Film, Mass Culture, Modernism, and author of Fantasia of Color in Early Cinema.
Richard Abel is Professor Emeritus of International Cinema and Media Studies at the University of Michigan. His recent books include Americanizing the Movies and 'Movie-Mad' Audiences, 1910-1914, and Menus for Movie Land: Newspapers and the Emergence of American Film Culture, 1913-1916.
Kaveh Askari is Associate Professor of English and Film Studies at Michigan State University. He is author of Making Movies into Art: Picture Craft from the Magic Lantern to Early Hollywood.
Ian Christie is Professor of Film and Media History at Birkbeck College. His recent books include The Art of Film: John Box and Production Design and Doctor Zhivago.
Denis Condon is Lecturer in Cinema at Maynooth University. He is author of Early Irish Cinema, 1895-1921.
Scott Curtis is Associate Professor in the Department of Radio/Television/Film at Northwestern University. He is author of The Shape of Spectatorship: Art, Science, and Early Cinema in Germany.
Marina Dahlquist is Associate Professor of Cinema Studies at Stockholm University. She is editor of Exporting Perilous Pauline: Pearl White and the Serial Film Craze.
Leslie DeLassus recently completed a dissertation in Film Studies at the University of Iowa titled "Salvage Historiography: Viewing, Special Effects, and Norman Dawn's Unpreserved Archive" and teaches online courses in Gender Studies at the University of Mississippi.
Rodolphe Gahery is a Doctoral Fellow at Universite Paris Nanterre. He is presently writing a doctoral dissertation entitled "Les premieres actualites filmees (1895-1914): des Cinematographes au Cinema?"
Philippe Gauthier lectures in cinema and media at the University of Ottawa. He is author of Le montage alterne avant Griffith.
Frank Gray is Director of Screen Archive South East at the University of Brighton. He is editor with Kaveh Askari, Scott Curtis, Louis Pelletier, Tami Wililams, and Joshua Yumibe of Performing New Media, 1890-1915.
Tom Gunning is Edwin A. and Betty L. Bergman Distinguished Service Professor in the Department of Cinema and Media Studies at the University of Chicago. He is author of D. W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph, and The Films of Fritz Lang: Allegories of Vision and Modernity.
Florian Hoof is Assistant Professor at the Institute for Advanced Studies, Media Cultures of Computer Simulation at Leuphana University Lueneburg. He is author of Engel der Effizienz. Eine Mediengeschichte der Unternehmensberatung and Angels of Efficiency: A Media History of Consulting.
Laura Horak is Assistant Professor of Film Studies at Carleton University. She is author of Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema and editor with Jennifer M. Bean and Anupama Kapse of Silent Cinema and the Politics of Space (IUP).
Jeremy Houillere is a doctoral candidate in Film Studies at the University of Rennes 2 and the University of Montreal. His thesis is on intermedial relations between the early French comic films (1900-1914) and the satirical press of the period.
Gunnar Iversen is Associate Professor of Film Studies at Carleton University. He is author with Astrid Soderbergh Widding and Tytti Soila of Nordic National Cinemas and editor with Jan Ketil Simonsen of Beyond the Visual: Sound and Image in Ethnographic and Documentary Film.
Martin L. Johnson is Assistant Professor of Media Studies at The Catholic University of America. He is author of Main Street Movies: The History of Local Film in the United States (IUP).
Frank Kessler is Professor of Media History at Utrecht University and Director of Utrecht University's Research Institute for Cultural Inquiry (ICON). He is author of Mise en scene, and co-editor or Networks of Entertainment. Early Film Distribution 1895-1915.
Dimitrios Latsis is Assistant Professor of Film Studies at the School of Image Arts of Ryerson University in Toronto.
Sabine Lenk is a film archivist, media historian, and affiliated researcher at Utrecht University. She is author of Vom Tanzsaal zum Filmtheater. Eine Kinogeschichte Duesseldorfs.
Tom Paulus teaches film history and film aesthetics at the University of Antwerp. He is editor with Rob King of Slapstick Comedy.
Jennifer Lynn Peterson is Associate Professor and Chair of the Department of Communication at Woodbury University. She is author of Education in the School of Dreams: Travelogues and Early Nonfiction Film.
Ryan Pierson is Assistant Professor in the Department of Communication, Media, and Film at the University of Calgary.
Jelena Rakin is a doctoral candidate in the Film Studies department at the University of Zurich. She is finishing a dissertation titled "Film Color 1895-1930. Aesthetics, Materiality, Discourses of Modernity."
Valentine Robert is Lecturer in History and Aesthetics of Cinema at the University of Lausanne. She is co-editor of Le film sur l'art, entre histoire de l'art et documentaire de creation.
Joerg Schweinitz is Professor of Film History at the University of Zuerich. He is author of Film and Stereotype: A Challenge for Cinema and Theory, and he is editor of Film Bild Kunst: Visuelle AEsthetik des vorklassischen Stummfilms.
Gregory A. Waller is Professor and Chair of Cinema and Media Studies in the Media School at Indiana University. His books include Main Street Amusements: Film and Commercial Entertainment in a Southern City, 1895-1930.
Daniel Wiegand is a postdoctoral researcher at Stockholm University. He is author of Gebannte Bewegung: Tableaux vivants und frueher Film in der Kultur der Moderne, and editor with Joerg Schweinitz of Film Bild Kunst: Visuelle AEsthetik im vorklassischen Stummfilm..
Artemis Willis is a doctoral candidate in Cinema and Media Studies at the University of Chicago.
Charles Wolfe is Professor of Film and Media Studies at the University of California, Santa Barbara, and has published widely on various aspects of the history of Hollywood, independent, and documentary cinema.
Joshua Yumibe is Associate Professor and Director of Film Studies at Michigan State University. He is author of Moving Color: Early Film, Mass Culture, Modernism, and co-author of Fantasia of Color in Early Cinema.
Scott Curtis is Associate Professor in the Department of Radio/Television/Film at Northwestern University. He is author of The Shape of Spectatorship: Art, Science, and Early Cinema in Germany.
Phillipe Gauthier lectures in cinema and media at the University of Ottawa. His is author of Le montage alterne avant Griffith.
Tom Gunning is Edwin A. and Betty L. Bergman Distinguished Service Professor in the Department of Cinema and Media Studies at the University of Chicago. His is author of D. W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph and The Films of Fritz Lang: Allegories of Vision and Modernity.
Joshua Yumibe is Associate Professor and Director of Film Studies at Michigan State University. He is author of Moving Color: Early Film, Mass Culture, Modernism, and Fantasia of Color in Early Cinema.
Philippe Gauthier lectures in cinema and media at the University of Ottawa. He is author of Le montage alterne avant Griffith.
Tom Gunning is Edwin A. and Betty L. Bergman Distinguished Service Professor in the Department of Cinema and Media Studies at the University of Chicago. He is author of D. W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph and The Films of Fritz Lang: Allegories of Vision and Modernity.
Joshua Yumibe is Associate Professor and Director of Film Studies at Michigan State University. He is author of Moving Color: Early Film, Mass Culture, Modernism, and author of Fantasia of Color in Early Cinema.
Richard Abel is Professor Emeritus of International Cinema and Media Studies at the University of Michigan. His recent books include Americanizing the Movies and 'Movie-Mad' Audiences, 1910-1914, and Menus for Movie Land: Newspapers and the Emergence of American Film Culture, 1913-1916.
Kaveh Askari is Associate Professor of English and Film Studies at Michigan State University. He is author of Making Movies into Art: Picture Craft from the Magic Lantern to Early Hollywood.
Ian Christie is Professor of Film and Media History at Birkbeck College. His recent books include The Art of Film: John Box and Production Design and Doctor Zhivago.
Denis Condon is Lecturer in Cinema at Maynooth University. He is author of Early Irish Cinema, 1895-1921.
Scott Curtis is Associate Professor in the Department of Radio/Television/Film at Northwestern University. He is author of The Shape of Spectatorship: Art, Science, and Early Cinema in Germany.
Marina Dahlquist is Associate Professor of Cinema Studies at Stockholm University. She is editor of Exporting Perilous Pauline: Pearl White and the Serial Film Craze.
Leslie DeLassus recently completed a dissertation in Film Studies at the University of Iowa titled "Salvage Historiography: Viewing, Special Effects, and Norman Dawn's Unpreserved Archive" and teaches online courses in Gender Studies at the University of Mississippi.
Rodolphe Gahery is a Doctoral Fellow at Universite Paris Nanterre. He is presently writing a doctoral dissertation entitled "Les premieres actualites filmees (1895-1914): des Cinematographes au Cinema?"
Philippe Gauthier lectures in cinema and media at the University of Ottawa. He is author of Le montage alterne avant Griffith.
Frank Gray is Director of Screen Archive South East at the University of Brighton. He is editor with Kaveh Askari, Scott Curtis, Louis Pelletier, Tami Wililams, and Joshua Yumibe of Performing New Media, 1890-1915.
Tom Gunning is Edwin A. and Betty L. Bergman Distinguished Service Professor in the Department of Cinema and Media Studies at the University of Chicago. He is author of D. W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph, and The Films of Fritz Lang: Allegories of Vision and Modernity.
Florian Hoof is Assistant Professor at the Institute for Advanced Studies, Media Cultures of Computer Simulation at Leuphana University Lueneburg. He is author of Engel der Effizienz. Eine Mediengeschichte der Unternehmensberatung and Angels of Efficiency: A Media History of Consulting.
Laura Horak is Assistant Professor of Film Studies at Carleton University. She is author of Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema and editor with Jennifer M. Bean and Anupama Kapse of Silent Cinema and the Politics of Space (IUP).
Jeremy Houillere is a doctoral candidate in Film Studies at the University of Rennes 2 and the University of Montreal. His thesis is on intermedial relations between the early French comic films (1900-1914) and the satirical press of the period.
Gunnar Iversen is Associate Professor of Film Studies at Carleton University. He is author with Astrid Soderbergh Widding and Tytti Soila of Nordic National Cinemas and editor with Jan Ketil Simonsen of Beyond the Visual: Sound and Image in Ethnographic and Documentary Film.
Martin L. Johnson is Assistant Professor of Media Studies at The Catholic University of America. He is author of Main Street Movies: The History of Local Film in the United States (IUP).
Frank Kessler is Professor of Media History at Utrecht University and Director of Utrecht University's Research Institute for Cultural Inquiry (ICON). He is author of Mise en scene, and co-editor or Networks of Entertainment. Early Film Distribution 1895-1915.
Dimitrios Latsis is Assistant Professor of Film Studies at the School of Image Arts of Ryerson University in Toronto.
Sabine Lenk is a film archivist, media historian, and affiliated researcher at Utrecht University. She is author of Vom Tanzsaal zum Filmtheater. Eine Kinogeschichte Duesseldorfs.
Tom Paulus teaches film history and film aesthetics at the University of Antwerp. He is editor with Rob King of Slapstick Comedy.
Jennifer Lynn Peterson is Associate Professor and Chair of the Department of Communication at Woodbury University. She is author of Education in the School of Dreams: Travelogues and Early Nonfiction Film.
Ryan Pierson is Assistant Professor in the Department of Communication, Media, and Film at the University of Calgary.
Jelena Rakin is a doctoral candidate in the Film Studies department at the University of Zurich. She is finishing a dissertation titled "Film Color 1895-1930. Aesthetics, Materiality, Discourses of Modernity."
Valentine Robert is Lecturer in History and Aesthetics of Cinema at the University of Lausanne. She is co-editor of Le film sur l'art, entre histoire de l'art et documentaire de creation.
Joerg Schweinitz is Professor of Film History at the University of Zuerich. He is author of Film and Stereotype: A Challenge for Cinema and Theory, and he is editor of Film Bild Kunst: Visuelle AEsthetik des vorklassischen Stummfilms.
Gregory A. Waller is Professor and Chair of Cinema and Media Studies in the Media School at Indiana University. His books include Main Street Amusements: Film and Commercial Entertainment in a Southern City, 1895-1930.
Daniel Wiegand is a postdoctoral researcher at Stockholm University. He is author of Gebannte Bewegung: Tableaux vivants und frueher Film in der Kultur der Moderne, and editor with Joerg Schweinitz of Film Bild Kunst: Visuelle AEsthetik im vorklassischen Stummfilm..
Artemis Willis is a doctoral candidate in Cinema and Media Studies at the University of Chicago.
Charles Wolfe is Professor of Film and Media Studies at the University of California, Santa Barbara, and has published widely on various aspects of the history of Hollywood, independent, and documentary cinema.
Joshua Yumibe is Associate Professor and Director of Film Studies at Michigan State University. He is author of Moving Color: Early Film, Mass Culture, Modernism, and co-author of Fantasia of Color in Early Cinema.
Scott Curtis is Associate Professor in the Department of Radio/Television/Film at Northwestern University. He is author of The Shape of Spectatorship: Art, Science, and Early Cinema in Germany.
Phillipe Gauthier lectures in cinema and media at the University of Ottawa. His is author of Le montage alterne avant Griffith.
Tom Gunning is Edwin A. and Betty L. Bergman Distinguished Service Professor in the Department of Cinema and Media Studies at the University of Chicago. His is author of D. W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph and The Films of Fritz Lang: Allegories of Vision and Modernity.
Joshua Yumibe is Associate Professor and Director of Film Studies at Michigan State University. He is author of Moving Color: Early Film, Mass Culture, Modernism, and Fantasia of Color in Early Cinema.
Content
Introduction / Scott Curtis, Philippe Gauthier, Tom Gunning, and Joshua Yumibe
Part I: Form
1. La part picturale du tableau-style / Valentine Robert
2. The Unsettling of Vision: Tableaux Vivants, Early Cinema, and Optical Illusions / Daniel Wiegand
3. The Vision Scene: Revelation and Remediation / Frank Gray
4. Animating Antiquity / Laura Horak
5. Caricature et films comiques a la Belle Epoque: quand le dessin de presse rencontre le cinema / Jeremy Houillere
6. De la presse illustree a l'actualite filmee (1894-1910) : l'emergence d'une nouvelle culture visuelle de l'information ? / Rodolphe Gahery
7. From Pathe to Paramount: Visual Design in Movie Advertising to 1915 / Richard Abel
8. Landscape Topoi: From the Mountains to the Sea / Jennifer Peterson
9. A View Aesthetic without a View? Space and Place in Early Norwegian Polar Expedition Films / Gunnar Iversen
Part II: Material
10. Between "Recognition" and "Abstraction": Early Vocational Training Films / Florian Hoof
11. Ruptured Perspectives: The "View," Early Special Effects, and Film History / Leslie DeLassus
12. Surface and Color: Stenciling in Applied Arts, Fashion Illustration, and Cinema / Jelena Rakin
13. The Color Image / Joshua Yumibe
Part III: Networks
14. Shared Affinities and "Kunstwollen": Stylistics of the Cinematic Image in the 1910s and Art Theory at the Turn of the Century in Germany / Joerg Schweinitz
15. Techniques in Circulation: Sovereignty, Imaging Technology, and Art Education in Qajar Iran / Kaveh Askari
16. Corporeality and Female Modernity: Intermediality and Early Film Celebrities / Marina Dahlquist
17. A Scientific Instrument? Animated Photography among Other New Imaging Techniques / Ian Christie
18. Advertising with Moving Pictures: International Harvester's The Romance of the Reaper (1910-13) / Gregory A. Waller
19. The City View(ed): Muybridge's Panoramas of San Francisco and their Afterlives in Early Cinema / Dimitrios Latsis
20. California Landscapes: John Divola and the Cine-Geography of Serial Photography / Charles Wolfe
21. What is a Fake Image? / Frank Kessler and Sabine Lenk
22. The Lantern Image between Stage and Screen / Artemis Willis
Part IV: Discourses
23. Pictorialism and the Picture: Art, Photography, and the "Doctrine of Taste" in the Discourse on Transitional Era Quality Films / Tom Paulus
24. Boredom and Visions in Vachel Lindsay's Film Theory / Ryan Pierson
25. Falling Desperately in Love with the Image on Screen: "The Flictoflicker Girl" (1913) and Cinematic Structures of Fascination / Denis Condon
26. An "Advertising Punch" in Every Frame: Image Making in Early Advertising Films / Martin L. Johnson
Appendix: Translations
27. English Translation of Chapter 1: Early Cinema's Realizations: The Pictorial in the Tableau Style / Valentine Robert
28. English Translation of Chapter 5: Caricature and Comic Films in the Belle Epoque: When the Illustrated Press Met the Cinema / Jeremy Houillere
29. English Translation of Chapter 6: From the Illustrated Press to Filmed Actualities (1894-1910): The Emergence of a New "Visual Information Culture"? / Rodolphe Gahery
Part I: Form
1. La part picturale du tableau-style / Valentine Robert
2. The Unsettling of Vision: Tableaux Vivants, Early Cinema, and Optical Illusions / Daniel Wiegand
3. The Vision Scene: Revelation and Remediation / Frank Gray
4. Animating Antiquity / Laura Horak
5. Caricature et films comiques a la Belle Epoque: quand le dessin de presse rencontre le cinema / Jeremy Houillere
6. De la presse illustree a l'actualite filmee (1894-1910) : l'emergence d'une nouvelle culture visuelle de l'information ? / Rodolphe Gahery
7. From Pathe to Paramount: Visual Design in Movie Advertising to 1915 / Richard Abel
8. Landscape Topoi: From the Mountains to the Sea / Jennifer Peterson
9. A View Aesthetic without a View? Space and Place in Early Norwegian Polar Expedition Films / Gunnar Iversen
Part II: Material
10. Between "Recognition" and "Abstraction": Early Vocational Training Films / Florian Hoof
11. Ruptured Perspectives: The "View," Early Special Effects, and Film History / Leslie DeLassus
12. Surface and Color: Stenciling in Applied Arts, Fashion Illustration, and Cinema / Jelena Rakin
13. The Color Image / Joshua Yumibe
Part III: Networks
14. Shared Affinities and "Kunstwollen": Stylistics of the Cinematic Image in the 1910s and Art Theory at the Turn of the Century in Germany / Joerg Schweinitz
15. Techniques in Circulation: Sovereignty, Imaging Technology, and Art Education in Qajar Iran / Kaveh Askari
16. Corporeality and Female Modernity: Intermediality and Early Film Celebrities / Marina Dahlquist
17. A Scientific Instrument? Animated Photography among Other New Imaging Techniques / Ian Christie
18. Advertising with Moving Pictures: International Harvester's The Romance of the Reaper (1910-13) / Gregory A. Waller
19. The City View(ed): Muybridge's Panoramas of San Francisco and their Afterlives in Early Cinema / Dimitrios Latsis
20. California Landscapes: John Divola and the Cine-Geography of Serial Photography / Charles Wolfe
21. What is a Fake Image? / Frank Kessler and Sabine Lenk
22. The Lantern Image between Stage and Screen / Artemis Willis
Part IV: Discourses
23. Pictorialism and the Picture: Art, Photography, and the "Doctrine of Taste" in the Discourse on Transitional Era Quality Films / Tom Paulus
24. Boredom and Visions in Vachel Lindsay's Film Theory / Ryan Pierson
25. Falling Desperately in Love with the Image on Screen: "The Flictoflicker Girl" (1913) and Cinematic Structures of Fascination / Denis Condon
26. An "Advertising Punch" in Every Frame: Image Making in Early Advertising Films / Martin L. Johnson
Appendix: Translations
27. English Translation of Chapter 1: Early Cinema's Realizations: The Pictorial in the Tableau Style / Valentine Robert
28. English Translation of Chapter 5: Caricature and Comic Films in the Belle Epoque: When the Illustrated Press Met the Cinema / Jeremy Houillere
29. English Translation of Chapter 6: From the Illustrated Press to Filmed Actualities (1894-1910): The Emergence of a New "Visual Information Culture"? / Rodolphe Gahery