By André Gaudreault, Nicolas Dulac, Santiago Hidalgo
An authoritative and much-needed evaluate of the most matters within the box of early cinema from over 30 top foreign students within the field
* First number of its style to supply in a single reference: unique thought, new learn, and experiences of latest reviews within the field
* gains over 30 unique essays from a few of the major students in early cinema and movie reviews, together with Tom Gunning, Jane Gaines, Richard Abel, Thomas Elsaesser, and André Gaudreault
* Caters to renewed curiosity in movie studies’ historic equipment, with strict research of a number of and competing assets, supplying a serious re-contextualization of flicks, revealed fabric and technologies
* Covers various issues in early cinema, resembling exhibition, advertising, undefined, pre-cinema, and picture criticism
* Broaches the newest learn almost about archival practices, vital quite within the present electronic context
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Additional info for A Companion to Early Cinema
This was true of Étienne-Jules Marey and Georges Demenÿ, for example, and also of Edison and Dickson, all of whom had a chronophotographic approach, while the Lumières had a photographic approach. But it was also true of Émile Reynaud, whose approach was consistent with the cultural series optical toy, which he combined with the series illuminated projection. Nor is it surprising that the Lumières’ device unmistakably resembled a still camera and that a Lumière picture had the appearance of a photograph suddenly come to life.
It is a simple matter of the pendulum swinging too far the other way. Because Reynaud’s Théâtre optique does not occupy anywhere near the place it should in histories of cinema, it was only natural that some day someone would come along who would try to set the record straight. On this topic I must point out right away that the question of Reynaud’s place in film history, and that of other “pioneers,” must not be posed in terms of distributive justice. It is not the historian’s task to acknowledge the virtues of any particular individual, even if this is often how things work.
18 Discussing early silent cinema, they identified traits that distinguished it from the narrative cinema of later times. The cinema of attractions was exhibitionist, addressing itself directly to the implied spectator, who was provided visual shocks and curiosities. It inherited many of its features from forms that had thrived at fairs and fairgrounds, displays of magic, magic lantern, and variety shows, etc. The central “mechanism” of the culture of attractions was the interplay between hiding and revealing.
A Companion to Early Cinema by André Gaudreault, Nicolas Dulac, Santiago Hidalgo