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 major foreign students within the field
* First choice of its type to provide in a single reference: unique thought, new learn, and stories of current reviews within the field
* gains over 30 unique essays from a number of the 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’ old equipment, with strict research of a number of and competing resources, supplying a severe re-contextualization of movies, revealed fabric and technologies
* Covers a number of themes in early cinema, comparable to exhibition, advertising, undefined, pre-cinema, and movie criticism
* Broaches the newest learn just about archival practices, vital relatively within the present electronic context
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Extra resources for A Companion to Early Cinema
Indeed this is not the version that has come down to us through “official history” (at least not to date, but a change of course is always possible …). The Lumière brothers still reign in the firmament of the invention of cinema. Forever? Not necessarily, because the wind is shifting, and for two sets of reasons, it seems to me. 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.
Bayley’s text is a patent example of an attitude which interprets a given media context through the lens of a particular cultural series (in this case, the magic lantern) to the detriment of all others. And this attitude found fertile ground in trade journals of the day. From the start, the very titles of the journals in which the new device and the new and quickly growing cultural series were found tell us a lot about the connections between the kinematograph and the different cultural series that adapted it.
This brief history of the dealings between the cultural series magic lantern and the cultural series kinematography is just one example of what is meant by the “polyphony of early cinema” or the multiplicity of tongues spoken by the various cultural series that the kinematograph brought together when it started out. These series spoke, in synchrony but not necessarily in harmony, within this new cultural series, moving pictures. ”11 When we first outlined our model in rough form, we were trying to express the need to separate the invention of a procedure (ca.