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The Sounds of Early Cinema is devoted exclusively to a little-known, yet absolutely crucial phenomenon: the ubiquitous presence of sound in early cinema. "Silent cinema" may rarely have been silent, but the sheer diversity of sound(s) and sound/image relations characterizing the first 20 years of moving picture exhibition can still astonish us. Whether instrumental, vocal, or mechanical, sound ranged from the improvised to the pre-arranged (as in scripts, scores, and cue sheets). The practice of mixing sounds with images differed widely, depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in rural Iowa, the music hall in London or Paris versus the newest palace cinema in New York City) as well as on the historical moment (a single venue might change radically, and many times, from 1906 to 1910). Contributors include Richard Abel, Rick Altman, Edouard Arnoldy, Mats Björkin, Stephen Bottomore, Marta Braun, Jean Châteauvert, Ian Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane Gaines, André Gaudreault, Tom Gunning, François Jost, Charlie Keil, Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney, David Mayer, Domi-nique Nasta, Bernard Perron, Jacques Polet, Lauren Rabinovitz, Isabelle Raynauld, Herbert Reynolds, Gregory A. Waller, and Rashit M. Yangirov.
Published to accompany the 1994 exhibition at The Museum of Modern Art, New York, this book constitutes the most extensive survey of modern illustrated books to be offered in many years. Work by artists from Pierre Bonnard to Barbara Kruger and writers from Guillaume Apollinarie to Susan Sontag. An importnt reference for collectors and connoisseurs. Includes notable works by Marc Chagall, Henri Matisse, and Pablo Picasso.
Featuring nearly three thousand film stills, production shots, and other illustrations, an authoritative history of the cinema traces the development of the medium, its filmmakers and stars, and the evolution of national cinemas around the world.
We ve all had the experience of watching a film and feeling like we ve been in a trance. This book takes that experience seriously, explaining cinema as a cultural technique of trance, one that unconsciously transforms our perceptions. Ute Holl moves from anthropological and experimental cinema through nineteenth-century psychological laboratories, which she shows developed technique of testing, measuring, and classifying the mind that can be seen as a prehistory of cinema, one that allows us to see the links among cinema, anthropology, psychology, and cybernetics."
Everyone thought that the Lord of Terror known as Fantomas had perished aboard the Titanic in April 1912, but they were wrong! Fantomas returns in 1917 New York, on the eve of America entering the Great War. His diabolical plot: to capture Professor Harrington, the only man to know the secret of Eldorado and gold-making. His goal: to rule the New World. His method: to spread terror! The only man who stands in his way: Detective Frederick Dickson. This original Fantomas novel by David White is inspired from the long-lost 1920 American Fantomas serial written by Edward Sedwick & George Eshenfelder for the Fox Film Corporation. It is illustrated with 50 rare stills and advertising art from the serial.
This magisterial book offers comprehensive accounts of the professional itineraries of three women in the silent film in the Netherlands, France and North America. Annette Förster presents a careful assessment of the long career of Dutch stage and film actress Adriënne Solser; an exploration of the stage and screen careers of French actress and filmmaker Musidora and Canadian-born actress and filmmaker Nell Shipman; an analysis of the interaction between the popular stage and the silent cinema from the perspective of women at work in both realms; fresh insights into Dutch stage and screen comedy, the French revue and the American Northwest drama of the 1910s; and much more, all grounded in a wealth of archival research.
Noel Burch's new book is a critique of the assumptions underlying 'classical' approaches to film history: the assumption that what we call the language of film was a natural, organic development, that it lay latent from the outset in the basic technology of the camera, waiting for the prescient pioneers to bring it into being; and the assumption that this language was a universal, neutral medium, innocent of any social or historical meaning in itself." "His major thesis is that, on the contrary, film language has a social and economic history, that it evolved in the way it did because of when and where it was constructed -- in the capitalist and imperialist west between 1892 and 1929." "The book examines the chronology of the emergence of what it defines as cinema's Institutional Mode of Representation and the socio-historical circumstances in which this took place. It examines the principles of visualisation -- camera placement and movement, lighting, editing, mise-en-scene -- that film-makers and audiences came to internalize over the first three decades. Special emphasis is laid on the allimportant change that occurred in the imaginary placing of the spectator, from a position of exteriority to the film image, implicit in both film-form and viewing conditions during the primitive era (pre-1909), to the imaginary centering of the spectator-subject, completed only with the generalisation of lip-synch sound after 1929. It is the contention of this book that this imaginary centering of a sensorily isolated spectator is the keystone of the cinematic illusion of reality, still achieved today by the same means as it was sixty years ago.
French film in the 1980s might have lacked the invention of the New Wave but gritty police thrillers and nostalgic costume-dramas such as Jean de Florette and Manon des Sources brought French cinema to a wider audience than ever before. This landmark study is not merely a history of French film in the 1980s, but offers a set of critical essays on the crisis of masculinity in contemporary French culture, and its interrelationship with nostalgia. After a brief overview both of the crisis in the French film industry during the 1980s, and of the socio-political crisis of masculinity in the wake of 1970s feminism, the book is divided into three sections: the retro-nostalgic film, the Polar, or police thriller, and the comic film. Films studied in detail include Diva, Subway, Coup de foudre, Vivement dimanche , La Vie est un long fleuve tranquille, and Tenue de soir e, while the volume covers actors from G rard Depardieu, Daniel Auteuil, and Yves Montand to Isabelle Adjani, Isabelle Huppert, and Emmanuelle B art.
Modern science communication has emerged in the twentieth century as a field of study, a body of practice and a profession—and it is a practice with deep historical roots. We have seen the birth of interactive science centres, the first university actions in teaching and conducting research, and a sharp growth in employment of science communicators. This collection charts the emergence of modern science communication across the world. This is the first volume to map investment around the globe in science centres, university courses and research, publications and conferences as well as tell the national stories of science communication. How did it all begin? How has development varied from one country to another? What motivated governments, institutions and people to see science communication as an answer to questions of the social place of science? Communicating Science describes the pathways followed by 39 different countries. All continents and many cultures are represented. For some countries, this is the first time that their science communication story has been told.