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Silent films were, of course, never silent at all. However, the sound that used to accompany the screen picture in the early days of cinema has been neglected as an area of study. Altman explores the various musical, narrative, and even synchronized sound systems that enriched cinema before Jolson spoke.
And if one hasn't had the opportunity to visit these places and things, he may, with the aid of the pictures and reference to this book, make pleasant delusory journeys, and enable himself to talk intelligibly with the oldest travelers. This would be too much to say if many kind readers of the preceding series had nut often said it before. The work has cost not only many a long journey through the countries included-happiest of days, which I wish all could share-but many another for facts and figures, through the various sources supplied by authorship, for which I make acknowledgment of my honest obligations, here and now. So much as to the home use of our book, - with the stereoscope, the graphoscope, or the newer instrument, the touroscope. Lecturers and exhibitors, with the now justly popular and improved magic lantern, will find these descriptions of great value in making selections for their courses, and to contain a full supply of things proper to say when the beautiful glass pictures which photography supplies are projected upon the screen, for audiences not only desire to see the views but to hear interesting descriptions thereof. The subjects have been arranged into journeys or tours, In order that the delight in them may be enhanced. They can be changed and re-arranged as much as the mulplication table and I tremblingly leave that work to the indulgent reader.
Virtual Voyages illuminates the pivotal role of travelogues within the history of cinema. The travelogue dominated the early cinema period from 1895 to 1905, was central to the consolidation of documentary in the 1910s and 1920s, proliferated in the postwar era of 16mm distribution, and today continues to flourish in IMAX theaters and a host of non-theatrical venues. It is not only the first chapter in the history of documentary but also a key element of ethnographic film, home movies, and fiction films. In this collection, leading film scholars trace the intersection of technology and ideology in representations of travel across a wide variety of cinematic forms. In so doing, they demonstrate how attention to the role of travel imagery in film blurs distinctions between genres and heightens awareness of cinema as a technology for moving through space and time, of cinema itself as a mode of travel. Some contributors take a broad view of travelogues by examining the colonial and imperial perspectives embodied in early travel films, the sensation of movement that those films evoked, and the role of live presentations such as lectures in our understanding of travelogues. Other essays are focused on specific films, figures, and technologies, including early travelogues encouraging Americans to move to the West; the making and reception of the documentary Grass (1925), shot on location in Turkey, Syria, Iraq, and Iran; the role of travel imagery in 1930s Hollywood cinema; the late-twentieth-century 16mm illustrated-lecture industry; and the panoramic possibilities presented by IMAX technologies. Together the essays provide a nuanced appreciation of how, through their representations of travel, filmmakers actively produce the worlds they depict. Contributors. Rick Altman, Paula Amad, Dana Benelli, Peter J. Bloom, Alison Griffiths, Tom Gunning, Hamid Naficy, Jennifer Lynn Peterson, Lauren Rabinovitz, Jeffrey Ruoff, Alexandra Schneider, Amy J. Staples
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