A Companion to Early Cinema

<p>List of Contributors viii</p>
<p>Acknowledgments xiv</p>
<p>Introduction 1<br /> Nicolas Dulac, Andr&eacute; Gaudreault, and Santiago Hidalgo</p>
<p>Part I Early Cinema Cultures 13</p>
<p>1 The Culture Broth and the Froth of Cultures of So–called Early Cinema 15<br /> Andr&eacute; Gaudreault</p>
<p>2 Toward a History of Peep Practice 32<br /> Erkki Huhtamo</p>
<p>3 We are Here and Not Here : Late Nineteenth–Century Stage Magic and the Roots of Cinema in the Appearance (and Disappearance) of the Virtual Image 52<br /> Tom Gunning</p>
<p>4 The F&eacute;erie between Stage and Screen 64<br /> Frank Kessler</p>
<p>5 The Th&eacute;&acirc;trophone, an Anachronistic Hybrid Experiment or One of the First Immobile Traveler Devices? 80<br /> Giusy Pisano</p>
<p>6 The Silent Arts: Modern Pantomime and the Making of an Art Cinema in Belle &Eacute;poque Paris: The Case of Georges Wague and Germaine Dulac 99<br /> Tami Williams</p>
<p>Part II Early Cinema Discourses 119</p>
<p>7 First Discourses on Film and the Construction of a Cinematic Episteme 121<br /> Fran&ccedil;ois Albera</p>
<p>8 The Discourses of Art in Early Film, or, Why Not Ranci&egrave;re? 141<br /> Rob King</p>
<p>9 Sensationalism and Early Cinema 163<br /> Annemone Ligensa</p>
<p>10 From Craft to Industry: Series and Serial Production Discourses and Practices in France 183<br /> Laurent Le Forestier</p>
<p>11 Early American Film Publications: Film Consciousness, Self Consciousness 202<br /> Santiago Hidalgo</p>
<p>12 Early Cinema and Film Theory 224<br /> Roger Odin</p>
<p>Part III Early Cinema Forms 243</p>
<p>13 A Bunch of Violets 245<br /> Ben Brewster</p>
<p>14 Modernity Stops at Nothing: The American Chase Film and the Specter of Lynching 257<br /> Jan Olsson</p>
<p>15 The Knowledge Which Comes in Pictures : Educational Films and Early Cinema Audiences 277<br /> Jennifer Peterson</p>
<p>16 Motion Picture Color and Path&eacute;–Fr&egrave;res: The Aesthetic Consequences of Industrialization 298<br /> Charles O Brien</p>
<p>Part IV Early Cinema Presentations 315</p>
<p>17 The European Fairground Cinema: (Re)defining and (Re)contextualizing the Cinema of Attractions 317<br /> Joseph Garncarz</p>
<p>18 Early Film Programs: An Overture, Five Acts, and an Interlude 334<br /> Richard Abel</p>
<p>19 Half Real–Half Reel : Alternation Format Stage–and–Screen Hybrids 360<br /> Gwendolyn Waltz</p>
<p>20 Advance Newspaper Publicity for the Vitascope and the Mass Address of Cinema s Reading Public 381<br /> Paul S. Moore</p>
<p>21 Storefront Theater Advertising and the Evolution of the American Film Poster 398<br /> Kathryn H. Fuller–Seeley</p>
<p>22 Bound by Cinematic Chains: Film and Prisons during the Early Era 420<br /> Alison Griffiths</p>
<p>Part V Early Cinema Identities 441</p>
<p>23 Anonymity: Uncredited and Unknown in Early Cinema 443<br /> Jane M. Gaines</p>
<p>24 The Invention of Cinematic Celebrity in the United Kingdom 460<br /> Andrew Shail</p>
<p>25 The Film Lecturer 487<br /> Germain Lacasse</p>
<p>26 Richard Hoffman: A Collector s Archive 498<br /> Richard Koszarski</p>
<p>Part VI Early Cinema Recollections 525</p>
<p>27 Early Films in the Age of Content; or, Cinema of Attractions Pursued by Digital Means 527<br /> Paolo Cherchi Usai</p>
<p>28 Multiple Originals: The (Digital) Restoration and Exhibition of Early Films 550<br /> Giovanna Fossati</p>
<p>29 Pointing Forward, Looking Back: Reflexivity and Deixis in Early Cinema and Contemporary Installations 568<br /> Nanna Verhoeff</p>
<p>30 Is Nothing New? Turn–of–the–Century Epistemes in Film History 587<br /> Thomas Elsaesser</p>
<p>Index 610</p>