By André Gaudreault, Nicolas Dulac, Santiago Hidalgo
An authoritative and much-needed assessment of the most matters within the box of early cinema from over 30 best overseas students within the field
* First selection of its variety to supply in a single reference: unique concept, new study, and studies of latest experiences within the field
* positive aspects over 30 unique essays from a number of the best 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 tools, with strict research of a number of and competing assets, supplying a severe re-contextualization of movies, published fabric and technologies
* Covers a variety of themes in early cinema, reminiscent of exhibition, merchandising, undefined, pre-cinema, and picture criticism
* Broaches the newest study with regards to archival practices, very important quite within the present electronic context
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Extra resources for A Companion to Early Cinema
Le Nouvel Art Cinématographique,” editorial, in Le Nouvel Art Cinématographique 6 (2nd series; April 1930): 5–6. This journal was published by Maurice Noverre. 21 This is the position Philippe Marion and I put forward at the Newcastle conference described in note 11 above. 22 Bazin, “Le cinéma,” 24. ,” continued: “But we might very well imagine through a misunderstanding that the evolution of what we have mistakenly taken for an art could be brutally interrupted by the appearance of a more satisfactory technology than television.
3), cinema and the magic lantern switched places and kinematography took the lead position. 4). 4 Header of an issue of the Kinematograph Weekly (which began publication in 1919). Collection Cinémathèque québécoise. In the end, then, the magic lantern was kicked off the cover of a journal initially devoted almost exclusively to that cultural series! What a flabbergasting fate for a medium which saw its aura turn sour over a relatively short period of time (from 1889 to 1919). This decline can be tracked simply by observing the lot of the magic lantern on the journal’s cover: until 1904, the lantern was both optical and magic (the Optical Magic Lantern); in 1904 it ceased to be magic and became only optical; in 1907 it became even more modest, a mere “lantern” that was neither magic nor optical; and in 1919 it became so small that it disappeared from the journal’s cover!
In his article, Bazin refers to this “second birth” of cinema after the Lumières’ invention, which was initially a mere technological curiosity, became a form of entertainment: Perhaps it was only through a trick of the mind, an optical illusion of history, fleeting like a shadow cast by the sun, that for fifty years we have been able to believe in the existence of cinema. Perhaps “cinema” was just a stage in the wide-reaching evolution of the means of mechanical reproduction … In the end Lumière was right when he refused to sell his camera to Méliès on the pretext that it was a technological curiosity useful at best to doctors.
A Companion to Early Cinema by André Gaudreault, Nicolas Dulac, Santiago Hidalgo