Mario Slugan is Lecturer in Film Studies, Queen Mary University of London, UK. He is the author of Montage as Perceptual Experience (2017), Noël Carroll on Film (Bloomsbury, 2018) and Fiction and Imagination in Early Cinema (Bloomsbury, 2019). He is also the editor of the open-access peer-reviewed academic journal Apparatus: Film, Media and Digital Cultures of Central and Eastern Europe and book review editor for Early Popular Visual Culture. Daniël Biltereyst is Professor in Film and Media Studies at Ghent University, Belgium. He is editor of Mapping Movie Magazines (2020) and co-editor of The Routledge Companion to New Cinema Audiences (2019), Moralizing Cinema (2015), Silencing Cinema (2013), Cinema, Audiences and Modernity (2012) and Explorations in New Cinema History (2011).
Inhaltsangabe
List of figures List of contributors Acknowledgements Introduction: New perspectives on early cinema - Mario Slugan and Daniël Biltereyst PART ONE: CONCEPTS AND THEORIES 1. Animated pictures according to Georges Méliès: A sober and unpretentious remediation, or when Méliès took a stand against . the cinema! - André Gaudreault 2. Attraction/narration/illustration: A third paradigm for early cinema - Valentine Robert 3. 'The very act itself, even to the smack': Early cinema, presence and experience - Gert Jan Harkema 4. Lost love on a hot summer day: The absorptive experience of the first film show in Denmark - Casper Tybjerg PART TWO: APPROACHES, METHODS AND SOURCES 5. Revisiting the fiction/non-fiction distinction: Early cinema and the philosophy of imagination - Mario Slugan 6. Using Mediathread for gesture analysis in the cinema of attractions - Danae Kleida 7. Librettos as source material for film history: The case of early Russian cinema - Anna Kovalova PART THREE AUDIENCES AND EXPERIENCES 8. Narrative cinema as a separate attraction: Archie L. Shepard's newspaper publicity - Paul S. Moore 9. Mapping Black moviegoing in Harlem, New York City, 1909-14 - Agata Frymus 10. Attraction, narration, performance: A historical-pragmatic perspective on early cinema - Frank Kessler and Sabine Lenk 11. The other panicking audience: A New Cinema History approach to early cinemagoing, cinema fires, disasters and panics - Daniël Biltereyst Bibliography Index
List of figures List of contributors Acknowledgements Introduction: New perspectives on early cinema - Mario Slugan and Daniël Biltereyst PART ONE: CONCEPTS AND THEORIES 1. Animated pictures according to Georges Méliès: A sober and unpretentious remediation, or when Méliès took a stand against . the cinema! - André Gaudreault 2. Attraction/narration/illustration: A third paradigm for early cinema - Valentine Robert 3. 'The very act itself, even to the smack': Early cinema, presence and experience - Gert Jan Harkema 4. Lost love on a hot summer day: The absorptive experience of the first film show in Denmark - Casper Tybjerg PART TWO: APPROACHES, METHODS AND SOURCES 5. Revisiting the fiction/non-fiction distinction: Early cinema and the philosophy of imagination - Mario Slugan 6. Using Mediathread for gesture analysis in the cinema of attractions - Danae Kleida 7. Librettos as source material for film history: The case of early Russian cinema - Anna Kovalova PART THREE AUDIENCES AND EXPERIENCES 8. Narrative cinema as a separate attraction: Archie L. Shepard's newspaper publicity - Paul S. Moore 9. Mapping Black moviegoing in Harlem, New York City, 1909-14 - Agata Frymus 10. Attraction, narration, performance: A historical-pragmatic perspective on early cinema - Frank Kessler and Sabine Lenk 11. The other panicking audience: A New Cinema History approach to early cinemagoing, cinema fires, disasters and panics - Daniël Biltereyst Bibliography Index
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