By André Gaudreault, Nicolas Dulac, Santiago Hidalgo
An authoritative and much-needed evaluation of the most matters within the box of early cinema from over 30 best overseas students within the field
* First selection of its style to supply in a single reference: unique concept, new examine, and reports of current stories within the field
* beneficial properties over 30 unique essays from a number of the top students in early cinema and movie experiences, together with Tom Gunning, Jane Gaines, Richard Abel, Thomas Elsaesser, and André Gaudreault
* Caters to renewed curiosity in movie studies’ historic tools, with strict research of a number of and competing resources, delivering a severe re-contextualization of flicks, published fabric and technologies
* Covers more than a few subject matters in early cinema, corresponding to exhibition, merchandising, undefined, pre-cinema, and movie criticism
* Broaches the newest study as regards to archival practices, vital really within the present electronic context
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Additional info for A Companion to Early Cinema
19 For Philippe Marion and I, the concept of cinema’s “second birth” is a colorful metaphor. Naturally, it should not be taken literally, which could prove unfortunate because of its biological connotation in particular. We discussed this question in detail in our presentation at the Newcastle conference mentioned in note 11 above, whose proceedings are forthcoming. ], “Le Nouvel Art Cinématographique,” editorial, in Le Nouvel Art Cinématographique 6 (2nd series; April 1930): 5–6. This journal was published by Maurice Noverre.
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. Satisfactory not from an artistic point of view – which is beside the point here – but rather as a means of automatically reproducing reality.
And pays more attention than teleological history to cultural series contemporaneous with the invention and emergence of cinema, the place of Reynaud and his apparatuses is constantly being reevaluated. Naturally, when one looks at Reynaud’s work through the lens of cinema and cinema alone, or rather what one might call “kinephotography,” his “moving paintings” don’t hold up and are automatically cast from the paradigm. In fact our estimation of the importance of the work of all those who contributed to the “invention of cinema” depends on the series from which we see things.