A Companion to Early Cinema

A Handbook to Global Online Journalism features a collection of readings from international practitioners and scholars that represent a comprehensive and state-of-the-art overview of the relationship between the internet and journalism around the world. Provides a state-of-the-art overview of current research and future directions of online journalism Traces the evolution of journalistic practices, business models, and shifting patterns of journalistic cultures that have emerged around the world with the migration of news online Written and edited by top international researchers and practitioners in the area of online journalism Features an extensive breadth of coverage, including economics, organizational practices, contents and experiences Discusses developments in online news in a wide range of countries, from the USA to Brazil, and from Germany to China Contains original theory, new research data, and reviews of existing studies in the field

André Gaudreault is Professor in Film Studies at the Université de Montréal, where he heads the research group GRAFICS (Groupe de recherche sur l’avènement et la formation des institutions cinématographique et scénique). He is also director of the bilingual journal Cinémas, published in Montreal. He has presented numerous scholarly papers and published extensively on film narration and early cinema.

Nicolas Dulac is Lecturer in Film Studies at the Université de Montréal. He has published on early cinema and turn-of-the-century popular culture in journals such as 1895 Revue d’Histoire du Cinéma, Cinema & Cie, and Early Popular Visual Culture.

Santiago Hidalgo is Lecturer in Film Studies at the Université de Montréal. He has published on early cinema, film criticism, and film historiography in Cinémas and in conference proceedings for events in Udine, Italy and Cerisy, France.

List of Contributors	p. viii
Acknowledgments	p. xiv
Introduction	p. 1
Early Cinema Cultures	p. 13
The Culture Broth and the Froth of Cultures of So-called Early Cinema	p. 15
Toward a History of Peep Practice	p. 32
"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	p. 52
The Féerie between Stage and Screen	p. 64
The Théâtrophone, an Anachronistic Hybrid Experiment or One of the First Immobile Traveler Devices?	p. 80
The "Silent" Arts: Modern Pantomime and the Making of an Art Cinema in Belle Epoque Paris: The Case of Georges Wague and Germaine Dulac	p. 99
Early Cinema Discourses	p. 119
First Discourses on Film and the Construction of a "Cinematic Episteme"	p. 121
The Discourses of Art in Early Film, or, Why Not Ranciere?	p. 141
Sensationalism and Early Cinema	p. 163
From Craft to Industry: Series and Serial Production Discourses and Practices in France	p. 183
Early American Film Publications: Film Consciousness, Self Consciousness	p. 202
Early Cinema and Film Theory	p. 224
Early Cinema Forms	p. 243
A Bunch of Violets	p. 245
Modernity Stops at Nothing: The American Chase Film and the Specter of Lynching	p. 257
"The Knowledge Which Comes in Pictures": Educational Films and Early Cinema Audiences	p. 277
Motion Picture Color and Pathé-Frères: The Aesthetic Consequences of Industrialization	p. 298
Early Cinema Presentations	p. 315
The European Fairground Cinema: (Re)defining and (Re)contextualizing the "Cinema of Attractions"	p. 317
Early Film Programs: An Overture, Five Acts, and an Interlude	p. 334
"Half Real-Half Reel": Alternation Format Stage-and-Screen Hybrids	p. 360
Advance Newspaper Publicity for the Vitascope and the Mass Address of Cinema's Reading Public	p. 381
Storefront Theater Advertising and the Evolution of the American Film Poster	p. 398
Bound by Cinematic Chains: Film and Prisons during the Early Era	p. 420
Early Cinema Identities	p. 441
Anonymity: Uncredited and Unknown in Early Cinema	p. 443
The Invention of Cinematic Celebrity in the United Kingdom	p. 460
The Film Lecturer	p. 437
Richard Hoffman: A Collector s Archive	p. 498
Early Cinema Recollections	p. 525
Early Films in the Age of Content; or, "Cinema of Attractions" Pursued by Digital Means	p. 527
Multiple Originals: The (Digital) Restoration and Exhibition of Early Films	p. 550
Pointing Forward, Looking Back: Refiexivity and Deixis in Early Cinema and Contemporary Installations	p. 568
Is Nothing New? Turn-of-the-Century Epistemes in Film History	p. 587
Index	p. 610
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A Companion to Early Cinema

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