Performing New Media, 1890-1915.Series: Early Cinema in Review SerPublisher: Bloomington : Indiana University Press, 2014Copyright date: ©2014Description: 1 online resource (336 pages)Content type:
- online resource
- PN1995.75.P474 2015
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Cover -- Contents -- Introduction -- PART I: Performing on the Screen: Actors and Personalities -- Chapter 1 Lois Weber at Rex: Performing Femininity Across Media -- Chapter 2 Diva Intermedial: Lyda Borelli between Art, Photography, Theatre and Cinema -- Chapter 3 Why Sue 'Little Mary?': How Independent Moving Pictures Company of America v Gladys Smith and Owen Moore (1911) Defined Celebrity and Professionalism for Film Actors -- Chapter 4 Camera Distance and Acting in Griffith Biographs -- Chapter 5 Performance Times: The Lightning Cartoon and the Emergence of Animation -- Chapter 6 La transparence du Fregoligraph en question -- Chapter 7 In the Flesh: Personal Appearances and the Picture Personality in Britain -- Chapter 8 Performers - Now Synchronised on Screen -- PART II: Performing Beside the Screen: Narrators, Showmen, and Musicians -- Chapter 9 Missing Believed Lost: The Film Narrator, Then and Now -- Chapter 10 Standards of Practice in Transition: The Showmanship of Jasper Redfern as It Emerged -- Chapter 11 Showmanship Skills and the Changing Role of the Exhibitor in 1910s Scotland -- Chapter 12 Showing Film in Winter (1904-1906): Albert Frères' Film Galas in Dutch Multipurpose Buildings -- Chapter 13 Performing New Media and the Creation of National Identity: Kr™usslich and Köpke in Norway before 1910 -- Chapter 14 Music Programming and the Formation of Swedish Cinema Culture -- Chapter 15 'Marvelous and Fascinating': L. Frank Baum's Fairylogue and Radio-Plays (1908) -- Chapter 16 The Multiple-Media Lecture: Racing with Death in Antarctic Blizzards (1915) -- PART III: Performing with the Screen: Audiences, Educators and Officials -- Chapter 17 Kinoreformbewegung Revisited: Performing the Cinematograph as a Pedagogical Tool -- Chapter 18 Health on Display: The Panama-Pacific International Exposition as Sanitary Venue.
Chapter 19 Lyrical Education: Music and Colour in Early Nonfiction Film -- Chapter 20 'Offensive and Riotous Behavious'? Performing the of Role of an Audience in Irish Cinema of the mid-1910s -- Chapter 21 Tango Mad and Affected by Cinematographitis: Rhythmic 'Contagions' between Screens and Audiences in the 1910s -- PART IV: Intermedial Performance -- Chapter 22 Screening Sensations and Live Performance: the Creative Blending of Traditional and New Projected Media at the Start of the Twentieth Century -- Chapter 23 Le spectacle de lanterne magique considéré sous l'angle de la conférence : quelques traces écrites d'une performance orale -- Chapter 24 Getting to Know the Dutch: Magic Lantern Slides as Traces of Intermedial Performance Practices -- Chapter 25 20 Minutes or Less: Short-Form Film-and-Theatre Hybrids - Skits, Sketches, Playlets, & Acts in Vaudeville, Variety, Revues, &c. Gwendolyn Waltz -- Chapter 26 Between Karagöz and Cinema: Connectivity, Mobility, Collectivity, Collectivity -- Chapter 27 Entre nouveauté et continuité : Le spectacle cinématographique serait-il une émergence des ombres françaises? -- Chapter 28 'Performed live and talking. No Kinematograph.' Amateur Performances of Tableaux Vivants and Local Film Exhibition in Germany around 1900 -- Chapter 29 Performing Painting: Projected Images as Living Pictures -- Chapter 30 Colour as Performance in Visual Music, Film Tinting and Digital Painting -- Coda -- Chapter 31 Early Cinema Today and its 'Digital Performance': The Re-discovery of The Soldier's Courtship (1896) -- Editors and Contributors -- Index of Films -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- V -- W -- Z -- Index of Names -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- Z.
In the years before the First World War, showmen, entrepreneurs, educators, and scientists used magic lanterns and cinematographs in many contexts and many venues. To employ these silent screen technologies to deliver diverse and complex programs usually demanded audio accompaniment, creating a performance of both sound and image. These shows might include live music, song, lectures, narration, and synchronized sound effects provided by any available party-projectionist, local talent, accompanist or backstage crew-and would often borrow techniques from shadow plays and tableaux vivants. The performances were not immune to the influence of social and cultural forces, such as censorship or reform movements. This collection of essays considers the ways in which different visual practices carried out at the turn of the 20th century shaped performances on and beside the screen.
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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2019. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.