Transitional Cinema
transitional cinema slides they projected, the spoken word capable of Bibliography imposing a very different meaning on the image from the Balio, Tino (ed.) (1985), The American Film Industry. one that the producer may have intended. Many exhibitors Barnes, John (1976). The Beginnings of the Cinema in England. even added sound effects—horses’ hooves, revolver shots, Bordwell, David, Staiger, Janet, and Thompson, Kristin (1985), The and so forth—and spoken dialogue delivered by actors Classical Hollywood Cinema. Chanan, Michael (1980), The Dream that Kicks. standing behind the screen. Cherchi Usai, Paolo, and Codelli, Lorenzo (eds.) (1990), Before Cali- By the end of its first decade of existence, the cinema gari. had established itself as an interesting novelty, one dis- Cosandey, Roland, Gaudreault, Andre´, and Gunning, Tom (eds.) traction among many in the increasingly frenetic pace of (1992), Une invention du diable? twentieth-century life. Yet the fledgeling medium was still Elsaesser, Thomas (ed.) (1990), Early Cinema: Space, Frame, Narrative. very much dependent upon pre-existing media for its Fell, John L. (1983), Film before Griffith. formal conventions and story-telling devices, upon some- —— (1986), Film and the Narrative Tradition. what outmoded individually-driven production methods, Gunning, Tom (1986), ‘The Cinema of Attractions’. and upon pre-existing exhibition venues such as vau- Holman, Roger (ed.) (1982), Cinema 1900–1906: An Analytic Study. deville and fairs. In its next decade, however, the cinema Low, Rachael, and Manvell, Roger (1948), The History of the British Film, 1896–1906. took major steps toward becoming the mass medium of Musser, Charles (1990), The Emergence of Cinema.
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