Resources and Bibliography

Total Page:16

File Type:pdf, Size:1020Kb

Resources and Bibliography RESOURCES aND BIBlIOGRaPHY ARCHIVES, LIBRaRIES & MUSEUmS Barnes Collection, St Ives, Cornwall, England. Barnes Collection, Hove Museum & Art Gallery, Brighton & Hove, England. [concentrates on South Coast of England film-makers and film companies] Brighton Library, Brighton & Hove, England. British Film Institute National Film Library, London, England. [within Special Collections at the BFI is found G. A. Smith’s Cash Book and the Tom Williamson Collection] British Library Newspaper Library, London, England. Charles Urban Collection, National Science & Media Museum, Bradford, England. Hove Reference Library, Brighton & Hove, England. Library of Congress, Washington, USA. Museum of Modern Art, New York, USA. The National Archives, Kew, England. National Park Service, Edison National Historic Site, West Orange, New Jersey. Available online through the site, Thomas A. Edison Papers (Rutgers, the State University of New Jersey. South Archive South East, University of Brighton, Brighton & Hove, England. University of Brighton Library, St Peter’s House, Brighton & Hove, England. FIlm CaTalOGUES Paul, Robert. 1898. Animated Photograph Films, List No. 15. London. [London: BFI Library] © The Author(s) 2019 279 F. Gray, The Brighton School and the Birth of British Film, https://doi.org/10.1007/978-3-030-17505-4 280 RESOURCES AND BIBLIOGRAPHY ———. 1901. Animatograph Films—Robert Paul; Cameras, Projectors & Accessories. London. [Paris: La Cinématheque Française] We Put the World Before you by means of The Bioscope and Urban Films. 1903. London: Charles Urban Trading Company. [New York: Museum of Modern Art; Media History Digital Library] Urban Film Catalogue. 1905. London: Charles Urban Trading Company. Republished in, Stephen Herbert. 2000. A History of Early Film, Volume 1. London: Routledge. The Descriptive List of New Film Subjects. 1898. London: Warwick Trading Company. [London: BFI Library] Warwick Trading Company Catalogue and Supplementary List No. 1. November, 1899. [London: Science Museum] Warwick Trading Company Catalogue. September, 1900. London. [New York: Museum of Modern Art] Warwick Trading Company Catalogue, Supplement No. 1. November/December, 1900. London. [New York: Museum of Modern Art] Warwick Trading Company Catalogue. April, 1901. London. [London: BFI Library] Warwick Trading Company Catalogue Supplement. 1901. London. [London: BFI Library] Blue Book of ‘Warwick’ and ‘Star’—Selected Film Subjects. 1901. London: Warwick Trading Company. [London: BFI Library] Williamson’s Kinematograph Films, Revised to Sept., 1899. 1899. Hove: Emery Press. [Brighton: Screen Archive South East] Williamson’s Kinematograph Films, Revised to Sept., 1902. 1902. Hove. [Brighton: Screen Archive South East] Williamson’s Kinematograph Films, Supplementary List, December 1903. 1903. Hove. [Brighton: Screen Archive South East] Programme of Kinematograph Entertainments. 1908. Hove: Williamson Kinematograph Co. [Brighton: Screen Archive South East]. NEWSPaPERS aND PERIODICalS Argus [Brighton]—Morning edition of the Evening Argus Bath Chronicle and Weekly Gazette Birmingham Daily Gazette Bradford Daily Telegraph Bournemouth Guardian Brighton Examiner Brighton Gazette & Sussex Telegraph Brighton Herald RESOURCES AND BIBLIOGRAPHY 281 Brighton & Hove Guardian Brighton Society Daily Graphic Dover Express Edinburgh Evening News Evening Argus [Brighton] Folkestone Herald Gloucestershire Echo Hampshire Advertiser Hastings and St Leonards Observer Hove Echo Hull Daily Mail Nottingham Evening Post South Wales Daily News Stonehaven Journal Surrey Mirror Sussex Daily News Thanet Advertiser The Times Western Daily Press Western Morning News Ally Sloper’s Half Holiday Amateur Photographer The Bioscope Black and White Budget The British Journal of Photography The Century Magazine Chambers’ Journal The Economist The English Mechanic and World of Science The Era The Illustrated London News Kinematograph & Lantern Weekly Kinematograph Weekly The King Optical Magic Lantern Journal and Photographic Enlarger Pearson’s Magazine The Photographic Dealer The Pharmaceutical Journal Punch The Showman The Strand 282 RESOURCES AND BIBLIOGRAPHY BOOKS aND ARTIClES Adland, David. 1994. Brighton’s Music Halls. Towcester: Baron Birch for Quotes. Adriaensens, Vito, and Steven Jacobs. 2015. The Sculptor’s Dream: Tableaux Vivants and Living Statues in the Films of Méliès and Saturn. Early Popular Visual Culture 13 (1): 41–65. Allister, Ray. 1948. Friese-Greene. Close-Up of an Inventor. London: Marshland Publications. Andersen, Hans. 1902. Fairy Tales from Hans Andersen. London: Wells Gardner, Darton & Co. Arthur Melbourne-Cooper: Discussion. 1995. KINtop 4: 177–189 [Features Contributions by John Barnes and Tony Fletcher to the 1994 article and de Vries’ response]. Arthur Melbourne-Cooper: Discussion Continued. 1996. KINtop 5: 177–189 [Features Gray’s Response to de Vries’ 1994 article, pp. 178–180; de Vries’ Criticism of Gray’s Analysis, pp. 181–183, and Further Responses from Geoffrey Donaldson and Anthony Slide]. Assael, Brenda. 2006. Art or Indecency? Tableaux Vivants on the London Stage and the Failure of Late Victorian Moral Reform. Journal of British Studies 45 (4): 744–758. Bachelard, Gaston. 1969. The Poetics of Space. Boston, MA: Beacon Press. Bailey, Peter. 1986. Introduction: Making Sense of Music Hall. In Music Hall: The Business of Pleasure, ed. Peter Bailey. Milton Keynes: Open University Press. Bakhtin, Mikhail. 1984. Rabelais and His World. Bloomington, IN: Indiana University Press. Bardèche, Maurice, and Robert Brasillach. 1938. History of the Film. London: George Allen & Unwin. Barnes, John. 1982. Pioneers of Cinematography in Brighton—1897. In Cinema: 1900–1906: An Analytical Study by the National Film Archive (London) and the International Federation of Film Archives, ed. Roger Holman (Compiler), 93–99. Brussels: FIAF. ———. 1983. The Rise of the Cinema in Great Britain, The Beginnings of the Cinema in England 1894–1901, Volume Two 1897. Exeter: University of Exeter Press, 1996; first pub.: London: Bishopsgate Press. ———. 1990. Classification of Magic Lantern Slides for Cataloguing and Documentation. In Magic Images: The Art of Hand-Painted and Photographic Lantern Slides, ed. Dennis Crompton, David Henry, and Stephen Herbert. London: Magic Lantern Society of Great Britain. ———. 1992. Filming the Boer War, The Beginnings of the Cinema in England 1894–1901, Volume Four: 1899. Exeter: University of Exeter Press, 1996; first pub.: London: Bishopsgate Press. RESOURCES AND BIBLIOGRAPHY 283 ———. 1996. Pioneers of the British Film, The Beginnings of the Cinema in England 1894–1901, Volume Three: 1898. Exeter: University of Exeter Press; first pub.: London: Bishopsgate Press, 1988). [The first edition of 1988 was dated mis- takenly as 1983]. ———. 1997. The Beginnings of the Cinema in England 1894–1901, Volume Five: 1900. Exeter: University of Exeter Press. ———. 1998. The Beginnings of the Cinema in England 1894–1901, Volume One: 1894–1896, 2nd ed. Exeter: University of Exeter Press; 1st edn. London: David & Charles, 1976. Barnouw, Erik. 1981. The Magician and the Cinema. Oxford: Oxford University Press. Bedding, T., ed. 1898. The British Journal Photographic Almanac and Photographer’s Daily Companion, 1898. London: Henry Greenwood. Beevers, David, ed. 1995. Brighton Revealed Through Artist’s Eyes c.1760–c.1960. Brighton: Royal Pavilion, Art Gallery and Museums. Benson, John, and Gareth Shaw, eds. 1992. The Evolution of Retail Systems, c. 1800–1914. Leicester: Leicester University Press. Bettelheim, Bruno. 1978. The Uses of Enchantment, The Meanings and Importance of Fairy Tales. London: Peregrine. Bidgoli, Hossein, ed. 2010. The Handbook of Technology Management: Supply Chain Management, Marketing and Advertising, and Global Management. Vol. 2. Hoboken: John Wiley. Booth, Charles. 1889–1903. Life and Labour of the People in London. Vol. 17. London: Macmillan. Booth, Michael. 1991. Theatre in the Victorian Age. Cambridge: Cambridge University Press. Bordwell, David. 1985. Narration in the Fiction Film. London: Methuen Press. Bordwell, David, and Kristin Thompson. 2002. Film History: An Introduction, 1st ed., 1994; 2nd ed. New York, NY: McGraw-Hill. Bordwell, David, Janet Staiger, and Kristin Thompson. 1985. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960. London: Routledge. Bottomore, Stephen. 1990. Shots in the Dark: The Real Origins of Film Editing. In Early Cinema: Space, Frame, Narrative, ed. Thomas Elsaesser and Adam Barker. London: British Film Institute. ———. 1998. Book Reviews, ‘A History of the Victorian Cinema: The Barnes Project’. Film History 10 (1): 108–111. ———. 2002. Smith Versus Melbourne-Cooper: An End to the Dispute. Film History 14 (1): 57–73. Brewster, David. 1834. Letters on Natural Magic Addressed to Sir Walter Scott. London: John Murray. 284 RESOURCES AND BIBLIOGRAPHY Brewster, Ben, and Lea Jacobs. 1997. Theatre to Cinema. Oxford: Oxford University Press. Brown, Harold. 1967. Notes on Film Identification by the Examination of Film Copies. London: British Film Institute. Brown, Richard. 1998. ‘England Is Not Big Enough…’ American Rivalry in the Early English Film Business: The Case of “Warwick v Urban”, 1903. Film History 10 (1): 21–34. ———. 2004. New Century Pictures: Regional Enterprise in Early British Film Exhibition. In The Lost World of Mitchell & Kenyon: Edwardian Britain on Film, ed. Vanessa Toulmin, Simon Popple, and Patrick Russell, 69–82. London: British Film Institute. Brown, Simon. 2016. Cecil Hepworth
Recommended publications
  • Pioneiros Do Cinema the Movies Begin DVD 2 the European Pioneers Louis E Auguste Lumière 1895-1900 Louis E Auguste Lumière
    Pioneiros do Cinema The Movies Begin DVD 2 The European Pioneers Louis e Auguste Lumière 1895-1900 Louis e Auguste Lumière Leaving The Factory (1895) (Saída da fábrica) The Baby's Meal (1895) (A refeição do bebê) Demolition Of A Wall (1895) (Demolição de um muro) The Sprinkler Sprinkled (1895) (O aspersor polvilhado) Arrival Of Congress (1895) (Chegada do Congresso) Arrival Of A Train (1895) (Chegada de um trem) Louis e Auguste Lumière Card Party (1895) (Cartão do partido) Leaving Jerusalem By Railway (1896) (Deixando Jersusalem pela ferroviária) Snowball Fight (1896) (Guerra de bolas de neve) A Fire Run (Lyons) (c.1896) (Corrida para apagar o fogo) Niagara Falls (1897) (Cataratas do Niágara) Spanish Bullfight (1900) (Tourada Espanhola) Birt Acres Birt Acres Birt Acres nasceu em Richmond Virginia, nos EUA em 1854, e tornou-se órfão com quatorze anos durante a guerra civil americana. Foi adotado por sua tia que se tornou sua tutora. Em torno de 1872, Acres foi enviado por sua tia a Paris para completar seus estudos na Sorbonne, onde estudou Belas Artes e fotografia. Birt Acres Montou um estúdio em Devon, na Inglaterra, para a produção de retratos, pintura e fotografia. Não demorou muito para Acres ganhar uma boa reputação como fotógrafo bem sucedido, conferencista e colaborador de revistas de fotografia. Além disso, ele trabalhou como inventor de um aparelho patenteado para copiar fotografias estereoscópicas. Birt Acres Em 1893, criou uma empresa para fabricar chapas fotográficas e papel de impressão, também, no mesmo ano, patenteou um aparato para expor chapas fotográficas sucessivas, slides e outros. Através de seu amigo Henry W.
    [Show full text]
  • German Operetta on Broadway and in the West End, 1900–1940
    Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds.
    [Show full text]
  • Proquest Dissertations
    Early Cinema and the Supernatural by Murray Leeder B.A. (Honours) English, University of Calgary, M.A. Film Studies, Carleton University A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations © Murray Leeder September 2011 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-83208-0 Our file Notre reference ISBN: 978-0-494-83208-0 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Teoria E Analisi 2016-17
    Anno accademico 2016-2017 Teoria e analisi del linguaggio cinematografico II Semestre Ricevimento: mercoledì dalle 15,30 alle 18,30 (via Noto, 6) Durante le settimane del corso: mercoledì dalle 11 alle 14 (via Noto, 6) Data di inizio del corso Martedì 21 febbraio 2016 Orari e aula delle lezioni Martedì, mercoledì, giovedì: 14,30/16,30 (aula K02, via Noto / Karakorum, 8) Titolo del corso Psycho e dintorni (60 ore, 9 crediti) Unità didattica A (20 ore, 3 crediti): Momenti e problemi di storia e analisi del linguaggio cinematografico Unità didattica B (20 ore, 3 crediti): Alfred Hitchcock tra Psycho e Frenzy Unità didattica C (20 ore, 3 crediti): Psycho e le sue riscritture Validità del programma Questo programma ha validità biennale. È possibile portarlo all'esame fino al mese di maggio 2019. Presentazione del corso Il corso introduce alla conoscenza del linguaggio cinematografico e alla storia delle sue principali forme espressive (organizzazione dello spazio e del tempo, scala dei piani, tipologie di montaggio, figure di linguaggio, componenti sonore ecc.), nonché agli strumenti analitici che permettono di imparare a “guardare” un film, come opera d’arte ma anche come forma di comunicazione. Approfondisce altresì l’influenza esercitata dal film Psycho di Alfred Hitchcock sul cinema degli ultimi cinquant’anni. Studenti destinatari del corso Il corso è rivolto a tutti gli studenti quadriennalisti a ciclo unico (vecchio e nuovo ordinamento) e a tutti gli studenti triennalisti del vecchio e nuovo ordinamento iscritti ai corsi di laurea in Scienze dei beni culturali, Scienze umanistiche per la comunicazione, Lettere, Filosofia, Scienze storiche, Lingue e letterature straniere.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • Birt Acres (1854–1918)
    BFI EDUCATION VICTORIAN FILM BIOGRAPHIES BIRT ACRES (1854–1918) Born in Richmond, Virginia to English parents, this American-British filmmaker spent most of his life in London, where he became one of the most important moving-image pioneers of the 1890s. He was the first person to build a working 35mm film camera in Britain, he hosted Britain’s first public film screening, and he invented the first narrow-gauge film system (the Birtac, which used 17.5mm film). Acres started experimenting with filmmaking in February 1895, in partnership with R.W. Paul. A few frames survive of what is now thought to be the first British film, Incident at Clovelly Cottage, filmed in March. Their first commercial production, Oxford and Cambridge Boat Race, was filmed on 30 March, swiftly followed by Rough Sea at Dover, The Arrest of a Pickpocket, The Carpenter’s Shop, Boxing Kangaroo and a record of the Derby horse race held on 29 May 1895. Acres and Paul had very different personalities, and by July their partnership had broken up. The films were intended for viewing in machines similar to Edison’s Kinetoscopes, but Acres also planned to project them on big screens to large audiences. Private demonstrations of his projector were made towards the end of 1895, before a public screening on 10 January 1896, just weeks after the Lumière Brothers demonstrated something similar in Paris. Acres’ achievements could have made him a very rich man, but he believed that moving images should be used for education rather than commercial purposes, and spent the late 1890s lecturing about those possibilities instead.
    [Show full text]
  • From Spectator to User, from Viewer to (Act)Or A,1 a B Eleni N
    700 Workshop Proceedings of the 9th International Conference on Intelligent Environments J.A. Botía and D. Charitos (Eds.) © 2013 The Author(s). This article is published online with Open Access by IOS Press and distributed under the terms of the Creative Commons Attribution Non-Commercial License. doi:10.3233/978-1-61499-286-8-700 From Spectator to User, From Viewer to (Act)or a,1 a b Eleni N. MITAKOU , Paraskevi G. FANOU and Efpraxia D. ZAMANI a School of Architecture, National Technical University of Athens b Department of Management Science & Technology, Athens University of Economics and Business Abstract. Stephen Hawking, when introducing Krauss’ ‘The Physics of Star Trek’, wrote that “[s]cience fiction (…) is not only good fun but it also serves a serious purpose, that of expanding the human imagination.” In this paper, following a retrospective juxtaposition of the two last centuries’ filmic production, we show how imaginary worlds have become conventional and familiar, while viewers have transformed from mere spectators to users of intelligent technologies. We also exhibit how this led to the emergence of a new generation of users, that of intelligent users, who are now both transmitters and receivers of information, and who perceive urban reality very differently from previous generations. Keywords. Cinema, city, narrative, technology, information technology, intelligent user Introduction The city may be described by its physical parts (i.e., places) as well as by the human activities (e.g., going to work, to eat, out), the public events (e.g., festivals, demonstrations) and the intelligent systems (e.g., smartphones, sensors, antennas) informing and being informed by the activities taking place within the urban web/landscape.
    [Show full text]
  • Charles Urban and the Early Non-Fiction Film in Great Britain and America, 1897-1925
    ‘Something More than a Mere Picture Show’ Charles Urban and the Early Non-Fiction Film in Great Britain and America, 1897-1925 Submitted by Luke McKernan to Birkbeck College, University of London as a thesis for the degree of Doctor of Philosophy in Film Studies, June 2003 ‘Something More than a Mere Picture Show’ 3. The Eighth Wonder of the World And what shall be said of ‘Kinemacolor’, the eighth wonder of the world? At the outset it was regarded with mistrust and mentioned with dubiousness – just as Daguerre’s first sun-pictures were; just as John Hollingshead’s first searchlight from the roof of the Gaiety Theatre was in ’69; aye, just as the Lords of the Admiralty of Queen Victoria’s girlhood once solemnly reported that steam power could never be of any service in her Majesty’s Navy … The history of its development would read like a page of romance, of seemingly insurmountable problems finally solved …1 While Urban had been building up his career as a producer of documentary and educational films, he had also been nurturing a strong interest in the possibility of natural colour cinematography,2 leading to what became the world’s first successful such system, Kinemacolor. The period 1908-1913, when Kinemacolor flourished, was to see Urban become a public figure of note. Kinemacolor lay at the core of everything Urban wanted to achieve. The Age of Colours In 1909, in an essay surveying the history and philosophy of colour printing, Charles T. Kock declared, ‘This is the age of colours; it is colour everywhere’.3 The inference was that it would be within the memory of the writer, or his audience, when it was not an age of colours.
    [Show full text]
  • Kino Climates
    8 > 13 JUNE 2012 KINOMEETING OF EU ROCPEANLIMATES INDEPENDENT & ALTERNATIVE CINEMA SPACES CINEMA FR > Du 8 au 13 juin 2012, le Nova se transformera en laboratoire d’idées By way of a preamble… et de débats dans le cadre de la rencontre Kino Climates à Bruxel- les, un réseau de cinémas indépen- In January 2010, in partnership with the Rotterdam International Film dants créé en 2010 au Festival du Festival, we organized a European meeting where the aim was to assess the Film de Rotterdam. En journée, une state of independent film exhibition in Europe today. Around forty associations quarantaine de cinémas associatifs took part in this meeting and decided to start a network that was called Kino européens se rencontreront via des Climates after the name of the event held in Rotterdam. The objective of the Kino tables rondes internes, dont seule Climates network is dual. On one hand it aims to facilitate exchanges among celle sur le cinéma digital est ouver- European independent cinemas and also to support the circulation of non- te au public (le 12 juin). En soirée, commercial films. On the other hand, it wishes to develop common strategies and une programmation de délectations actions to reinforce the visibility of these independent venues which contribute to kino-sonores sont prévues pour nos the diversification of the cinematographic landscape. In these challenging times, convives, mais aussi pour le public! where cinema is facing fast and deep changes, it is important to join strengths in order to promote and defend cultural values which are disappearing. The NL > Van 8 tot 13 juni verandert articulation of the balance of power between culture and the commercial sector has never been so complex as it is right now and it is cultural diversity Nova in een broedplaats van ideeën.
    [Show full text]
  • THE PUBLIC EXHIBITION of MOVING PICTURES BEFORE 1896 by Deac Rossell
    THE PUBLIC EXHIBITION OF MOVING PICTURES BEFORE 1896 by Deac Rossell [Pre-publication English-language text later published in slightly altered form in KINtop: Jahrbuch zur Erforschung des frühen Films, 14/15 (Frankfurt am Main/Basle, 2006: Stroemfeld/Roter Stern)] Part 1: Choosing a different perspective This article is an attempt to refresh our ideas of how moving pictures were invented and first seen. It is also an attempt to find one new way — of many possible ways — of discussing the earliest moving pictures, and in so doing to think again about which inventors or pioneers were significant in developing moving image culture. A fresh look at the period of invention before 1896, particularly one that is frank and open about its assumptions and methodology, and one that incorporates recent scholarship from all of Europe as well as America, can help to illuminate the work of some figures who have been poorly served – or even wholly ignored – in the received version of the history of the invention of moving pictures. As an appendix to the main text, but as a crucial element of this recast narrative, a chronology noting specific moving picture exhibitions forms Part 3 of this essay. Why is an article about the earliest public exhibition of moving pictures necessary? What new shapes does it bring to the story of the invention of the cinema as it is usually written? This story is usually conceived as a narrative about technology; indeed, the very use of the word “invention” popularly implies some ingenious arrangement of mechanical elements to produce a wholly new effect or process.
    [Show full text]
  • British Masculinity and Propaganda During the First World War Evan M
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2015 British Masculinity and Propaganda during the First World War Evan M. Caris Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the History Commons Recommended Citation Caris, Evan M., "British Masculinity and Propaganda during the First World War" (2015). LSU Master's Theses. 4047. https://digitalcommons.lsu.edu/gradschool_theses/4047 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. BRITISH MASCULINITY AND PROPAGANDA DURING THE FIRST WORLD WAR A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of History by Evan M. Caris B.A. Georgia College & State University, 2011 December 2015 TABLE OF CONTENTS ABSTACT ..................................................................................................................................... iii 1. INTRODUCTION .....................................................................................................................1 2. MASCULINITY IN BRITISH PROPAGANDA POSTERS DURING THE FIRST WORLD
    [Show full text]
  • An International Journal of English Studies Special Issue: the Great War 27/3 2018
    ANGLICA An International Journal of English Studies Special Issue: The Great War 27/3 2018 EDITOR Grażyna Bystydzieńska [[email protected]] ASSOCIATE EDITORS Martin Löschnigg [[email protected]] Jerzy Nykiel [[email protected]] Marzena Sokołowska-Paryż [[email protected]] Anna Wojtyś [[email protected]] ASSISTANT EDITORS Magdalena Kizeweter [[email protected]] Katarzyna Kociołek [[email protected]] Przemysław Uściński [[email protected]] ENGLISH LANGUAGE EDITOR Barry Keane [[email protected]] ADVISORY BOARD GUEST REVIEWERS Michael Bilynsky, University of Lviv Stephen Badsey, University of Wolverhampton Andrzej Bogusławski, University of Warsaw Jason Crouthamel, Grand Valley State University, Allendale Mirosława Buchholtz, Nicolaus Copernicus University, Toruń Dagmara Drewniak, Adam Mickiewicz University, Poznań Edwin Duncan, Towson University Brigitte Glaser, University of Göttingen Jacek Fabiszak, Adam Mickiewicz University, Poznań Sherrill Grace, University of British Columbia Jacek Fisiak, Adam Mickiewicz University, Poznań Rob Johnson, Pembroke College, Oxford Elżbieta Foeller-Pituch, Northwestern University, Evanston-Chicago Bożena Kucała, Jagiellonian University, Cracow Piotr Gąsiorowski, Adam Mickiewicz University, Poznań Peter Leese, University of Copenhagen Keith Hanley, Lancaster University David Malcolm, University of Gdańsk Andrea Herrera, University of Colorado Marek Paryż, University of Warsaw Christopher Knight, University of Montana, Jane Potter, Oxford Brookes University Marcin Krygier, Adam Mickiewicz University, Poznań Daniel Reynaud, Avondale College of Higher Education Krystyna Kujawińska-Courtney, University of Łódź Ralf Schneider, Bielefeld University Brian Lowrey, Université de Picardie Jules Verne, Amiens Christina Spittel, University of New South Wales, Canberra Zbigniew Mazur, Maria Curie-Skłodowska University, Lublin Jonathan Vance, Western University, London, Ontario Rafał Molencki, University of Silesia, Sosnowiec John G.
    [Show full text]