Kino Climates
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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. -
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. -
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. -
Knockabout and Slapstick: Violence and Laughter in Nineteenth-Century Popular Theatre and Early Film
Knockabout and Slapstick: Violence and Laughter in Nineteenth-Century Popular Theatre and Early Film by Paul Michael Walter Babiak A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Drama, Theatre and Performance Studies University of Toronto ©Copyright by Paul Michael Walter Babiak, 2015 Knockabout and Slapstick: Violence and Laughter in Nineteenth-Century Popular Theatre and Early Film Paul Michael Walter Babiak Doctor of Philosophy Centre for Drama, Theatre and Performance Studies University of Toronto 2015 Abstract This thesis examines laughter that attends violent physical comedy: the knockabout acts of the nineteenth-century variety theatres, and their putative descendants, the slapstick films of the early twentieth-century cinema. It attempts a comparative functional analysis of knockabout acts and their counterparts in slapstick film. In Chapter 1 of this thesis I outline the obstacles to this inquiry and the means I took to overcome them; in Chapter 2, I distinguish the periods when knockabout and slapstick each formed the dominant paradigm for physical comedy, and give an overview of the critical changes in the social context that separate them. In Chapter 3, I trace the gradual development of comedy films throughout the early cinema period, from the “comics” of 1900 to 1907, through the “rough house” films of the transitional era, to the emergence of the new genre in 1911-1914. ii Chapters 4, 5, 6 and 7 present my comparative analyses of the workings of four representative -
Dulac and Gaudreault
Dulac and Gaudreault Back to Issue 8 Heads or Tails: The Emergence of a New Cultural Series, from the Phenakisticope to the Cinematograph1 by Nicolas Dulac and André Gaudreault © 2004 This article is part of a larger research project on the different forms attraction has taken in the cultural series animated pictures.2 Here we will focus our attention on the first signs of the paradigm which we propose to call cinématographie-attraction, a paradigm in which the question of thresholds seems to us to be essential.3 Moving picture programs juxtaposed, one after the other, a long string of often disparate views. Viewers of the period, for that very reason, were called upon to enter into a dozen sometimes completely heterogeneous worlds, one after the other, at the same screening.4 The cinématographie-attraction experience was essentially an experience of discontinuity. Full of interruptions and sudden starts, this experience was a chain of shocks, a series of thresholds. The concept of the threshold will be particularly useful here, because it allows us to problematise the various kinds of discontinuity which punctuate the cultural series animated pictures. This punctuation took the form of one of two primary structuring principles running through this series and modulating its development: attraction and narration.5 Our discussion will begin at its emergence with optical toys such as the phenakisticope, the zoetrope, and the praxinoscope. We will attempt to demonstrate the ways in which it might be useful to address the question of cinématographie-attraction by resituating it before the fetish date of 28 December 1895, when tradition tells us it was born. -
“La Llegada De Un Cine a La Ciudad” Y Otros Mitos
Número 1 Año 2012 Emilio Hernán Ortiz Suárez Universidad Nacional de Córdoba “La llegada de un cine a la ciudad” y otros mitos “The arrival of a cinema at the city” and other myths Resumen Palabras Clave En primer lugar, el artículo propone una revisión sobre los comienzos del cine y la primera Hermanos Lumière proyección del cinematógrafo Lumière. Se plantean algunas dudas y revisiones sobre ciertas creencias y hechos que han quedado marcados en la historia del cine, como la Cine temprano tomavista más famosa de los Lumière, La llegada de un tren a La Ciotat, o la participación, un tanto silenciada, de Antoine Lumière, padre de Louis y Auguste. A partir de esto, Primera proyección el artículo plantea algunas problemáticas en las maneras de historizar el fenómeno cinematográfica cinematográfico en las Historias del cine mundial. Finalmente se propone una reflexión sobre el fenómeno cinematográfico, desde el desarrollo técnico-industrial y los discursos Antoine Lumière producidos por los nuevos dispositivos, como representaciones ideológicas. La llegada de un tren Abstract Keywords The article proposes, in the first place, a review of the beginning of cinema and the first Lumière Brothers projection of the Lumière cinematograph. The article revises certain beliefs and facts that have marked the history of cinema, such as those referring to the most famous Early cinema capturesight of the Lumière, “The arrival of a train to La Ciotat”, or the participation of Antoine Lumière, father of Louis and Auguste. Regarding these facts, the article tries to First film projection raise the problematic of the different ways of narrating the history the cinematographic phenomenon in Histories of World Cinema. -
Photography and Cinema Thinking the Modern Image Through Stillness and Motion
McGill University Department of Languages, Literatures and Cultures LLCU 300 Photography and Cinema Thinking the Modern Image through Stillness and Motion Giuliana Minghelli Zoom Meetings [email protected] TTR 4:05-5:25 Office hours by appointment The experience and understanding of modernity have been deeply shaped by an ongoing revolution in visual media, from the invention of photography in 1839 to cinematography in 1895, to the diffusion, more recently, first of television and then digital media. Despite the strong temptation to read this historical unfolding in terms of technical progress and obsolescence, the question of the “mechanically” reproduced image (the original phōtós- graphê, the writing of light) remains stubbornly central to the hybrid streaming of imagery 2 that defines our contemporary visual culture. This seminar will use the relation between photography and cinema as a point of entry to question our present engagement with an increasingly slippery image. So close in their technical, aesthetic and artistic elements, yet so strikingly different, cinema and photography have borrowed from each other and relied on one another for definition throughout their history. Working against the usual binaries that oppose cinema and photography (speed vs. stillness; animate vs. inanimate; spectacle vs. document) will allow us to raise questions of how cinema has understood photography, what cinema finds so compelling in photography, and how photography questions the cinematic image. We will study how photography and cinema collaborated and competed to represent the modernist impulses, from early cinema to the celebration of speed and urban life in the Russian cinema of Dziga Vertov and European surrealism. -
Communiqué Lumiere
Press Release May 2017 PRESS RELEASE Lumière! Le cinéma inventé [Lumière! The invention of the cinema] From June 13, 2017 to February 25, 2018 The exhibition Lumière ! Le cinéma inventé is dedicated to Louis and Auguste Lumière, pioneers of the cinema in Lyon, and to their leading inventions in the field of images. From the first reconstructed projection room to the screening of all of the 1,422 Lumière silent films on a masterful video wall, from the scale model of the original site of the Lumière factories to the 19th-century optical toys, among posters, Autochromes and panoramic or 3D views, the visitor is plunged into the heart of the creativity of the Lumière family. The epic of Cinematography is the unifying theme of the exhibition. This technical prowess is both the culmination of preceding attempts and the founding act of a new artistic practice that even today revolutionises our vision of the world. Curation: Thierry Frémaux and Jacques Gerber Exhibition from June 13, 2017 to February 25, 2018 – musée des Confluences, Lyon. www.museedesconfluences.fr * * * * An exhibition designed by the Institut Lumière and produced by the Musée des Confluences. This exhibition was initially produced in 2015 with the support of the CNC (Centre national du cinéma et de l'image animée / National Centre for Cinema and the Moving Image), the Greater Metropolitan Area of Lyon, the Region of Auvergne-Rhône-Alpes, the City of Lyon and the Region of Ile-de-France. PRESS CONTACTS Musée des Confluences Claire-Cécile David - Tel. 04 28 38 12 14 [email protected] Agence Bonne Réponse Isabelle Charconnet – Tel. -
The Chronophotographer Ernst Kohlrausch and the Physics of Gymnastics
Cornelia Kemp The chronophotographer Ernst Kohlrausch and the physics of gymnastics Chronophotography, the technique for recording images of rapidly occurring movements in a series of separate shots, was developed in the last quarter of the nineteenth century. After more than 100 years, research has explored the subject at some length. The physiologists and doctors involved from the start saw these series photographs as an aid towards a better understanding of the progressions of move ments. They focused their attention on the analytical aspect of this imaging technique that dissected the temporal process. The history of film, on the other hand, has usually described the synthesis of the separate shots, repeatedly produced by different kinds of replay and projecting equipment recovering the 'living' images from the 'still' ones, as an important stage in the development of cinematography. To what extent the interplay of 'visualisation and visibility' peculiar to chronophotography was also capable of firing the imagination can be traced in the variety of ways this imaging technique is reflected in the fine arts. It is not surprising that, in the wake of the leading research paradigm of the 'pictorial turn', chronophotography proves to be a multifaceted model applied increasingly often to the complex visualisation strategies in science, art and technology.l Our knowledge of chronophotography is associated mainly with the names of the Anglo-American Eadweard Muybridge2 and the French man Etienne-Jules Marey.3 For both of them chronophotography turned out to be the crystallisation point of their work. Its success is reflected not least in the financial support granted to their undertakings and the resultant recognition by society. -
Desired Machines: Cinema and the World in Its Own Image
Science in Context 24(3), 329–359 (2011). Copyright C Cambridge University Press doi:10.1017/S0269889711000147 1 Desired Machines: Cinema and the World 2 in Its Own Image 3 Jimena Canales 4 Harvard University 5 Argument 6 In 1895 when the Lumiere` brothers unveiled their cinematographic camera, many scientists 7 were elated. Scientists hoped that the machine would fulfill a desire that had driven research 8 for nearly half a century: that of capturing the world in its own image. But their elation 9 was surprisingly short-lived, and many researchers quickly distanced themselves from the new 10 medium. The cinematographic camera was soon split into two machines, one for recording and 11 one for projecting, enabling it to further escape from the laboratory. The philosopher Henri 12 Bergson joined scientists, such as Etienne-Jules Marey, who found problems with the new 13 cinematographic order. Those who had worked to make the dream come true found that their 14 efforts had been subverted. This essay focuses on the desire to build a cinematographic camera, 15 with the purpose of elucidating how dreams and reality mix in the development of science and 16 technology. It is about desired machines, their often unexpected results, and about how the 17 interplay between what “is” (the technical), what “ought” (the ethical), and what “could” be 18 (the fantastical) drives scientific research. 19 Introduction 20 How do dreams come true? In 1760 the French author Tiphaigne de la Roche 21 described in a fictional novel “a very subtle and very viscous substance” that when 22 spread on a piece of cloth was able to “fix” the “rays of light” as they “reflected from 23 different bodies, making images and painting these bodies on all polished surfaces.” 24 Years later, with the invention of photography, it seemed like de la Roche’s imagined 25 technology had become real. -
MAIN SPONSOR Il Cinema Ritrovato Compie Trent’Anni
MAIN SPONSOR Il Cinema Ritrovato compie trent’anni. Sono stati trent’anni lunghi e veloci, dalle edizioni pioniere, piccole enclave di cinetecari coraggiosi che portavano i loro tesori a Bologna per mostrarli sullo storico schermo del primo Lumière, a un presente che affolla cinque sale e riempie fino all’ultimo angolo di Piazza Mag- giore con un pubblico sempre più internazionale, appassionato, competente. Vogliamo festeggiarlo con tutto l’impegno e l’affetto che merita, questo nostro festival così impetuosamente cresciuto e oggi così amato nel mondo, e far sì che la festa sia un ringraziamento a tutti coloro che, nel mondo, hanno dato a questa crescita un contributo imprescindibile. Festeggiarlo in ogni sala, insieme ai critici, agli storici, agli artisti, agli archivisti, agli amici che saranno qui a presentare e raccontare, e a tutti gli appassionati che saranno qui per vedere. Festeggiarlo con la macchina del tempo che ci risucchierà fino al 1896 e da lì ci farà attraversare tutto il Novecento; e con la macchina dello spazio, viaggio di scoperta tra film europei, latino-americani, statunitensi, asiatici, africani. Sarà un’edizione di conferme e di sorprese; oltre 480 film organizzati in una ventina di sezioni; oltre duecento muti, accompagnati da musicisti e compositori, che ci accompagnano da sempre: Frank Bockius, Neil Brand, Matti Bye, Antonio Coppola, Daniele Furlati, Stephen Horne, Maud Nelissen, Donald Sosin, John Sweeney e Gabriel Thibaudeau. Piazza Maggiore Sabato 25 giugno, sarà Charlie Chaplin a inaugurare la trentesima edizione del Ci- nema Ritrovato, con Tempi moderni, “il film del ventesimo secolo, film minimalista dagli enormi orizzonti” (Peter von Bagh), con le musiche originali eseguite dall’Or- chestra del Teatro Comunale di Bologna diretta da Timothy Brock. -
Desired Machines: Cinema and the World in Its Own Image
Desired Machines: Cinema and the World in Its Own Image The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Canales, Jimena. 2011. Desired machines: Cinema and the world in its own image. Science in Context 24(3): 329-359. Published Version doi:10.1017/S0269889711000147 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:10406378 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Science in Context 24(3), 329–359 (2011). Copyright C Cambridge University Press doi:10.1017/S0269889711000147 Desired Machines: Cinema and the World in Its Own Image Jimena Canales Harvard University Argument In 1895 when the Lumiere` brothers unveiled their cinematographic camera, many scientists were elated. Scientists hoped that the machine would fulfill a desire that had driven research for nearly half a century: that of capturing the world in its own image. But their elation was surprisingly short-lived, and many researchers quickly distanced themselves from the new medium. The cinematographic camera was soon split into two machines, one for recording and one for projecting, enabling it to further escape from the laboratory. The philosopher Henri Bergson joined scientists, such as Etienne-Jules Marey, who found problems with the new cinematographic order. Those who had worked to make the dream come true found that their efforts had been subverted.