DOCSLIB.ORG

Copyrighted Material

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Copyrighted Material Index Note: Page numbers in italic refer to figures. Abel, Richard, 100, 152, 260, 301, credits in, 443–4, 454 334–59, 401 first film, 399–402 abstraction gimmicks, 39, 360 early, 104 handbill, 501 gestural, 107–8 of performers, 409, 476, 479, 500 Acres, Birt, 17, 144, 598 of plots and scenarios, 445–6 Across the Brooklyn Bridge, 560 in the press, 212, 367, 381–97, 448 acting producer attitudes to, 401–2, 404–5 early reviews on quality of, 468–9 storefront, 398–419, 399, 403, 405 film performance as, 466–7 aesthetic regimes, 143–4, 153–7 actors, 8, 465 airdomes, 405, 503–7 advertising of, 409, 416 Albera, François, 121–40, 234, 489 anonymity of, 444, 447 Alberini, Filoteo, 529 listed by character, 453 L’album magique, 307 and motoring, 368 Alias Jimmy Valentine, 431 named in catalogs, 197, 471–3 Allen, Robert C., 601–2 portraits of, 505–7 Altenloh, Emilie, 167–8, 170, 176–7 actualities see films, actuality alteration format hybrids, 370–5 Addams, Jane, 344 Althusser, Louis, 290 Ader, Clément, 83, 85 Altman, Rick, 225–6 Adventures of DollieCOPYRIGHTED, 448 Ambrosio, MATERIAL 146–8 advertising, 124, 133, 170–2, 312, American Mutoscope and Biograph 500–1, 513, 595 (AM&B), 105, 341–2, 401, 476, circus style of, 399–400 478, 574 controversies, 413–15 American Bioscope, 342 A Companion to Early Cinema, First Edition. Edited by André Gaudreault, Nicolas Dulac, and Santiago Hidalgo. © 2012 John Wiley & Sons, Ltd. Published 2012 by John Wiley & Sons, Ltd. GGaudreault_bindex.inddaudreault_bindex.indd 661010 22/28/2012/28/2012 66:50:46:50:46 PPMM Index 611 Americanism, an education in, 436–8 films as, 208 Amusement Hall, 403 modes of, 145–53 Andrew, Dudley, 603 and the national-popular (Italy), 146–9 animated pictures, 2, 52, 64–5, 73, 124, 185, regimes of, 143 216, 234, 337, 403, 487–90, 492–4 art cinema, 99–118 animation, 24, 26–8, 272, 595, 603 L’assassinat du duc de Guise, 141, 152 Animatographe, 337 Associated Press (AP), 384–5, 387, 389–90 anonymity athletes, 461 in early cinema, 443–59 in theater, 369 popular, 447, 449 attraction, 232–4 apparatus, 42, 45–6, 56, 60, 64, 69, 125–7, and narrative, 576 129, 211, 234–7, 335–7, 382–3, attractions, 233, 318 390–2, 460, 464 culture of, 34–6 animation, 27 montage of, 318 of apperception, 167, 170 see also cinema of attractions base (appareil de base), 15–18, 20 audiences, 277–97, 383–6 cinematic, 62, 426, 588–90, 593, 598, 604 dualistic model of, 290 Cosmorama, 40 ethnic and racial, 279 disciplinary, 421, 425 for fairground films, 324–6 kinematograph, 132–3 film reception by, 214–15 of motography, 216 mass address of, 381–97 peep show, 34–5, 37 Audion, 91 projection, 225, 335–6, 340, 538, 543 audiovisual technology, 80 recording, 6, 123, 604 Auerbach, Jonathan, 102, 260 theory, 601 authors applause, 215, 339, 342, 367, 429 importance in Italy, 147–8 Arcadia, Philadelphia, 517, 518 literary, 147 archival practice personae of, 464 frameworks of, 553–8 automobiles, 368 theory of, 551–3 avant-garde, 111, 142, 144, 153–9, 172–3, archives, 528–30 176, 233, 554, 593–4, 601–2 in deictic time, 581–3 Avenging a Crime: Or, Burned at the Stake, “nitrate won’t wait” problem of, 530, 260, 266 592–5 The Awakening of Bess, 479 pay per view, 540 the policy of, 592–5 A Baby’s Shoe, 247 Archives françaises du film, 539 Bächlin, Peter, 183–4, 197 archivists, 8, 532 Baggot, King, 409 Armat, Thomas, 336, 383, 391, 393, 597 Bara, Theda, 416, 520 Arnold, Matthew, 151–2, 156 Barnard, Charles, 361 Aron, Steve, 263–5 Baron, Auguste, 91 arousal, optimal level of, 168 Baroncelli, Jacques de, 99, 107 L’arrivée d’un train à La Ciotat, 568, 576–7 The Battle of Gettysburg, 500 L’arroseur arrosé, 230–1 The Battle of Waterloo, 502 art Baudry, Jean-Louis, 15, 25, 233–5, 555 in early film, 141–62 Baum, L. Frank, 156 GGaudreault_bindex.inddaudreault_bindex.indd 661111 22/28/2012/28/2012 66:50:46:50:46 PPMM 612 Index Bayley, Roger Child, 17–18, 20 Bland, Harold, 498, 503 Beckers, Alexander, 38 Bloodhounds Tracking a Convict, 266 Bedding, Thomas, 208–11, 307 Bogert, William R., 514 Beelden voor de toekomst, 539 Booth, Maude Ballington, 428 Bell, Alexander Graham, 88 Les bords du Gange, 308 Bell Telephone Laboratories, 91 Bordwell, David, 163–4, 214, Bellamy, Edward, 87 238, 320 Bellour, Raymond, 253 Borelli, Lyda, 156 Ben Hur, 365, 445 Bosworth, Elsie Janis, 510 Benjamin, Walter, 130, 132, 163, 167, Bosworth, Hobart, 477 170–1, 274, 320, 553, 570 Bousquet, Henri, 301–2 Benoit-Lévy, Edmond, 189–91 Box Office Television (BOTV), 92 Benoit-Lévy, Georges, 191 Bradley, Milton, 38 benshi, 349, 488, 491, 493 Branigan, Edward, 210–11 Berlin – Potsdamer Platz, 170 Bressol, Pierre, 473, 476 Bernhardt, Sarah, 409 Brewster, Ben, 101, 142, 245–56 Bernheim, Adrien, 67–8 Brewster, David, 42, 55, 57, 61 Bertini, Francesca, 156 Brise-glace en Finlande, 291–2, 292 Beyond the Rocks, 565 Britain La biche au bois, 65, 68–71 censorship in, 176 A Big Swallow, 529 British Film Institute (BFI), 528, 539, 552, billboards, 400, 415 559, 580 Biograph, 251, 336, 371, 448, 512, 552, British Gaumont, 250, 472, 574 555, 564 British Mutoscope and Biograph (BM&B), advertising by, 405–7, 415, 577 555, 569, 578 brand of, 8 broadcasting films, 247–9, 251, 260, 273, 335, 371–2, live, 89 560, 569, 577 satellite, 86 by Griffith, 101, 311–12, 509, 511, 520, Brooks, Peter, 102 528–9, 531 Brunel, Georges, 70 founding of, 150 Buckwalter, Harry, 259, 267–8, 270–1 “Girl”, 447, see also Lawrence, Bullfight, 360–1 Florence A Bunch of Violets, 246–7 leading gentlemen artists of, 483 Bundesarchiv-Filmarchiv, Berlin and leading lady artists of, 482 Koblenz, 562 rivalry Burch, Noël, 86, 151, 232, 278, 492, 593, with Edison, 407 601–2 with Pathé, 311 Burgess, Neil, 361, 365, 367 Bioskop, 16, 337, 597 Bush, W. Stephen, 212, 287 The Birth of a Nation, 2, 152, 259, 490, Butti, Enrico Annibale, 148 511–12, 514, 520 By Whose Hands?, 414 Bitzer, G. W., 531 Black Art, 60 Cabiria, 146, 148 The Blacksmith’s Daughter, A Complete Novel, La Caduta di Troia, 146 250–3 café-concerts, 341, 343 Blackton, J. Stuart, 150 Calmettes, André, 477 GGaudreault_bindex.inddaudreault_bindex.indd 661212 22/28/2012/28/2012 66:50:46:50:46 PPMM Index 613 camera The Child Stealers, 251 angles, 250–1 children, 39, 71–2, 168–9, 176, 235, 279, metaphorical function of, 210 282, 289, 423, 426, 435 negatives, 562 and advertising, 399, 411 self-thinking, 125 copycatting by, 37, 257–8, 414 cameramen, 170, 185–6 education of, 344, 414 Cameraphone, 371 films of, 328 Cantomímes, 106 shows for, 35, 44, 344, 347, 423, 433 Canudo, Ricciotto, 101, 142, 154, 157 Chomón, Segundo de, 307 Capellani, Albert, 191 chronicity, and narrativity, 575 Carmen, 360–1 Chronochrome, 309–10 Carter, Lincoln J., 363 Chronophone, 461 Caruso, Enrico, 91 Chronophotograph, 129 Casetti, Francesco, 203, 495, 581 chronophotography, 17, 64, 70–1, 124, 597 Catalogue of Educational Moving Pictures, churches, 8, 271, 280, 289, 291, 318, 328–9, 284, 287 425, 437 catalogues of film, 174–5, 192, 197 festivals of, 326 catoptric machines, 34, 42 films shown in, 344 catoptric magic, 34, 56–7 Cinderella, 156 celebrity, invention of, 460–86 Ciné-Journal, 154, 188, 310 censorship, 168, 176, 248, 280–1, 404, 406, cinema 413–15, 431, 436, 513 abstract, 108 Le Cercle Funambulesque, 106 of attractions see cinema of attractions chain drama, 360 avant-garde, 153–6, 554 Chalmers, James P., 285 centenary of, 21 Chambre syndicale des fabricants et classical, 153–6 négociants de Cinématographes, color, 298–314 188 convergence of, 599–600 Le Champignon, sa culture, sa croissance, 287, craft era of, 184–5 292–3, 293 definition of, 2, 173 Chaplin, Charlie, 102, 130, 412, 416, 507, digital, 24, 26–8, 591–2 510, 518, 520 divergence from theater, 154 characters double birth of, 20–3 in film series, 473–5 history of, 600–3 naming of, 469 Impressionist, 108 Charles Urban Trading Company, 282 invention of, 588 chase films, American, 257–76 and magic, 52–3 chase scenes, 361 as moral reformer, 422–3 Chased by Bloodhounds, 259 multiple discovery of, 597 Châtelet, Théâtre du, 64–5, 68–75, 368 of narrative integration, 248 féerie at, 71–5 as new industry, 466–70 Chattanooga, 363–4, 368 non-representational, 155 Cherchi Usai, Paolo, 308, 527–49, 564 oral, 227, 489–90 Chestnut Street Opera House, and pantomime, 103–4, 108–9 Philadelphia, 516 philosophical examination of, 124 The Chicken Thief, 273 posters, 171–2 GGaudreault_bindex.inddaudreault_bindex.indd 661313 22/28/2012/28/2012 66:50:46:50:46 PPMM 614 Index cinema (cont’d) before World War I, 299–300, 308 production, 187 fading of, 563 artisan system, 184–5 heritage, 531 director system, 186 on lantern slides, 306 publicity, 392–4 and Pathé-Frères, 298–314 pure, 101, 108 preservation of, 530 and modern pantomime, 108–9 restoration of, 561, 563 reading public of, 381–97 commedia dell’arte, tradition of, 106 second birth of, 20, 22–3, 460 communication silent (muet), 102 history, 237 as social threat, 166 remote, 87–8 third birth of, 24, 28 Comolli, Jean-Louis, 15 transition, 261 conjuring traveling, 319–20, 463 and juggling, 54 and vice, 280 optical, 56 cinéma direct, 227–8 Conway Castle: Panoramic View of Conway Cinema Nôvo, Brazil, 228 on the L.
Load more

Recommended publications
  • Optical Machines, Pr
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA UMI800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS Copyrighted materials in this document have not been filmed at the request of the author. They are available for consultation at the author’s university library.
    [Show full text]
  • Elements of Screenology: Toward an Archaeology of the Screen 2006
    Repositorium für die Medienwissenschaft Erkki Huhtamo Elements of screenology: Toward an Archaeology of the Screen 2006 https://doi.org/10.25969/mediarep/1958 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Huhtamo, Erkki: Elements of screenology: Toward an Archaeology of the Screen. In: Navigationen - Zeitschrift für Medien- und Kulturwissenschaften, Jg. 6 (2006), Nr. 2, S. 31–64. DOI: https://doi.org/10.25969/mediarep/1958. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an.
    [Show full text]
  • TESSERACT -- Antique Scientific Instruments
    TESSERACT Early Scientific Instruments Special Issue: OPTICAL PLEASURES Catalogue One Hundred Seven Summer, 2018 $10 CATALOGUE ONE HUNDRED SEVEN Copyright 2018 David Coffeen CONDITIONS OF SALE All items in this catalogue are available at the time of printing. We do not charge for shipping and insurance to anywhere in the contiguous 48 states. New York residents must pay applicable sales taxes. For buyers outside the 48 states, we will provide packing and delivery to the post office or shipper but you must pay the actual shipping charges. Items may be reserved by telephone, and will be held for a reasonable time pending receipt of payment. All items are offered with a 10-day money-back guarantee for any reason, but you pay return postage and insurance. We will do everything possible to expedite your shipment, and can work within the framework of institutional requirements. The prices in this catalogue are net and are in effect through December, 2018. Payments by check, bank transfer, or credit card (Visa, Mastercard, American Express) are all welcome. — David Coffeen, Ph.D. — Yola Coffeen, Ph.D. Members: Scientific Instrument Society American Association for the History of Medicine Historical Medical Equipment Society Antiquarian Horological Society International Society of Antique Scale Collectors Surveyors Historical Society Early American Industries Association The Oughtred Society American Astronomical Society International Coronelli Society American Association of Museums Co-Published : RITTENHOUSE: The Journal of the American Scientific Instrument Enterprise (http://www.etesseract.com/RHjournal/) We are always interested in buying single items or collections. In addition to buying and selling early instruments, we can perform formal appraisals of your single instruments or whole collections, whether to determine fair market value for donation, for insurance, for loss, etc.
    [Show full text]
  • NEKES COLLECTION of OPTICAL DEVICES, PRINTS, and GAMES, 1700-1996, Bulk 1740-1920
    http://oac.cdlib.org/findaid/ark:/13030/kt8x0nf5tp No online items INVENTORY OF THE NEKES COLLECTION OF OPTICAL DEVICES, PRINTS, AND GAMES, 1700-1996, bulk 1740-1920 Finding Aid prepared by Isotta Poggi Getty Research Institute Research Library Special Collections and Visual Resources 1200 Getty Center Drive, Suite 1100 Los Angeles, CA 90049-1688 Phone: (310) 440-7390 Fax: (310) 440-7780 Email requests: http://www.getty.edu/research/conducting_research/library/reference_form.html URL: http://www.getty.edu/research/conduction_research/library/ ©2007 J. Paul Getty Trust 93.R.118 1 INVENTORY OF THE NEKES COLLECTION OF OPTICAL DEVICES, PRINTS, AND GAMES, 1700-1996, bulk 1740-1920 Accession no. 93.R.118 Finding aid prepared by Isotta Poggi Getty Research Institute Contact Information: Getty Research Institute Research Library Special Collections and Visual Resources 1200 Getty Center Drive, Suite 1100 Los Angeles, California 90049-1688 Phone: (310) 440-7390 Fax: (310) 440-7780 Email requests: http://www.getty.edu/research/conducting_research/library/reference_form.html URL: http://www.getty.edu/research/conducting_research/library/ Processed by: Isotta Poggi Date Completed: 1998 Encoded by: Aptara ©2007 J. Paul Getty Trust Descriptive Summary Title: Nekes collection of optical devices, prints, and games Dates: 1700-1996 Dates: 1740-1920 Collection number: 93.R.118 Collector: Nekes, Werner Extent: 45 linear feet (75 boxes, 1 flat file folder) Repository: Getty Research Institute Research Libary Special Collections and Visual Resources 1200 Getty Center Drive, Suite 1100 Los Angeles, CA 90049-1688 Abstract: German filmmaker. The collection charts the nature of visual perception in modern European culture at a time when pre-cinema objects evolved from instruments of natural magic to devices for entertainment.
    [Show full text]
  • SIS Bulletin Issue 28
    Scientific Instrument Society Bulletin of the Scientific Instrument Society No. 28 March 1991 Bulletin of the Scientific Instrument Society ISSN 0956-8271 For Table of Contents, see inside back cover Executive Committee Jon Darius, Chairman Gerard Turner, Vice Chairman Howard Dawes, Executive Secretary Stanley Warren, Meetings Secretary Allan Mills, Editor Desmond Squire, Advertising Manager Brian Brass, Treasurer Ronald Bristow Anthony Michaelis Arthur Middleton Stuart Talbot David Weston Membership and Administrative Matters Mr. Howard Dawes P.O. Box 15 Pershore Worcestershire WR10 2RD Tel: 0386-861075 United Kingdom Fax: 0386-861074 See inside back corer for information on membership Editorial Matters Dr. Allan Mills Astronomy Group University of Leicester University Road Leicester LE1 7RH Tel: 0533-523924 United Kingdom Fax: 0533-523918 Advertising Manager Mr Desmond Squire 137 Coombe Lane London SW20 0QY United Kingdom Tel: 081-946 1470 Organization of Meetings Mr Stanley Warren Dept of Archaeological Sciences University of Bradford Richmond Road Tel: 0274-733466 ext 477 Bradford BD7 1DP Fax: 0274-305340 United Kingdom Tel (home): 0274-601434 Typesetting and Printing Halpen Graphic Communication Limited Victoria House Gertrude Street Chelsea London SW10 0]N Tel 071-351 5577 United Kingdom Fax 071-352 7418 Price: £6 per issue, including back numbers where available The Scientific Instrument Society is Registered Charity No. 326733 The Delicate Issue of Short Research Book Reviews Authenticity Projects Sought The Editor would be pleased to hear from Quite recently, for the first time in its Nowadays, students reading for a first members willing to review new and history, the British Museum deliberately deg~ in a scienti~ sub~ct are commmdy forthcoming books in our general fieldof held an exhibition of fakes) Oriented required to carry out a small research interest.If author, titleand publisher(and, towards fine art and statuary, Baird's project in their final year.
    [Show full text]
  • The Enigma of Appearances Photography of the Third Dimension
    The Enigma of Appearances Photography of the Third Dimension Tina Fiveash A report submitted in fulfilment of the requirements of the degree Master of Fine Art, School of Media Arts, College of Fine Arts, University of New South Wales by Tina Fiveash, July 2007. abstract The Enigma of Appearances is an examination into the medium of three- dimensional photography, with particular focus on the technique of stereoscopy. Invented in the mid-Victorian era, stereoscopy was an attempt to simulate natural three-dimensional perception via a combination of optics, neurology, and a pair of dissimilar images. Whilst successful in producing a powerful illusion of spatial depth and tangibility, the illusion produced by stereoscopy is anything but ‘natural’, when compared to three-dimensional perception observed with the naked eye. Rather, stereoscopic photography creates a strange and unnatural interpretation of three-dimensional reality, devoid of atmosphere, movement and sound, where figures appear frozen in mid-motion, like waxwork models, or embalmed creatures in a museum. However, it is precisely stereoscopic photography’s unique and enigmatic interpretation of three-dimensional reality, which gives it its strength, separating it from being a mere ‘realistic’ recording of the natural world. This thesis examines the unique cultural position that stereoscopy has occupied since its invention in 1838, from its early role as a tool for the study of binocular vision, to its phenomenal popularity as a form of mass entertainment in the second half of the 19th century, to its emergence in contemporary fine art practice in the late 20th and 21stt centuries. Additionally, The Enigma of Appearances gives a detailed analysis of the theory of spatial depth perception; it discusses the dichotomy between naturalia versus artificialia in relation to stereoscopic vision; and finally, traces the development of experimental studio practice and research into stereoscopic photography, undertaken for this MFA between 2005 and 2007.
    [Show full text]
  • Library Oberlin College Library Perspectives
    A Newsletter Fall 2015, Issue No. 53 of the Library Oberlin College Library Perspectives CONSERVATORY LIBRARY robert darnton to speak at friends COLLABORATES WITH INTERNET ARCHIVE dinner obert Darnton, recently retired THE CONSERVATORY LIBRARY recently began University Librarian of Harvard, will a partnership with the Internet Archive Rbe the featured speaker at the Friends (www.archive.org) to digitally preserve select of the Library annual dinner on Saturday, analog audio recordings from the James R. November 14. Darnton is widely known and Susan Neumann Jazz Collection. The in library circles as a champion of open Neumann Collection includes over 100,000 scholarship; he both founded Harvard’s jazz recordings in various formats (78s, 45s, Office of Scholarly Communication and LPs, CDs, DVDs) as well as print materials, started its Digital Access to Scholarship at including several thousand books on jazz and Harvard (DASH) repository. DASH realized over 100 titles of jazz and blues periodicals. the 2008 resolution approved by the Harvard Thousands of musicians’ photographs and Faculty of Arts and Sciences to provide open autographs, as well as sheet music, artifacts, access to peer-reviewed literature published and ephemera complete the holdings (see by the faculty. DASH quickly became one of Perspectives, Spring 2008, Spring 2012). the more visible open access repositories in Robert Darnton the nation and a model for other institutions. Hundreds of colleges, universities, and scholarship repository in 2011. research institutions have followed course; Darnton is celebrated for his vision of a Oberlin’s General Faculty unanimously free digital library for the nation, created by adopted an open access resolution in 2009, non-profit scholarly organizations.
    [Show full text]
  • Peepshows & Optical Toys
    CATALOGUE TWO HUNDRED AND NINETEEN PEEPSHOWS & OPTICAL TOYS MARLBOROUGH RARE BOOKS LTD. 144-146 NEW BOND STREET, LONDON, W1S 2TR Telephone: 020 7493 6993 Fax : 020 7499 2479 www.marlboroughbooks.com e-mail: [email protected] MARLBOROUGH RARE BOOKS LTD. 144-146 NEW BOND STREET, LONDON, W1S 2TR Telephone: 020 7493 6993 Fax : 020 7499 2479 www.marlboroughbooks.com e-mail: [email protected] For any inquiries please contact Jonathan Gestetner or Jolyon Hudson PRICES ARE IN POUNDS STERLING . Autograph letters & documents are exclusive of VAT Bankers: Metro 227-228 Tottenham Court Road, London, W1T 7QF Account No: 11944094 Sort Code: 23-05-80 Terms: 30 Days SWIFT: MYMBG2L IBAN: GB18MYMB230508011944094 Customers may pay by Visa, Mastercard or Amex VAT NO. GB 896 1174 90 The front cover illustration is taken from item 52, lANE. © Marlborough Rare Books Ltd. 144-146 NEW BOND STREET, LONDON W1S 2TR 1. [ACROBATS]. ENGELBRECHT, Martin. [A CROBATS ]. [Augsburg,] C.P. Maj. Mart. Engelbrecht. excud. A.V., [c. 1740]. £1,250 Set of 6 engraved card-backed cut away sheets, [105×142 mm] with original hand-colouring; the set somewhat damaged with slight losses, all rebacked and strengthened in the eighteenth century. A fine and rare peepshow of acrobats. The set was prone to greater use than other subjects which accounts for the few surviving examples. The cut aways depict; [1] The entrance way to a walled enclosure flanked with tall walls with two gentlemen looking into the scene; [2], a lady on the right and a couple on the left looking anxiously
    [Show full text]
  • Chapter 4: Baroque the Baroque: from Revolution in the Church to Revolutions in US & France to the Industrial Revolution
    Chapter 4: Baroque 1 The Baroque: From Revolution in the Church to Revolutions in US & France to the Industrial Revolution 4.1 Bernini, detail The Ecstasy of Saint Teresa. 4.2 Diderot, image from Encyclopedia. The glorious exuberance of Gianlorenzo Bernini’s Santa Teresa in Ecstasy (4.1) can be contrasted with the arduous constraints of the illustration from Denis Diderot’s Encyclopedia (4.2) to illustrate the extreme and conflictual differences that characterized the historic period known as the Baroque. With the ostentatious wealth of absolute monarchs and increased oppression of their subjects in some parts of Europe, and a rising middle class and its growing capitalist economy in other parts, the sensual and spiritual yet increasingly mechanized Baroque was a period of remarkable contrasts. Chapter 4: Baroque 2 Scholars still debate whether the Baroque period was the final phase of Renaissance or the beginning of modern era. Rather than enter that debate, we will simply discuss the Baroque as the era that begins with the Counter Reformation—the Catholic Church’s response to Protestant Reformation initiated by Martin Luther--and ends as world-shaking revolutions, both political and industrial, swept over Europe and the Americas. The Baroque was complex and contradictory. Largely Catholic Southern Europe was characterized by the Counter Reformation and absolutist monarchies. In the north, Protestantism was on the rise, alongside growing capitalism. Widely divergent arts were created in service of the Church, absolutist monarchs and Northern European burgers. In the culture of display of the South, the “desire to evoke emotional states by appealing to the senses, often in dramatic way [led to] grandeur, sensuous richness, drama, vitality, movement, tension, emotional exuberance, and a tendency to blur the distinctions between the various arts.”1 This tendency can be seen, for example, in the grandiose spectacles designed for Louis XIV at Versailles (4.3).
    [Show full text]
  • Published in ICONICS: International Studies of the Modern Image, Vol.7 (2004), Pp.31-82
    Published in ICONICS: International Studies of the Modern Image, Vol.7 (2004), pp.31-82. Tokyo: The Japan Society of Image Arts and Sciences. Erkki Huhtamo Elements of Screenology: Toward an Archaeology of the Screen “A covered framework, partition, or curtain, either movable or fixed, which serves to protect from the heat of the sun or of a fire, from rain, wind, or cold, or from other inconvenience or danger, or to shelter from observation, conceal, shut off the view, or secure privacy; as, a fire-screen; a folding-screen; a window-screen, etc.; hence, such a covered framework, curtain, etc., used for some other purpose; as, a screen upon which images may be cast by a magic lantern; in general, and shelter or means of concealment.” Definition of 'screen', The Century Dictionary and Cyclopedia, 1911 (orig. 1889) An increasing part of our daily lives is spent staring at screens. Some of them, like cinema screens and Jumbotron-like giant outdoor displays, are located in public spaces, while others are part of our privacy. Since the mid 20th century, television screens have become a permanent feature of millions of households around the globe. Today the forms of “TV culture” may seem homogeneous and even stereotypical. Yet during the “interfacial invasion” of the television set, the cultural role and even the “nature” of the TV screen has been constantly changing. It has been effected by changes in technology, social practices, broadcasting policies and design philosophies, but also by the addition of new peripherals like videogame consoles, VCR’s, digital recorders and set top boxes for on-line network communication.
    [Show full text]
  • The Gesturing Screen : Art and Screen Agency Within
    The Gesturing Screen Art and Screen agency within postmedia assemblages Charu Maithani A thesis submitted for the degree of Doctor of Phiolosophy School of Art & Design February 2021 1 ABSTRACT This thesis investigates screens as key elements in postmedia assemblages where multiple technical devices and media platforms function relationally to activate new capacities. I characterize the agency of screens as a gesturality that re-arranges and sustains medial relations with and between other components. The gestures of screens reformulate mediality, but also shift experiences and open elements to novel formations and affects. In each re- organisation of the postmedial assemblage, the function and relations of screens are not pre-defined but emerge in process. I develop this dynamic conception of screens and assemblages to account for their diverse manifestations in postmedia. Here I employ an agential realist framework found in the work of Karen Barad and draw on the concept of gestures set out by Giorgio Agamben. This research contributes to a new understanding of postmediality in conjunction with a new conception of the agency of screens. The thesis focuses on mainly digital screen-oriented artworks, repositioning these as heralding or firmly engaging with the postmedial condition. By challenging an understanding of screens that limits them to mere casings for images, this thesis expands the scope and role of screens in postmedia art practices stretching as far back as three decades. It argues that such art works and practices foreground the gesturality of screens and offers in-depth studies of works by Shilpa Gupta, Ulrike Gabriel, Natalie Bookchin, Blast Theory, Ragnar Kjartansson, Sandra Mujinga and Sondra Perry.
    [Show full text]
  • For the Book on Imaginary Media, Ed. Eric Kluitenberg, Publ. De Balie Publishing, Expected Holland 2006
    For the book on Imaginary Media, ed. Eric Kluitenberg, publ. De Balie publishing, expected Holland 2006 Erkki Huhtamo The Pleasures of the Peephole: An Archaeological Exploration of Peep Media During the Second World War, Frederick Kiesler, an expatriate German designer and architect living in New York City, received an interesting commission: he was to design Peggy Guggenheim’s “Art of This Century” gallery (1942). As usual, Kiesler had uncommon ideas. One of them was to enclose some of the artworks in hand-operated peepshow machines. Thus André Breton’s Poème-objet 1713 (Portrait de l’acteur A.B.) was hidden in a box with a shutter. The artwork was seen by pulling a lever which opened the shutter. Likewise, the contents of Marcel Duchamp’s Boîte-en-valise were revealed to the visitor-turned-into-a-peeper one by one by turning a large “ship’s wheel” interface. For almost anyone else but the Surrealists these ideas would have seemed outrageous. The work of art was not only submitted to the manipulation of the visitor (and more indirectly to that of the designer), but also to the mechanized logic of a “vision machine”. Where did Kiesler get his idea from? As is well known, he had already used technical apparatuses, peepholes and “shutters” in his architectural and stage designs. The Surrealists, as well as the Dadaists before them, had also shown interest in technology, conceiving absurd “bachelor machines”, metaphorical contraptions reflecting supressed mental processes.1 While playing with unconscious desires and voyeristic fantasies the Surrealists frequently referred to popular cultural forms, despised or ignored by cultural elites.2 The Varietée, the amusement park and the penny arcade were among their inspirations.
    [Show full text]