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 6:50:466:50:46 PMPM 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 6:50:466:50:46 PMPM 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 6:50:466:50:46 PMPM 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. & N. W. Railway, 555, cinema of attractions, 3, 34–6, 248, 251, 568–9, 576–7, 578 317–33, 494, 527–49, 575–6, 594–5 Cook & Harris Company, advertising by, cinemas 400–1 introduction of, 555 copycatting, by children, 37, 257–8, 414 permanent, 174–5, 345–6 copyright, 90, 92, 310, 335, 363, 365 territories of, 193 Cosmorama, 39–41, 44 Cinémathèque de la Ville de Luxembourg, prices of, 40 557 Rooms, 36, 43 Cinémathèque Suisse, 530 Costello, Maurice, 477 Cinematograf, 323 costume changes, film as cover for, 371 cinematograph, 144, 166, 392–3, 462–3, 467 Cottens, Victor de, 71 fairground booths, 339–40 A Country Cupid, 211 presentational aspects of, 465 The Country Fair, 361–2, 366–7 street, 45 Crazy Cinématographe, 552, 557, 579 Cinématographe, 15–17, 21, 52, 129, 336 credits, 191, 443–4, 452, 516, 535 Lumière, 345, 393, 400, 460, 597–8 retrospective, 453–4 posters for, 400 screen, 451–3 Cinématoscope, 129 Cretinetti, 476 Cineric Inc., 560 criticism Cines, 142, 147, 350–1, 472, 475 independence of, 212 Claretie, Jules, 131 language of, 205 Clarke, Jack, 453 of poster styles, 404, 407–8 class, social, 149–50 purpose of, 212, 214 Cline, Eugene, 342, 599 representative of audience views, The Closing Net, 513 213–17 Coldwell, E. B., 414–15 see also reviews Colette, 104, 110 cultural optics, 53 Collins, Alf, 250–1 cultural series, 2, 6, 15–20, 23–7, 52, 65, 71, color, 197, 594–6 75, 91, 93, 121, 206, 489, 494 applied, 299, 532 Curtis, Edward S., 283

GGaudreault_bindex.inddaudreault_bindex.indd 661414 22/28/2012/28/2012 6:50:466:50:46 PMPM Index 615

Dale, Ida Dudley, 502–3 dissolving views, 36, 41–2 D’Ambra, Lucio, 148 distribution coalitions, 249 Damon, Ida, 446 documentary, 193, 262, 283–4, 311, 361–2, D’Annunzio, Gabriele, 148 367, 374, 508, 568, 603 Dans les Pyrénées, 569 Dolesé, Ruth Gould, 286–8 Dans l’Hellade, 100 Domitor, 528, 532 Dante, 146, 148–9, 149 Donaldson, stock text posters by, 401–3, Darlay, Victor, 71 410 Darnley, Herbert, 471 Doncières, René, 86 Davenport brothers, 60 Dove Eye’s Gratitude, 406 Davidson, Ella H., 429–30 Drew, Sidney, 508 Davidson, Paul, 599 Drouais, F. H., 37 De Forest, Lee, 91 dubbing, 491 De Forest Radio Telephone mimetic, 102 Company, 91 Ducom, Jacques, 69 De Lorme, Louis R., 289 Dulaar brothers, 339 Debureau, Charles, 106 Dulac, Germaine, 99–118 Debureau, Gaspard, 106 Dulac, Nicolas, 1–11, 495 A Decree of Destiny, 247–8 Duncan, Isadora, 108 Deed, André, 476 DVD, 235, 532, 542–3, 552, 554, deixis, 495, 572–3, 581–3 559, 561–3 of the image, 573–9 archive access via, 538–41 semi-oral, 227, 229 Dyer, Frank, 151 Demenÿ, Georges, 17, 64, 69–70, 597 Dench, Ernest, 414 Eagle, Oscar, 363–5 Dermoz, Germaine, 477 early cinema studies, 9, 232, 444, 591–3, Desert Lily airdome, 405 598, 601 Desmet, 247 Eastman Kodak, 335, 535 method, 531 Eça de Queiroz, José Maria, 87 Diamant-Berger, Henri, 107 Éclair, 187, 285, 473, 474, 476 Dickens, Charles, 165 Éclipse, 187 adaptations of, 142, 151 Edison, 337, 363, 366, 401, 477, Dickson, William K. L., 17, 150, 529, 554 383, 597 brand of, 8, 335, 392 Digital Cinema Initiatives (DCI), 537 catalogs of, 272, 363 digital technology, 92, 536–43 films of, 247, 259–60, 273, 283, Diorama, 39–40 342, 348, 364, 365, 371, 401, Langenheim’s, 42 422, 574, 577 Dircks, Henry, 55, 58 Manufacturing Company, 362, 383 director, 72, 102, 106, 146, 202, 210, 215, marketing and publicity by, 382–3, 307, 451–2, 516, 520 387–90, 401, 405–6, 409, 451, 477, stage, 367 479–80 system, 186 patents of, 335 technical, 65 press screening by, 382, 386–9, 392 dispositif, 15, 75, 123, 127, 233, 236, 553, rivalry by, 406–7 555–6, 604 see also Vitascope see also apparatus Edison: The Invention of the Movies, 554

GGaudreault_bindex.inddaudreault_bindex.indd 661515 22/28/2012/28/2012 6:50:466:50:46 PMPM 616 Index

Edison, Thomas A., 18, 24, 85, 126, 129, epistemology, and film history, 133–6 150, 382–3, 392–3, 461, 529, Epstein, Jean, 130 588, 590 eroticism, and peep media, 46 and chronophotography, 17 The Escaped Lunatic, 260 and education, 285 Esoofally, Abdully, 337 Kinetograph of, 16–17, 23, 382, 393 Essanay Film Company, 446 Kinetoscope of, 23, 32, 44–5, 91, 124, Ethel’s Luncheon, 477 391, 422, 461, 587, 597 Europe, fairground cinema in, 326–7 phonograph of, 44, 88 The European Rest Cure, 283 Projectoscope of, 339, 342 The Execution of Mary Queen of Scots, Vitascope of, 266, 382–3, 386, 388–92, 422–3 400 exhibition, 580 editing, 6, 157–8, 195, 202–3, 211, 230–1, context of, 280 252–4, 263, 444, 487–8, 575–6 digital, 563–5 by exhibitors, 353 mode of, 194–7 correction and restoration of, 532, 535, of restored early films, 550–67, 572 543, 552 Exotic Europe project, 562–3 development of, 141, 156, 493 explainers, 468 principle of, 38 The Eye of Conscience, 247 education, 7, 235, 329, 337, 344, 400, 414, 433 EYE Film Instituut Nederland, 538, 555, in Americanism, 436–8 558, 568–9, 580 catalogs, 286–7, 286, 344 films for, 147, 228, 277–97, 317 La fable cinématographique, 155 visual, 280, 282 Fabritius, Carel, 33 Edwards, Margaret, 516 Fairbanks, Douglas, 511 effects fairground cinema, 321–4, 579 film to life, 370–5 European, 317–33 hybrid fairgrounds, 174, 317–21, 339–40, 463, 557 filmic conventions in, 369–71 fairy-play see féerie motoring, 368 Falardeau, Pierre, 127 technical difficulties of, 370–1 False Colours, 506 Eggeling, Viking, 109 Famous Players, 336, 352–3, 504, 515, 518 Eidoloscope, 360, 393 fans, 246, 334, 373, 432, 445, 499, 502–3, Eisenstein, Sergei, 318–19, 329 505–7, 515 Eldorado theater, Paris, 83 Farina, 103, 108 electricity, as an environment, 131 Fast Mail, Northern Pacific Railroad, 577 Électrophone, 89 féerie, 64–79 Ellis, Maisie, 471 definition of, 67 Elsaesser, Thomas, 587–609 stage spectacle of, 65–8 L’empreinte, ou La main rouge, 105 festivals, 326–7, 538, 556 Enchanted Gorilla Den, 59 the policy of, 592–5 L’enlèvement des Sabines, 153 fétes foraines, 339–40, 346 enunciation (énonciation), 227 Feuillade, Louis, 107, 130, 192, 194 epistemes film, 604 cinematic, 121–40, 204 as art, 554, 605 in film history, 587–609 awareness, 202–23

GGaudreault_bindex.inddaudreault_bindex.indd 661616 22/28/2012/28/2012 6:50:466:50:46 PMPM Index 617

being, 212 safety, 530, 539, 596 challenging primacy and status of, 236 triacetate, 530, 535 concepts of, 204 synopses, 405, 467, 469, 477, 480, 501–2 creators, 209 theory depository, 336 of archival practice, 551–3 as dispositif, 555 crisis of, 233–8 exhibition, contexts of, 173–4 and early cinema, 224–42 hiring of, 470 Film d’Art, 105, 141, 151, 194, 306, 308, history, 600–3 336, 476 and epistemology, 133–6 Film d’Arte Italiana, 153, 308 turn-of-the-century epistemes in, Film Reports, 204, 213–14 587–609 Filmarchiv Josef Joye, 529 laboratories, 533 filmgoing, 279, 421, 423, 425, 427, 435, 503, lecturers, 8, 227–8, 321, 349, 462, 508, 521, 605 487–97 habitus of, 437–8 demise of, 468 films history of, 487–90 3D, 536, 596 politics of, 490–3 abstract, 110 semiology of, 493–5 actuality, 155, 278, 309, 578 narrative, 229 as art, 208 as original, 553–4 chase, 257–76, 467, 576 as performance, 557 comedy, 467 performance, as acting, 466–7 d’art, 105, 153, 175, 187, 191, 298, 311, pioneers of, 16 471–3 posters, evolution of, 398–419 duration of, 467–8 programs, 334–59 early projection see projection in the age of content, 527–49 publications see publications digital exhibition of, 563–5 rental exchanges, 404 digital restoration of, 560–3 series, 475–7 discourse of art in, 141–62 protagonist characters in, 473–6 restoration and exhibition of, 550–67 spectatorship see spectators educational, 277–97 as state of the art, 554 promotion of, 281–9 stock, 335 spectators of, 289–93 9.5 mm, 235, 552 erotic, 174, 325, 350, 516–17 16 mm, 278, 434, 531, 536, 539, 558 feature, 252, 416 17.5 mm, 554 fiction, 283 28 mm, 278, 291, 521 first advertising of, 399–402 35 mm, 18, 45, 291, 300, 306, 521, 536, gallery, 581 539, 542–3, 551–2, 559 hybrid (fiction/non-fiction), 283 68 mm, 554–5, 556, 560, 577 Impressionist, 100, 109–11 black and white, 530, 535 local, 464, 578 nitrate-based, 528, 530, 535, 537–9, magic, 299, 302 541, 551–2, 558–9, 563, 592–5 marketed by length, 194 physical characteristics of, 535 modular form of, 194–5 polyester, 535, 542, 551 moral, 423

GGaudreault_bindex.inddaudreault_bindex.indd 661717 22/28/2012/28/2012 6:50:466:50:46 PMPM 618 Index

films (cont’d) Françoise de Remini, 153 multiple terms for, 216 Fregoli, Leopoldo, 344, 371 multiple-reel, 349–53 Freud, Sigmund, 167, 170 narrative, 3, 155, 163, 173–4, 216, 233, fringing, 311 248, 292, 319, 329, 468, 600 Froissart, Georges, 341 news, 461, 578 From the Bottom of the Sea, 409 non-fiction, 278, 282–3 Fuhrmann, August, 42–3 as non-verbal communication, 281 Fuller, Loïe, 58, 103, 108 one-reel, 248–9, 252–4 Fuller-Seeley, Kathryn H., 398–419 outdoor, 299, 304–5, 305, 311 Fun on the Farm, 273 polychrome, 247, 298, 306–7, 309 Les Funambules, 106 in prisons, 420–40 pure, 100, 109 Gaines, Jane M., 102, 259, 443–59 quality, 141–2, 144–5 Gance, Abel, 101, 110, 134, 142 decline of, 153 Garncarz, Joseph, 167, 173–4, 317–33 national heritage and reform in, Gaudreault, André, 1–11, 15–31, 35, 75, 90, 145–53 92, 157, 184, 206, 224–5, 227, religious, 423 229–32, 237, 260, 272, 317–18, 330, ride, 570 336, 489, 494–5, 575–6, 602 and deixis of the image, 573–8 Gaumont, 187–8, 192, 282, 285, 335, 471, stencil, 307–8 472 talking during, 508 Gaumont, Léon, 64, 69–70, 75, 194, 309, three-reel, 249, 350 599 topical, 283 Gauntier, Gene, 449, 453–4, 479 train, 568, 570, 576 Feature Players, 453 transitional, 260–1 Gazzera, Abbé, 39–41 travel, 574 Gem Airdome, Point Pleasant, 503–7 trick, 299, 302, 304–5, 305, 307, 463–4 General Film Company, 249, 286, 336, 350, two-reel, 146, 249, 350 405, 408–10, 415 see also motion pictures; movies; moving branded posters of, 406 pictures Educational Catalogue, 286–7, 286, 288 Finsbury Technical College, 587 rivalries within, 406–7 The Firebug, 260 George Eastman House (GEH), 291, 499, Fischinger, Oskar, 554 539, 580 Flaherty, Robert, 283 Georges Méliès: First Wizard of Cinema flicker, 70, 129–30, 562 (1896–1913), 554 Floury, Edmond, 64–5, 67, 69 Germantown, Philadelphia, 508, 512–15 The Fly Pest, 287 Germantown Theatre, 512–14 Folies-Bergère, 341, 343, 368, 372 Germany, 165–6, 172, 175, 319–20 Fossati, Giovanna, 550–67, 572, 577 censorship in, 176 Foucault, Michel, 121, 235, 290, 488, 601 gestures, figurative, 100 France, 149–53 Get Rich Quick, 252 Belle Époque, modernization of arts in, Ginisty, Paul, 65–7 100–2 Gioacchino Murat, 147 effect on USA, 151 Gish, Lillian, 511 series and serial production in, 183–201 Glas-Stereogramm-Salon, 42

GGaudreault_bindex.inddaudreault_bindex.indd 661818 22/28/2012/28/2012 6:50:476:50:47 PMPM Index 619

glass, and magic, 56 Hennegan, stock text posters by, 402–3 Gli ultimi giorni di Pompei, 146, 148 Hepworth, Cecil, 466 Globe Theatre, Philadelphia, 516 heralds, 398, 400, 402, 410, 416, 503, Goldin, Horace, 373 512–13, 521 Gomery, Douglas, 601–2 stock, 500 La Gosseline, 130 Hidalgo, Santiago, 1–11, 202–23 Gouget, Henri, 475 Higashi, Sumiko, 238 Grand Biorama, 340, 340 The Highlanders’ Defiance, 209 Grand Café, Paris, 21 historiography, 157–9 Grand Central Palace, New York, 509, 510 revisionist, 595–7 Grandiscope, 342, 343 histrionic code, 105 Grandville, Jean-Jacques, 125 Hoffman, Richard L., 498–523 The Great Train Robbery, 319, 529 handwritten database of, 518–22, 519 Great War-Graph Exhibition (L. H. Hogarth, William, 35 Howes), 338 Hodkinson, W. W., 155 Green, George, 339 Hollywood, 437, 593 Grierson, John, 283–4 advertising posters, 398, 412 Grieveson, Lee, 280–1, 286 toward classic posters of, 415–17 Griffith, D. W., 141, 156, 249, 254, 362, 374, Holmes, Burton, 280 512, 528–9, 531 home theater, 123 at Biograph, 101, 311–12, 511, 520, creation of, 85, 90 528–9, 531 Hopwood, Henry V., 202 at Eagle, 364–5 How Cissy Made Good, 508 at Meffert Company, 363–5 Howe, Lyman H., 278, 280, 338–9, 599 films of, 2, 152, 210, 211, 259, 368, 448, advertising by, 400–1 490, 509, 539 Huff, Theodore, 499 pseudonyms of, 453 Hughes Photo-Rotoscope, 45 in Winchester, 367–8 Hughes, W. C., 45 Griffiths, Alison, 235, 279, 420–40 Hugo, Victor, 151, 175 Guitry, Sacha, 110 Huhtamo, Erkki, 32–51, 80 Gunning, Tom, 3, 35, 52–63, 100, 111, Hulfish, David S., 208, 217 163–4, 173, 227, 232–5, 248, 253–4, Humphreys, William, 473 260, 317–20, 329–30, 489, 552, 554, Huygens, Christiaan, 32 575–7, 602 hybridization, 155, 360–80 alteration format, 371–4 Haghefilm laboratories, 558 Hypocrites, 516–17 Hale’s Tours, 578 Hall, Donald, 506 ideology, cultural, 152 Handbill, 501 image, synchronization with sound, 91 Hannaway, Joe, 366–7 imagination, prisoners’ world of, 428–9 Hansen, Miriam, 150, 235, 281 IMAX, 233, 236, 555, 599, 603 Harrison, Louis Reeves, 213 immersion Hart, William S., 416 heteropathic, 575–6 Hearst, William Randolf, 385 idiopathic, 576 Hearst-Selig News Pictorial, 283 IMP studio, 409, 443, 477–8, 479 Heise, William, 363 “Girl”, 447, see also Lawrence, Florence

GGaudreault_bindex.inddaudreault_bindex.indd 661919 22/28/2012/28/2012 6:50:476:50:47 PMPM 620 Index

impersonation, 467 The Joining of the Oceans – The Panama In the Land of the Head-Hunters, 283 Canal, 283 Ince, Thomas H., 156, 500, 511 Joliet prison, 426 index, as trace of pastness, 582–3 Jost, François, 495 industrialization, aesthetic consequences journals of, 298–314 changes in titles and headings, 18–20, L’Inferno, 146, 148, 149, 490 206–7 instability, 562 linguistic features of articles, 208–9 installations, 580 see also films, trade journals of contemporary, 568–86 juggling, and conjuring, 54 of early cinema, 572 Julius Caesar, 142 International Electrical Exhibition, Paris, 83–5 Kaiser-Panorama, 42–3, 43, 599 International Federation of Film Archives Kalem, 350, 353, 406, 409, 429, 445, (FIAF), 528–9, 564 453–4, 477–80 Brighton conference of, 81, 183, 224, “Girl”, 447, 449 248, 277, 527, 593 stock company, 449, 450, 451 Treasures from the Film Archives database, Katorza brothers, 339 528 Kay-Bee, 152, 350, 500 internet, 427, 437, 500, 532, 534, Keaton, Buster, 363 589, 591 Keil, Charlie, 252, 451 archive access via, 538–42 Keith vaudeville houses, 341–2 database on, 528 Kerf, Christine, 107–8 as peep medium, 46 Kessler, Frank, 64–79, 164, 170, 234, 236, Internet Archive, 538, 539 555 intertitles, 229, 463, 493 Keystone, 412, 500, 506–7, 511 colored, 299, 531 Kinemacolor, 299, 308–12 objects as, 248 kinematograph, 2, 15, 18, 25, 82, The Invaders, 152 122–33, 392 inventor-entrepreneurs, 336 legal proceedings in, 189 The Invisible Girl, 60 mechanics and mechanism of, 127–30 Irish Mail, 569, 576 pathogenic qualities of, 125, 131–3 Itala, 146–7, 472, 474, 476, 479, 536 theatrical application of, 64–5, 69, 75 Italy trade journals of, 18–20 effect on USA, 151 Kinematograph and Lantern Weekly, 479 and film art, 146–9 kinematography, 26 Iunk, Pierre, 339 industrial conception of, 186–8 Ives, Charlotte, 505 and scene changes, 73 Kinetic Lantern, 17 Jacobs, Lea, 101, 142, 248 Kinetograph, 16–17, 23, 129, 369, 382, 393 The Jail-Bird; Or the Bishop and Kinetophone, 382 the Convict, 467 Kinetoscope, 2, 16, 26, 124, 126–7, 129, Janis, Elsie, 369, 370 532, 555 Je vais chercher du pain, 194 coin-operated, 44–5 Jenkins, C. Francis, 45, 383, 391, 597 commercial exploitation of, 382 Johnson, Agnes Christine, 447 documentaries on, 262

GGaudreault_bindex.inddaudreault_bindex.indd 662020 22/28/2012/28/2012 6:50:476:50:47 PMPM Index 621

of Edison, 23, 32–3, 44, 91, 124, 422, 461, Legrand, Paul, 106 587 Lester, Louise, 506 erotic, 46 Levedan, Henri, 141 flip-card, 44 L’Herbier, Marcel, 110, 134 lynching on, 263, 274 Library of Congress, 554, 580 peephole, 32, 44–5, 555, 597 Paper Print Collection, 529, 531, 532, superseded by Vitascope, 388, 391–3 539, 542 King, Rob, 141–62 Ligensa, Annemone, 163–82, 330 Kinodrome, 341–2 Linder, Max, 476, 480 Kinora, 46 The Lion and the Mouse, 502 Kircher, Athanasius, 32, 34, 56–7 lithographs, 399–400, 403 Kleine, George, 282–7, 409 film-specific, 406 Kliegl brothers, 369 The Little Reb, 363, 364, 366 Knickerbocker, New York, 511 The Lonedale Operator, 249 Kodak Eastmancolor triacetate film, 530 Loos, Anita, 447 Koster & Bial’s Music Hall, 382, 386 Love’s Stratagem, 478 Koszarski, Richard, 498–523 Loyd, William, 42 Kremer, Theodore, 360 Lubin, 273, 405, 502, 520 Krows, Arthur Edwin, 288–9 player photographs, 479–80, 481 press releases, 480 The Lab at Belmar, Lakewood, 580 Lubin, Siegmund, 345 laboratories, concepts of, 558–60 Lubin Theater, 412 Lacasse, Germain, 226–8, 487–97 Lumière, 17–18, 335, 337, 401, 529 Lady Letmere’s Jewellery, 471 brothers, 17, 21, 23–4, 125–6, 129, 189, Laemmle, Carl, 409, 432, 477 230, 554, 588, 597–8 Lagny, Michèle, 232 Cinématographe, 15–16, 21, 24, 52, 64, The Lamb, 511 121, 123, 334, 345, 393, 400 lamps, 59, 80, 130 films of, 144, 170, 196, 230, 568 hand-held, 390 program format of, 336 oil, 40 in the UK, 460 triode (three-electrode), 91 Lumière, Antoine, 65, 124, 598 Lane, Chris, 266–71, 268 Lumière, Auguste, 309 Langenheim, Frederick, 42 Lumière, Louis, 309, 598 Langenheim, William, 42 Luxembourg, 557 lantern slides, 338–9, 344 lynching, 257–76 colored, 306 in prison, 433–4 McGuffins, 247 lanterns, types of, 58 Machin, Alfred, 311 Latham family, 597 machine plays, 66 Lauder, Harry, 461 McWade, Edward, 362–3, 365–8 Lawrence, Florence, 409, 443, 477–8, 479 Maden, J. F., 337 Le Forestier, Laurent, 183–201, 301 Maggi, Luigi, 146 Le Giornate del Cinema Muto, 552 magic, 324–5 Le Sélect, 345 and cinema, 52–3 lecturers see film, lecturers and glass, 56 Léger, Fernand, 109 and mirrors, 56, 59–60

GGaudreault_bindex.inddaudreault_bindex.indd 662121 22/28/2012/28/2012 6:50:476:50:47 PMPM 622 Index

magic lantern, 17–20, 26, 32, 57–8, 495, 599 digital, 538, 543, 560, 570, 588, 590, 594, see also lantern slides 598, 600, 605 Mahagonny, 557–8 dissemination, 152 Majestic, 506–7 emerging, 93 Mallet, Félicia, 103, 106 forms, 75 Manovich, Lev, 26, 80 history, 75, 93, 237, 574, 583 manufacturers, 184, 187–8, 196, 284, hybrid, 90, 93, 594 335, 564 identity, 93 American, 150, 285 institution, 336, 353 British, 45, 341 listening, 80 catalogs of, 488 machines, 37, 41 European, 42, 285 mass, 168, 594 of féeries, 71 multiple, 375, 534, 557 films presented by, 8, 515 networks, 44 production logs of, 187 new, 165, 238, 527, 558, 572, 583, 591 publicity by, 405, 407–8, 415 news, 431 Marey, Étienne-Jules, 17, 23, 64, 83, 132, and orality, 228 589–90 peep, 33, 37, 39, 41, 43, 45–6 Marinovitch, 85 producers, 38–9, 279 Marion, Philippe, 20, 23, 90, 92, screen, 570 157, 336 sensationalism, 163–4, 166, 177 marketing texts, 571 barkers, 35, 463 theory, 237 mass, 335 visual, 53 Marquand, Rube, 371 Meffert Stock Company, 363–5, 366 Marsh, Mae, 511 Méliès, Georges, 21–3, 22, 52, 62, 185–6, Martin, Glenn, 509 188, 298, 401, 529, 538, 543, 554 Martinez, Ariane, 102, 105–6 appearances by, 319, 326, 464 Martoglio, Nino, 148 and color, 299, 302, 306 Marvin, Henry, 150 DVD releases, 561 masculinity, reformation of, 280 féerie of, 71–5 Maskelyne, John Nevil, 59 films of, 234, 325–6, 339–40, 342, 343–5, mass culture, 149–53, 158 368–9, 372, 529, 537 Matuszewski, Bolesław, 123, 134, 335 in 3D, 536 Maudite soit la guerre, 311 trick, 8, 53, 302, 325 Maurice, Clément, 91 “Kinematographic Views”, 184 Maurice, Joseph, 58 melodrama, 57, 150, 156, 158, 163–4, May, Margaret, 363, 365–7 175–6, 349–52, 374, 420 media, 15, 76, 80, 83, 92, 124, 175, 238, Méry, Jean, 300, 307 258–9, 274, 325, 391, 462, 555 Messter, Oskar, 348–9 audiovisual, 589 metteur en scène, 186–7, 191–2 computer, 26 Milano Films, 146–8, 490 context, 18 Miles brothers, 342, 404 convergence of, 28 A Million Bid, 503 coverage, 391 mimetic diegesis, 231 culture, 34–5, 41, 43, 46, 594 mimetic transference, 102

GGaudreault_bindex.inddaudreault_bindex.indd 662222 22/28/2012/28/2012 6:50:476:50:47 PMPM Index 623

mirrors, 61–2 moving images, 41–4 and magic, 56, 59–60 Moving Picture World, 281, 284–5, 287, 289, Les Misérables, 175 405, 414–15, 449, 451, 502 Mistinguett, 105 section title changes in, 206–7 Mitchell & Kenyon, 552, 559–61, 564–5 moving pictures, 2, 15–16, 18, 20, 24, 26–7, Mitry, Jean, 183 208–10, 346, 374, 381, 392, 588, 596 mobs, 258, 260 advertising of, 398, 410 Modern Times, 130 composition of, 210 modernity, 319–21, 328 culture of, 336, 347, 353 Monopolfilm, 350 early, 248 monstration, 231–2, 318, 464 editing of, 38 Moore, Paul. S., 381–97 educational value of, 281–2, 285 moral reform, 149–53 impact of, 65, 587 Morris, Flora, 480 literary basis for, 151 Morrison, Bill, 560 locations for, 150, 360 Morrison, Rosabel, 360–1 naturalistic, 210 Motion Picture Distributing and Sales perception of, 449, 494, 595, 601 Company (MPDSC), 478, 480 in prison, 423, 427–8, 433, 435, 437 Motion Picture News, 502–3 tricks in, 361, 372 Motion Picture Patents Company (MPPC), type of patron, 374, 390, 394, 445 151, 249, 282, 285–6, 477–8, 480 see also films Motion Picture Sales Company, 252 Mullens, Albert, 340 motion pictures, 2, 24, 32, 52, 107, 216, Mullens, Willy, 340 334–6, 353, 499–500, 589–90, 596–7 Musée Grévin, Paris, 83 in churches, 344 Museum of Modern Art (MoMA), color and Pathé-Frères, 298–314 New York, 528–9, 539, 554 corrupting effect of, 279 Museum of the Moving Image, 499 educational, 287 Mushroom Culture, 287, 292–3, 293 and live performance, 360–75 music, 321, 511, 518 in permanent venues, 345–50 integrated, 348–9 in prison, 420–3, 426–7, 429–30, 433–5 and pantomime, 102 traveling shows, 337–41 supplied by cable, 86 and variety shows, 341–4 music halls, 319, 341, 343–4, 463 see also films Musolaphone, 89 motography, 2, 208–9, 216 Musser, Charles, 32–3, 75, 152, 232, 259–60, Motography, 213, 283–5, 293 273, 278, 317, 319, 329, 360, 383, Mount Pleasant Female Prison, 433 391–2, 601–2 movement, inner and outer, 109 Mutoscope, 44–6, 260, 555, 599 movies, 5, 24, 26, 141, 233, 369 Mutual Film Corp., 249, 350, 500–1, 518 commuting to, 508–12 Mutual Welfare League (MWL), 428, 431, going to the, 16, 445, 499, 511, 521, 599, 434 604 The Mystery of Edwin Drood, 471 home, 227–8, 235–6, 598 length of, 303 Nanook of the North, 283 in prison, 425, 427, 432, 435, 437 Napierkowska, Stasia, 100, 105, 107 see also films Napoleon, 473

GGaudreault_bindex.inddaudreault_bindex.indd 662323 22/28/2012/28/2012 6:50:476:50:47 PMPM 624 Index

Napoleon and the English Sailor, 471 Noverre, Maurice, 22–3 narrative, 231–2 nudism, 516–17 and attraction, 576 devices of, 254 O’Brien, Charles, 298–314 énoncé, 230 Ober, George, 371–2 extrinsic and intrinsic, 230–1 O’Connor, Daniel, 498, 503 levels of, 230 Odeon, Tomkinsville, 498–502, 501 minimum sequence, 230 Odin, Roger, 224–42 and spectacle, 575–6 Offenbach, Jacques, 66 National Board of Censorship, 286 An Official Appointment, 245–51, 253–4 National Film Archive, London, 528–9 Olcott, Sydney, 453 National Film Preservation Foundation, Oliver Twist, 473 538 Olsen, Ole, 529 National Film and Sound Archive of Olsson, Jan, 257–76, 279 Australia, 539 optical diagonal machine, 37 National Film and Television Archive optical instruments, 33 (NFA), 530 optical toys, 494–5, 599 National Independent Moving Picture optics, 55–7, 59, 131, 604 Alliance (NIMPA), 478 cultural, 53, 61 nationalism, 152–3 Oracle of Delphi, 59 Nederlands Filmmuseum, 552, 555, 568 oral cinema, 227, 489 Nerone, 146 oral film practices, 127 neurasthenia (modern nervousness), 166–8 orality, 226–9, 490, 494 New Life Motion Pictures, 342 Orange Vallée, 92 New York, 40, 91, 150, 264, 273, 277, 279, Orpheum, Germantown, 514–15 307, 342, 362, 365, 382, 391, 488 Osborne, Thomas Mott, 428 news syndicates of, 384–94 Otis, Elita Proctor, 473 prisons in, 420–2, 424, 427, 429, 433, 436 Ottolenghi, Camillo, 146 theaters in, 399, 400–1, 410, 508–10, 512, Ouida (Marie Louise de la Ramée), 87 516, 520 Outdoor Theatre, 45 New York Board of Censorship, 286 Outerborough, 560 New York Motion Picture Company, 405–6 newspapers, use in publicity, 381–97 Pagnol, Marcel, 106 newsreels, 110, 283, 345, 350, 381, 515 Palais Royal, Paris, 39 Nicholson, Dorothy, 478 Paley & Steiner, 260 Nick Carter: King of Detectives, 473, 474, 476 Panoptikon, 597 nickelodeons, 150–1, 279–80 Panorama, 39–40 exterior decoration of, 412 pantograph, 300, 307 on-site advertising by, 398, 405 pantomime period of, 250 and cinema, 103–4 poster practices of, 404–7, 410–13, 411 classical, 104–7 programs in, 345–50 modern, 99–118 Niver, Kemp, 539, 542 and pure cinema, 108–9 Normand, Mabel, 500, 509 Pantoptikon, 393 novels, descriptions of Théâtrophone in, para-cinema, 591–2 87–8 Paramount, 509, 512, 514

GGaudreault_bindex.inddaudreault_bindex.indd 662424 22/28/2012/28/2012 6:50:476:50:47 PMPM Index 625

Paramount Pictures Corporation, 155 from legitimate stage, 471–3 parastatic microscope, 32, 34 as trademarks, 470 Paris Opéra, 83–4 variety, 463 Parsons, Louella, 446 periodization, 2, 5, 232, 329, 489 Pastrone, Giovanni, 148 Perrault, Pierre, 227 The Patchwork Girl of Oz, 156 Personal, 260 Pathé, 153, 184–8, 260, 287, 291–2, 335, perspective boxes, 33 476–7, 599 Peters, George, 415–16 advertising by, 402 Peterson, Jennifer, 277–97, 580 color production statistics, 301–4, 302–4 Petit, Georges, 341 commitment to stencil color, 300–1 Phalke, D. G., 529 fairground trade of, 323, 339–40 Phantasmagoria, 57–8, 60 industrial infrastructure of, 190–1 phantom rides, 573–4, 576–7 naming of actors by, 476–7 Phantoscope, 391, 393, 597 Pathé, Charles, 183, 188, 191, 300, 309, 323 Slot-Action Cabinet, 45 Pathé Kok, 291, 555 Phenakistiscope, 24 Pathé-Frères, and motion picture color, Philadelphia, downtown, 516–18 298–314, 335 philosophical toys, 37–8 Pathé-Journal, 351 Phono-cinéma-théâtre, 91 Pathécolor, 298, 302, 310–11 phonographs, 44, 88 Pathéscope, 291–2 automatic, 45 Paul, Robert W., 174, 266, 337, 393, 461, Phonotéléphote, 87 464, 587–8, 597–8 photographer, 210–12 Pawlowski, Gaston de, 133 photographs Pearson, Roberta E., 101, 105, 108, 280 of actors, 480 peep boxes, 34 analog, 582 domestic, 37 photography, 17 peep media animated, 24, 27, 69, 72, 75 incubation era of, 33–4 photoplay, 216 in private, 37–9 writing craze, 445 to mediated voyeurism, 46–7 Photoplay, 502–3 peep practice Pickford, Mary, 156, 336, 353, 409, 416, 478, history of, 32–51 504–5, 507, 509, 516, 518 and screen practice, 44–6 pictorialism, 209–10, 211 peep shows, 34–6 as cinematic mise en scène, 147–8 peeping, public, 41–4 picture personalities, 461 Pennsylvania State Board of Censors, 513 photographs of, 480 Pepper, John Henry, 55, 58 prehistory of, 471–7 Pepper’s Ghost, 55–9, 62, 599 Picture Progress, 514 performance picture theater, development of, 467 multimedia, 556 see also cinemas non-histrionic, 465 The Pictures, 480 restoration of, 558 pièces à machines (machine plays), 66 performers Le pied de mouton, 66 advertising of, 409, 416 A Pillow Fight, 556 autobiographical knowledge of, 479 piracy, 301, 598

GGaudreault_bindex.inddaudreault_bindex.indd 662525 22/28/2012/28/2012 6:50:476:50:47 PMPM 626 Index

Pirandello, Luigi, 130 production, 187 The Pirate Ship, 468 outsourcing of, 197 Pisano, Giusy, 80–98 serial, 193–7 players see actors programming, 513 Polanecky, Alois, 42 programs, 193, 352, 463 pornography, 46 alternation hybrids, 360–80 Porta, Giambattista della, 33, 56–7 constant refreshing of, 197 Porter, Edwin S., 283, 383, 529 definition of, 334 posters, 503–7 early, 334–59 bespoke cases for, 412 fairground, 324–6 branded, 406 of feature-length films, 349–53 classic Hollywood, 415–17 multiple-reel, 349–53 film-specific, 406 in nickelodeons, 345–9 improvement of, 407–10 non-theatrical, 344–5 nickelodeon, 404–7 of novelty era, 336–7 Posteritis (The Poster Bug), 414 organization strategies of, 353–4 recycled theatrical, 403 in permanent-venues, 345–50 text, 402–3 in prisons, 430 wildcat displays of, 411, 413 rise of fiction in, 467 Praxinoscope, 17, 24, 555 for traveling shows, 337–41 pre-cinema, 2, 382, 591–2 twice-weekly change in, 467 and magic illusions, 53 in variety theaters, 341–4 preservation, 527, 529–38, 551 projection, 2, 16–18, 21, 23, 45, 536 context of, 534 Projectoscope, 342 prestidigitation, 2, 54, 465 props, 246 The Prince and the Pauper, 477 narrative functions of, 251 prisons Proteus, or We are Here and Not Here, chapels as exhibition space in, 423, 425 58–9 female inmates of, 432–6 proto-cinema, 591–2 filming in, 431–2 pseudonyms, use of, 453 and films, 420–40 public opinion, critical separate chapel system in, 423–4, 424 reportage of, 215 Privas, Xavier, 106 public relations, 409 producers, 101, 142, 146, 150–2, 248–9, 265 publicity, 8, 156, 285, 310, 340, 367, 369, advertising by, 212, 398, 401–2, 404–6, 375, 432, 448–9, 460, 473, 475–8, 409, 469, 476, 479 505 anonymity of, 447, 451 about actors, 479–80 British, 466 advance newspaper, 381–97 digital, 537 picture personality, 480 direct selling by, 470 storefront posters, 398–419 European, 176, 323, 480 publics, 383–6 independent, 405, 407–8, 415–16 definition of, 385 licensed, 518, 519 generation of, 467 media, 38, 279, 362 Pulitzer, Joseph, 384–5 release dates of, 467 Puskás, Tivadar, 89 series production by, 473 Les Pyrénées pittoresques, 558, 563

GGaudreault_bindex.inddaudreault_bindex.indd 662626 22/28/2012/28/2012 6:50:476:50:47 PMPM Index 627

Les quatre cents coups du diable, 71–5, Robert-Houdin, Jean-Eugène, 54–5, 61 368 Robertson, D. W., 339, 495 Quo Vadis?, 142 Robida, Albert, 88–9, 123 rolling palaces, 322, 323 racing machines, 361, 365–6 Roméo et Juliette, 471 racism, 261, 271 Rossel, Deac, 337 radio Rothapfel, S. L. “Roxy”, 350, 509, 511 precursors of, 89–91 La Roue, 110 telephone, 91 Rough Sea at Dover, 144 Radio Corporation of America (RCA), 91 Royal Garden Open Air, Stapleton, 503 Raff & Gammon, 337, 383, 387, 390–2 Rubenstein, Ida, 104, 107–8 A Railroad Wooing, 569 Russia, 153 A Railway Tragedy, 574 Ruttmann, Walter, 109 Rancière, Jacques, 143–5, 155, 157–9 Ray, Nicholas, 558 Sadoul, Georges, 83, 183 readers, 383–6 SAFFI-Camerio, 146 reality Sales Company, 350 capturing of, 82 Salomé, 107 illusion of, 86 Savoy Theatre, New York, 511 reception studies, 279 Le scarabée d’or, 307 recognition devices, 247 scenario records, self-creating, 462 importance of, 148 Reel Life, 501–3 submissions of, 445–6 reflexivity, of film medium, 570–3 writers, 211–12, 446 regulation, 280 scene changes, and kinematography, 73 mode of, 281 scenery, filmed, 363–5 religion, and entertainment, 326–7 scenes remediation, 175, 263, 558–9, 594 shot in series, 192–3 Remords, 476 types of, 194–6 Renoir, Jean, 130 scènes à trucs (trick films), 299, 302, 304–5, rensageki (chain drama), 360, 373 305, 307 representative regime, 157 scènes de féeries (fairy tales), 299, 302, 305 restoration, 535, 539 scènes de plein air (outdoor films), 299, color, 530 304–5, 305, 311 digital, 527, 536–9, 550–67 scènes de vulgarization scientifique hybrid, 558, 560 (educational films), 299 Revenge, 251 scènes dramatiques (dramatic films), reviews, 70, 74, 130, 488 304–6, 305 in trade journals, 202, 204, 213, 291 schools, 8, 289–90, 344 Reynaud, Émile, 17–18, 23–8, 597 as exhibition spaces, 227, 278, 280, Rialto, Germantown, 515 285–7, 291, 293, 317, 344, 425 Rialto, New York, 511–12 Sckramson, C., 340, 340 Richardson, F. H., 414 Scot, Reginald, 54, 56 Richter, Hans, 109 Screen Club, 371 Rifle Bill, 474–5 screen practice, 2, 6, 32, 75, 489–90, 602 Rip Van Winkle, 371–2 and peep practice, 44–6

GGaudreault_bindex.inddaudreault_bindex.indd 662727 22/28/2012/28/2012 6:50:476:50:47 PMPM 628 Index

screening advertising by, 477 animated, 185, 487 catalog of, 266, 269 archival, 552 films of, 209, 247, 259–60, 262, 266, color, 308, 310 269–70, 350, 404, 405 conditions of, 232–3 logo of, 266–7 demand for, 301 Selig, William N., 268, 404, 453–4 and distribution, 350, 353 Sennett, Mack, 156, 429, 511 educational, 235, 280, 293 sensationalism as installation, 568–86 concept and phenomenon of, 164–6 itinerant, 196–7 and early cinema, 163–82 with lecture/commentary, 487–97 explanations of, 166–73 location-based, 8, 578, 580 sensual perception, 163–4 and mob emulation, 257–76 series, 194–7 modular, 193 production in France, 183–201 new methods of, 233 protagonists, 473–6 open-air, 503 Serner, Walter, 173 for press, 382, 386–93 Séverin, 103, 105–6 in prisons, 420–40 sexual behavior, 417 public, 126, 400 in prisons, 430–2 schedules, 500 sexual material, 325 special, 175–6 sexual repression, 167 of varied programs, 345–7, 509, 515 sexual tension, 435 in variety shows, 249, 251 sexuality, suggestive, 257 screens, 20, 58 Shail, Andrew, 460–86 cathode-ray, 91 Shakespeare, William, film adaptations of, computer, 235 142–3, 471, 472 digital, 540 Shepherd, Archie, 339 féeries on, 64–79 shifters, 572–4 ground-glass, 300 shots, 231, 574 hanging, 25, 400 credit, 471 images on, 22 linking of, 250–1 and magic, 53 medium–long, 248, 369–70 masking scene changes, 62 narrative, 231, 266–72 and music, 110 single and multiple, 229–31, 300, 575–6 and pantomime, 105 tableau, 194, 266 placement of, 578–81 tracking, 560 split, 560 show printers, offers by, 402–4 television, 91–2 showmen, 32, 36, 42, 173, 308, 321–4, used in hybrid shows, 360–80 326–7, 329, 337–41, 462–3 voices and, 102 advertising by, 403 wide, 23, 134, 564, 594 peep, 37 Scripture, Edward Wheeler, 124 traveling, 278, 280, 321, 326, 337–8 Sears Roebuck, 400 signs, language of, 104 Seeley, Blossom, 371 silent arts, 102–3 selective tradition, 142 Silent Films, 580 Selig, 270–1, 406, 446, 451 silent films, 493, 538

GGaudreault_bindex.inddaudreault_bindex.indd 662828 22/28/2012/28/2012 6:50:476:50:47 PMPM Index 629

cycles of, 175 Le spectre rouge, 325 disappearance of, 22 speech, 226–8, 490–1 music during, 233 recorded, 494 Sim, George, 471 triumph over, 103 Simondon, Gilbert, 128 Sphinx, 59 simulation, 560 splices, 371, 533, 535, 562 Sing Sing prison, 420, 422 Spooner, Cecil, 477 cinemagoing at, 427–32 Spoor, George, 341 execution witnesses in, 424, 425 stability, 16, 214, 536, 561–2 Singer, Ben, 163–4, 173 stage magic, in late nineteenth century, Sixth Art, birth of, 101, 154 52–63 Skladanowsky brothers, 529, 597 stage pictorialism, 142 Skladanowsky, Emile, 337 Staiger, Janet, 185–6, 237, 280, 401 Skladanowsky, Max, 337 Stanley, Philadelphia, 514, 516 Smith, Albert E., 150 Star of Hope, 421, 422, 430–1, 433, 436–7 Smith, Charles M., 171 star system, 449 Smith, George Albert, 309 Star Theatre, Herkimer, 399 Smith, Gladys see Pickford, Mary Star Theatre, New Brighton, 502 Smith, Harry, 557 stencil color, 298–300, 311 Snow, Michael, 125 early, 306–7 social engagement, 462 Pathé’s commitment to, 300–1 socialist worker cinemas, 345 stereopticon, 371 Société d’encouragement pour l’industrie stereoscomania, 42 nationale, Paris, 598 stereoscope, 599 Société Générale des Téléphones, 85 cabinet, 38, 42, 44 Society of Motion Picture and Television Cosmoramic, 42 Engineers (SMPTE), 564 domestic, 39 Les soeurs ennemies, 110 stereoscopy, 41–4, 596 Solomon, Matthew, 371 Sterling, Ford, 500 songs, illustrated, 347 Sterne, Elaine, 447 Sortie d’usine, 598 Stiftung Deutsche Kinemathek, sound, 225, 594–6 Berlin, 527–8 integrated, 348–9 stills, front of house, 505, 506, 513 synchronization with image, 91, 349, 468 The Story the Biograph Told, 251, 253 technology of, 80, 226 Street Cinematograph, 45 Spears, John R., 261–5, 274 Streible, Dan, 235 special effects, 70, 298, 325, 325 stretching, 564 spectacle, 148–9, 154 stroboscope, 124 and narrative, 575–6 The Suffragette Pitcher, 371 spectators A Summer Idyll, 210 affected by advertising, 401 Sweet, Blanche, 510–11 audiovisual, 81 Swinburne, Algernon Charles, 172 and educational films, 289–93 first-time, 426 tableaux, 71–4, 146, 148, 150, 184, 194–6, in prison, 421–7 266–7, 398, 406, 416 response styles of, 290, 293 Tally, Thomas L., 45

GGaudreault_bindex.inddaudreault_bindex.indd 662929 22/28/2012/28/2012 6:50:476:50:47 PMPM 630 Index

Talmadge, Norma, 246 Toulouse, Edouard, 133–4 Taylor, Stanner E. V., 448 town halls, 317, 326, 329, 339, 400, 428 technicians, 74, 463, 533, 542 Traber, Zacharias, 34 Technicolor, 298 Tracked by Bloodhounds; Or a Lynching at Process Two, 308 Cripple Creek, 259–60, 262, 266–71, technology 269–70 a-human, 462 trade journals, 18, 187–8, 202, 204–6, 224, digital, 560–3 283, 368, 404–7, 409–10, 414–15, state-of-the-art, 554–5 445, 469, 475 Tel-musici and Magnaphone, 89 Trådgårdsmåstaren (The Broken Spring Rose), Telectrophone, 89 247 Telefon Hírmondó, 89–90 transport, and traveling cinema, 327 telegraph, 384–5 travel, in moving images, 571 advance publicity by, 386–92 Trewey, Félicien, 460–1 telephone, 85, 88 Triangle Film Corporation, 156, 511, social and artistic uses of, 93 515–16, 518, 520 Telephone Herald, 89 Trier University, 557 téléphonoscope, 88–9, 123 Troncone brothers, 146 telephony, wireless, 91 Turner, Florence, 409, 443, 477–8 television, 22–4, 46, 82, 88, 90–3, 135, 228, Turpain, Albert, 126, 128, 134 235, 373, 375, 437, 589 Twisted Trail, 478 Tellevent (Televant), 89 Thanhouser Company, 252, 415 United Kingdom Theater Network Television (TNT), 92 invention of cinematic celebrity in, 460–86 theater troupes, advertising by, 399–400 United Press, 384 Theater TV, 91–2 United States (USA), 149–53 theaters and cinematic celebrity, 477–83 in New York, 508–9 effect of imported films on, 151 storefront advertising for, 398–419 film publications in, 204 triplex, 509, 510 Universal, 249, 350, 410, 416, 432, 511, 514, urban, 322 518 Théâtre optique, 17, 23–6, 28, 597 films of, 413, 508–9, 511 Théâtre Robert-Houdin, 62 Urban, Charles, 282, 287, 344, 461, 464, Theatrograph, 337, 393, 588, 597 469, 475 Théâtrophone, 80–98, 83–4 Urban-Eclipse, 282, 469 Société du, 85 Uricchio, William, 280 Thomas, A. D., 339 ushers, 502 Thompson, Kristin, 252 Thuillier, Elisabeth, 306 Vaisse, Léon, 104 Thurston, Howard, 61 van Hoogstraten, Samuel, 33 tints, film, 309, 537, 552 The Vanderbilt Cup, 369, 370 Title Poster Company, 405 Varieté, 319 title-objects, 247–8 variety theaters, 174, 317, 319–20, 328 Tobin, Thomas, 58–9 programs in, 341–4 Tonbilder, 348–9 vaudeville, 215, 319, 321, 328, 341 Toulmin, Vanessa, 552, 579 family theaters, 342

GGaudreault_bindex.inddaudreault_bindex.indd 663030 22/28/2012/28/2012 6:50:486:50:48 PMPM Index 631

venues, film-only, 467 The Watermelon Patch, 259–60, 271–3 Vénus victrix, 107 Waters, Percival, 342 Verhoeff, Nanna, 568–86 We Can’t Go Home Again, 557–8 Verne, Jules, 87–8, 123 Weber, Lois, 506, 516 Victoria Theatre, Philadelphia, 518 Wells, N. E., 404–5 vigilantism, unscripted, 273–4 Wertheimer, Max, 124 Villiers de l’Isle Adam, 87, 128 West, A. J., 339 violence, racialized, 258–9 Western Union, 384–5 virtual images, appearance and What the Moon Saw, 508 disappearance of, 52–63 Wheel of Life, 38 visual language, 53 When Extremes Meet, 251 visual primacy, 102–3 The White Caps, 260, 273 visualization, 109 White, Pearl, 506 principles of, 156 Williams, Randall, 339 Vitagraph, 142, 150, 152, 245–7, 341, 371, Williams, Tami, 99–118 477–8, 503 Williamson, James, 488 “Girl”, 409, 447 Williamson Kinematograph Company, original posters of, 400, 406, 408 343, 529 Quality Films of, 280 Winchester, 362–8, 366 Vitagraph Theatre, Broadway, 508 wordlessness, concepts of, 102–3 Vitascope, 45, 266, 337, 342, 363, 367, World War I, 285, 298, 336, 514 382–3, 386, 388–92, 400 motion picture color before, 299–300 newspaper publicity for, 381–97 World’s Fair, Paris, 85 voice, natural, 81 writers, anonymity of, 444–5 Vorse, Mary Heaton, 277 Wyanoak Publishing Company, 505, 507 voyeurism, mediated, 46–7 vues d’optique, 35, 37, 39 Yacco, Sada, 110 YouTube, 540, 555, 600 Wade, John, 273–4 Wague, Georges, 99–118 Zahn, Johann, 34, 42 on stage, 107–8 Zecca, Ferdinand, 107, 186 Walls, Howard Lamarr, 529 Zink, Adolf, 371 Waltz, Gwendolyn, 360–80 Zoetrope, 24, 38, 44, 555, 599 Walton, Lester, 274 zograscope, 37 Ward, Fanny, 416 Zoomscape, 568–72, 569, 576–7, 579–80, Warner Features, 353 579, 583 Washington under the American Flag, 152 Zukor, Adolph, 409 Washington under the British Flag, 152 Zumthor, Paul, 226

GGaudreault_bindex.inddaudreault_bindex.indd 663131 22/28/2012/28/2012 6:50:486:50:48 PMPM GGaudreault_bindex.inddaudreault_bindex.indd 663232 22/28/2012/28/2012 6:50:486:50:48 PMPM GGaudreault_bindex.inddaudreault_bindex.indd 663333 22/28/2012/28/2012 6:50:486:50:48 PMPM GGaudreault_bindex.inddaudreault_bindex.indd 663434 22/28/2012/28/2012 6:50:486:50:48 PMPM