UvA-DARE (Digital Academic Repository) Early Cinema and the Technological Imaginary Punt, M.J. Publication date 2000 Document Version Final published version Link to publication Citation for published version (APA): Punt, M. J. (2000). Early Cinema and the Technological Imaginary. in eigen beheer. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:06 Oct 2021 Early y Cinema a andd the Technological l Imaginary y Michaell Punt EarlyEarly Cinema and the Technological Imaginary Academischh Proefschrift terr verkrijging van de graad van doctor aann de Universiteit van Amsterdam, op gezag van de Rector Magnificus prof.. dr. J.J.M. Franse tenn overstaan van een door het college voor promoties ingestelde commissiee in het openbaar te verdedigen in de Aula der Universiteit opp vrijdag 19 mei 2000 te 12.00 uur door r Michaell Punt geborenn te Londen FACULTEITT DER GEESTESWETENSCHAPPEN Promotor: : Prof.. Dr. Thomas Elsaesser Earlyy Cinema and the Technological Imaginary Michaell Punt Michaell Punt, Amsterdam 2000 Coverr Design: Jane Pliier Printedd and bound in Great Britain by Cromwelll Press, Trowbridge, Wiltshire Contents s ACKNOWLEDGEMENTS S DUTCHH SUMMARY - NEDERLANDSE SAMENVATTING 1 ENGLISHH SUMMARY 8 INTRODUCTIONN 14 Sectionn 1 The Problem and its Various Solutions CHAPTERR 1: 24 Thee Discursive Background to the Invention of Cinema Thee problem of the complexity of existing accounts of the invention of cinema Thee diversity in moving image science and technology: aa matter of research and entertainment Recoveringg unity: converging discourses and the individual CHAPTERR 2: 35 Thee Main Inventors in the History of Cinema Part 1. Thomas Edison Overview w Thee case of Thomas Edison Thee Kinetoscope Edison:: an American myth Thee influence of the phonograph on the Kinetoscope Edison'ss need to reinvent his vision shapes the/film industry. Edison'ss film form is shaped by previous ideas of the technology Summaryy of Part 1 Part 2. The Lumière brothers Overview w Thee case of the Lumière Cinématographe Thee Cinématographe meets several needs Thee Cinématographe and the cultural and social geography of France: Lyonn a centre of practical sciences Thee scientific and philosophical aspects of the Lumières' work with photography andd moving images Thee commercial and development aspects of the Lumières' work Thee Lumière business structure shapes film form Summaryy of Part 2 Part 3. Robert Paul Overview w Thee case of Robert Paul Paull supplies technical deficits Paull becomes an exhibitor Thee Theatrograph and the magic lantern model Thee impact of Paul's approach on film form Summaryy of Part 3 CHAPTERR 3: Neww Film History and the Complexity of the Data Overview w Revisitingg Méliès and the fantastic film Mélièss integrates photography and theatre AA different approach from non-theatrical developers: Hepworth Thomass Edison devolves interest in film production to others: Porter Thee problematic of accounts of early producers Conclusion n Sectionn 2 Shaping Moving Picture Technology CHAPTERR 4: Thee Problem of Technological History and Invention Overview w Thee problem of technological determinism for film history Thee role of the imagined in engineering history Moving-picturee machines and the popular heuristic Conclusion n Sectionn 3 The Technological Imaginary CHAPTERR 5: Thee Emergence of Science and Technological Display Overview w Scientificc display and the case of Joseph Wright of Derby Conclusion n CHAPTERR 6: Thee Institutions of Display Overview w Britain:: The Royal Institute Permanentt exhibitions Scientificc societies America:: The Columbian Exposition as a case study Thee amusement parks Conlusion n CHAPTERR 7: 129 Popularr Science and Journal Publication Overview w Thee dissemination of science through publication Nationall difference in styles: America Nationall difference in styles: Britain Nationall difference in styles: France Conclusion n CHAPTERR 8: 138 Science,, Technology and Entertainment: thee Social Organisation of Their Representation Overview w Thee social organisation of scientific knowledge Sciencee as a career Conclusion n CONCLUSIONN 145 APPENDIXX 1 166 BIBLIOGRAPHYY 167 ACKNOWLEDGEMENTS S Throughh the years of research and writing for this project, this has been the section I most lookedd forward to. Not because it would mean that the work would be over, but that I would, att last, have a chance to publicly thank all those people who helped me along the way. Now thee moment has arrived, however, this final task has become the most difficult of the whole book.. Knowing who to thank is easy but, with such little space, it is who to leave out that is painful.. If that last phrase sounds familiar I am not surprised. It resonates with a line I read inn 1990 in Thomas Elsaesser's book Early Cinema: Space-Frame-Narrative. Writing of the collectionn of essays he says: "...the choice of what to include was easy, what to finally excludee a painful one." It was through his work on early cinema, and that line in particular, thatt I became more than fascinated by very early films and, anxious to find out what the limitationss of space had forced him to exclude from his book, I put away my movie camera andd read all I could. I was doubly fortunate in meeting Thomas, for just as his wit and intellectuall generosity has steered this project, so I was also to benefit from both his and Karenn Pehla's personal support during the time that I lived and worked in Amsterdam; their kindnesss has touched me irrevocably. Thee topic of film history offers many of the fascinations and pleasures that are familiar to alll scholars. But one that must be unique is sitting in the dark with up to a thousand other like-mindedd people for days - even weeks - on end looking at "silent" films. This research wouldd not have been possible without the generosity of those who organise the various film festivalss which serve as a focus and a resource for international scholarship in the field. Particularr thanks go to Le Giornarte del Cinema Muto at Pordennone for the rigour and accessibilityy of their annual celebration of early cinema. Thanks are also due to the city of Bolognaa for their film festival which confirms that early cinema is still public property by combiningg the opportunity to see rare films with spectacular open-air screenings. In the hurriedd meals between programmes at these events, I discovered a community of people whosee interest in early cinema was, for the most part, combined with a generosity and warmthh that added dimensions of pleasure to the research that I could not have anticipated. Listingg this host of contributors to the project would tax the reader, and it is here that the exclusionn of detailed thanks is painful. As a teacher I am well aware that in the informal academyy of social interaction the spontaneous discussion and the passing observation can stimulatee a new direction for enquiry which can change the course of one's thoughts; I have hadd the good fortune to share many such occasions - thank you all. Researchh into any topic needs to be reconciled with the harsh realities of life. This project wouldd not have been possible without the generous financial support of the University of Amsterdam.. It provided the time and an academic framework to fully explore and substantiatee what would have otherwise remained as speculative assertions. Again I was fortunatee that during the period that I lived and worked in Amsterdam I met people who showedd interest in the project and were ready to discuss it with me in English. I was always takenn aback by the patience and generosity they showed in our day-to-day dealings. In particularr I thank Ed Tan for his support, and a chance conversation on a wet and windy streett in Amsterdam that helped me to complete this text. At the department of film and televisionn studies in the University of Amsterdam I also shared an office space with Jan Simons,, and Karel Dibbets. Initially their comings and goings with piles of essays were a mysteryy to me, as I suspect much of what I did was to them. In a very practical way, however,, we "grew up" electronically together - there were simple computers and no email orr world wide web when I started and together, as sceptics and scholars, we negotiated with ann emerging and unstable technology trying to make sense of technical manuals, and the philosophicall implications of the internet. It was a rich period for me. In the same office Willemm Pool efficiently, and with a terrifying typing speed that could rattle the windows, helpedd me through the difficulties of administration. Elsewhere Jobien Kuiper taught me whatt true patience meant as she dealt with my repeated enquiries as though I had made them forr the first time. Without her kindness I would have been a wreck of confusion. Finally my indebtednesss to Patricia Pisters leaves me at a loss; what words can be used to thank a friend andd colleague whose support and intellectual generosity appears to be limitless? Ass Patricia points out in the "Words of Thanks" in her own thesis, books are created and madee by people, and not just those involved in the writing.