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Media-Archaeology & Pre-Cinema - Vintage Photography - Early Cinema - Related Popular Arts


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Please refer to 'Early Visual Media' as your information source for the publication(s) you order
Locating the Moving Image
Edited by Julia Hallam and Les Roberts.
New Approches tot Film and Place  

Available from the publisher.
coming soon

Silent Cinema and the Politics of Space
Edited by Jenifer M. Bean, Anupama and Laura Horak.

Available from the publisher.
coming soon

Screen Culture and the Social Question, 1880 - 1914
Editors, Ludwig Vogl-Bienek & Richard Crangle.

Available from the publisher.
coming soon

Film and Attraction - From Kinematography to Cinema
Editor Martin Loiperdinger.

Available from the publisher.
coming soon

Music, Performance, and the Realities of Film
by Ben Winters

Music, Performance, and the Realities of Film
coming soon

Available from the publisher.

The Wrong House
by Steven Jacobs.
The Architecture of Alfred Hitchcock

The Wrong House
coming soon

Available from NAI publisher.


The Quay Brothers Universum
By Suzanne Buchan, Jaap Guldemond.

The Quay Brothers Universum

This exhibition catalogue is devoted to the universe of stop-motion animators The Brothers Quay.
Born 17 June, 1947 these American identical twin brothers produced a spectacular dark and enigmatic oeuvre often using intriguing scenarios about life and dead.

Today their stop-motion work is greatly influential for other animators. The current exhibition in the EYE Museum, a complete retrospective of their work, is a European first. The exhibit shows artifacts from scientific collections and curiosity cabinets used in their films.

Next to their films the Quay Brothers also constructed small and wonderful dormitoria, a modern equivalent for the
18th. century peepshow box, used for their films.

Not only their films and dormitoria are on display, the exhibition and catalogue strongly focuses on the Quay's original inspirational source material such as drawings, films, literature, music, etc. and other earlier stop-motion filmmakers such as Jan Švankmajer, Prague 1934.

Available from NAI publisher.


Chromatic Cinema
By Richard Misek.

Chromatic Cinema provides the first wide-ranging historical overview of screen color, exploring the changing uses and meanings of color in moving images, from hand painting in early skirt dance films to current trends in digital color manipulation.

  • Offers both a history and a theory of screen color in the first full-length study ever publishe.
  • Provides an in-depth yet accessible account of color's spread through and ultimate effacement of black-and-white cinema, exploring the technological, cultural, economic, and artistic factors that have defined this evolving symbiosis.
  • Engages with film studies, art history, visual culture and technology studies in a truly interdisciplinary manner.
  • Includes 65 full-color illustrations of films ranging from Expressionist animation to Hollywood and Bollywood musicals, from the US ’indie' boom to1980s neo-noir, Hong Kong cinema, and recent comic-book films.

Available from the publisher.

A Companion to Early Cinema
Edited by André Gaudreault.

An authoritative and much-needed overview of the main issues in the field of early cinema from over 30 leading international scholars in the field. First collection of its kind to offer in one reference: original theory, new research, and reviews of existing studies in the field. Features over 30 original essays from some of the leading scholars in early cinema and Film Studies, including Tom Gunning, Jane Gaines, Richard Abel, Thomas Elsaesser, and André Gaudreault. Caters to renewed interest in film studies’ historical methods, with strict analysis of multiple and competing sources, providing a critical re-contextualization of films, printed material and technologies. Covers a range of topics in early cinema, such as exhibition, promotion, industry, pre-cinema, and film criticism. Broaches the latest research on the subject of archival practices, important particularly in the current digital context.

André Gaudreault is Professor in Film Studies at the Université de Montréal, where he heads the research group GRAFICS (Groupe de recherche sur l’avènement et la formation des institutions cinématographique et scénique).

Nicolas Dulac is Lecturer in Film Studies at the Université de Montréal. He has published on early cinema and turn-of-the-century popular culture in journals such as 1895 Revue d’Histoire du Cinéma, Cinema & Cie, and Early Popular Visual Culture.

Santiago Hidalgo is Lecturer in Film Studies at the Université de Montréal. He has published on early cinema, film criticism, and film historiography in Cinémas and in conference proceedings for events in Udine, Italy and Cerisy, France.

Available from the publisher.

Fantastic Voyages of the Cinematic Imagination
By Matthew Solomon.
Fantastic Voyages of the Cinematic Imagination

In his introduction, Matthew Solomon traces the convoluted provenance of the film’s multiple versions and its key place in the historiography of cinema, and an appendix contains a useful dossier of primary-source documents that contextualize the film’s production, along with translations of two major articles written by Méliès himself.

Included with the book is a critical edition DVD containing two versions of the film: a reconstructed version (finally presented at the speed specified in Méliès’s catalogs) accompanied by an original 1903 score and a recently rediscovered color-tinted version; both have optional audio commentaries by the editor.

Matthew Solomon is Associate Professor of Cinema Studies at the College of Staten Island, City University of New York. He is the author of 'Disappearing Tricks: Silent Films, Houdini, and the New Magic of the Twentieth Centure'.

Available from the publisher.

Disappearing Tricks
Silent Film, Houdini and the New Magic of the Twentieth Century
By Matthew Solomon.

An entirely new and comprehensive approach to the relationship between stage magic and early cinema.

Disappearing Tricks revisits the golden age of theatrical magic and silent film to reveal how professional magicians shaped the early history of cinema. While others have called upon magic as merely an evocative metaphor for the wonders of cinema, Matthew Solomon focuses on the work of the professional illusionists who actually made magic with moving pictures between 1895 and 1929.

The first to reveal fully how powerfully magic impacted the development of cinema, the book combines film and theater history to uncover new evidence of the exchanges between magic and filmmaking in the United States and France during the silent period.

Chapters detailing the stage and screen work of Harry Houdini and Georges Méliès show how each transformed theatrical magic to create innovative cinematic effects and thrilling new exploits for twentieth-century mass audiences. The book also considers the previously overlooked roles of anti-spiritualism and presentational performance in silent film.

Matthew Solomon is Associate Professor of Cinema Studies at the College of Staten Island, City University of New York. He is the author of 'Fantastic Voyages of the Cinematic Imagination

Available from the publisher.

Highlighting early cinema's relationship to the performing body, visual deception, storytelling, and the occult, Solomon treats cinema and stage magic as overlapping practices that together revise our understanding of the origins of motion pictures and cinematic spectacle.

Film and Attraction - From Kinematography to Cinema
By André Gaudreault.
An important reexamination of early film history, translated from the French for the first time!

Establishing a new vision for film history, Film and Attraction: From Kinematography to Cinema urges readers to consider the importance of complex social and cultural forces in early film. André Gaudreault argues that Edison and the Lumières did not invent cinema; they invented a device.

Explaining how this device, the kinematograph, gave rise to cinema is the challenge he sets for himself in this volume. He highlights the forgotten role of the film lecturer and examines film's relationship with other visual spectacles in fin-de-siècle culture, from magic sketches to fairy plays and photography to vaudeville.

In reorienting the study of film history, Film and Attraction offers a candid reassessment of Georges Méliès' rich oeuvre and includes a new, unabridged translation of Méliès' famous 1907 text "Kinematographic Views." A foreword by Rick Altman stresses the relevance of Gaudreault's concerns to Anglophone film scholarship.

Available from the publisher.

André Gaudreault is a professor at the Département d’histoire de l’art et d’études cinématographiques at the Université de Montréal, the author of From Plato to Lumière: Narration and Monstration in Literature and Cinema, and the editor of American Cinema 1890–1909: Themes and Variations.

What Makes a Film Tick
Cinematic Affect, Materiality and the Mimetic Innervation
By Anne Rutherford

This book offers a close study of how film produces sensory-affective experience for the spectator. It argues that we must explore this affective dimension if we want to understand how cinema takes up cultural or thematic issues. Examining cinematic affect through close readings of how affective immersion in cinema works to engage viewers with history, memory and cultural specificity, it deals with both fiction film and documentary.

Taking an international perspective, it includes case studies of Korean detective film, classical Japanese cinema, modern Greek cinema, independent American cinema, Indian documentary, Australian television documentary, Indonesian political docudrama, avantgarde French documentary and Australian Indigenous film.

Rutherford draws on the analysis of embodied affect to revise many of the foundational concepts of film studies. Drawing on Miriam Hansen's readings of Walter Benjamin and Siegfried Kracauer, the book explores the capacity of film to produce experiences in which the boundaries between the spectator and the film become porous and the viewer is transported in a heightened way into the film.

Available from the publisher.

They Thought it was a Marvel
By Tjitte De Vries & Ati Mul.
Arthur Melbourne-Cooper (1874-1961) Pioneer of Puppet Animation

In a world obsessed with firsts, this fascinating book with its accompanying DVD analyses the stop-motion films made by the British pioneer filmmaker Arthur Melbourne-Cooper, arguably the maker of the first ever animation, MATCHES APPEAL, dating from 1899, in which an animated matchstick writes out on a blackboard an appeal to the British audience urging them to donate money to subsidise shipments of matches to the troops fighting in the Boer War in South Africa.

If this dating of the film is correct, it would make it the first-ever animated film shown in cinemas, years ahead of the known early animations, and long before Walt Disney was born.

Drawing on a wealth of archival material, frame-by-frame analysis, as well as interviews with Melbourne-Cooper and his family and associates, this book argues convincingly in favour of this early dating of MATCHES APPEAL, and sketches an unforgettable portrait of animations early days, while being a vital contribution to the history of early cinema.

The DVD of the six surviving animation films made by Melbourne-Cooper is a wonderful revelation of what early cinema-going audiences saw and marvelled at.

Available from the publisher.


Emile Cohl:
l' Inventeur du dessin animé
By Pierre Courtet-Cohl, Bernard Génin, Isao Takahata


Emile Cohl: l' Inventeur du dessin animé
Emile Cohl: Inventor the Animation Film

Biography & Filmography of Emile Cohl, inventor of animation film.
Emile Cohl started his cinema career at the age of 50, producing more than 300 films, only 65 of his living pictures are recovered.

The book is accompanied by two DVD's (click) making Cohl's oeuvre available from one source for the first time.

Click cover for more information on the book.
Click here for more information on the DVD's.

Encyclopedia of Early Cinema
By Richard Abel.
Paperback edition of the The Encyclopedia of Early Cinema, a unique one-volume reference work which explores the first 25 years of cinema's development, from the early 1890s to the mid-1910s.

This encyclopedia covers all aspects of scholarship on early cinema, both traditional and revisionist. It contains articles on the technological and industrial developments, the techniques of film production, the actors and filmmakers of the time, and on the changing modes of representation and narration, as well as the social and cultural contexts within which early films circulated, including topics such as distribution, exhibition and audience.

More than 950 entries have been commissioned from internationally recognized specialists. Alphabetically organized, the entries range in length from short factual articles to full essays that offer clear and stimulating discussions of the key issues, people, practices, and phenomena of early cinema.

A thematic list of entries is a useful guide through the book, and all entries contain detailed cross-references. The longer articles have considered suggestions for further reading, which are complemented by a general bibliography of specialized works on early cinema.

The Encyclopedia of Early Cinema is an invaluable and fascinating resource for students and researchers interested in the history of cinema. Available in paperback & hardback.
See also Stephen Herbert's 3 volume set's on Early Film & Pre-Cinema

Now Playing:
Early Moviegoing and the Regulation of Fun
By Paul S. Moore

Now Playing locates the origins of the mass audience and the emergence of everyday moviegoing in the culture of cities. Using Toronto as a case study, and focusing on a period from the opening of the first theaters showcasing moving pictures in 1906 to the end of World War I, Now Playing locates the origins of our present-day mass audience in the culture of cities.

Paul S. Moore examines the emergence of everyday moviegoing and its regulation through neglected details like fire safety, newspaper ads, serial films, and amusement taxes, connecting them to more familiar themes of studio ownership of theaters, censorship, and journalism.

“The research effort that has gone into this book is commendable. For the period from 1906 to 1918, Paul Moore has scoured government documents, trade publications, religious periodicals, and especially the daily press, looking for any scrap of information about the introduction of motion pictures to Toronto.” — Canadian Journal of Law and Society.

“Paul Moore handles his subject brilliantly. The questions he addresses are crucial for the advancement of our comprehension of early cinema, and the book is a model for pinpoint historical research.” — André Gaudreault, Université de Montréal.

Click cover for more information.

Stagestruck Filmmaker - D. W. Griffith and the American Theatre

By David Mayer.

“David Mayer combines groundbreaking archival work with first-rate cultural history to establish the lineage between theatre and early film. Mayer’s clear and nuanced reading challenges current views of melodrama, early film acting, and verisimilitude in art, indeed the very relationship between stage and screen in D. W. Griffith’s America"
Rosemarie K. Bank, Kent State University

“This fascinating study makes a compelling case for how intricately D. W. Griffith’s historic film career was embedded in and influenced by the American theatre.”
Kim Marra, author of Strange Duets: Impresarios and Actresses in the American Theatre, 1865–1914.

An actor, a vaudevillian, and a dramatist before he became a filmmaker, D. W. Griffith used the resources of theatre to great purpose and to great ends. In pioneering the quintessentially modern medium of film from the 1890s to the 1930s, he drew from older, more broadly appealing stage forms of melodrama, comedy, vaudeville, and variety. In Stagestruck Filmmaker, David Mayer brings Griffith’s process vividly to life, offering detailed and valuable insights into the racial, ethnic, class, and gender issues of these transitional decades.

Click cover for more information.

The Man who made Movies - W. K. L. Dickson
By Paul Spehr
W.K.L. Dickson was Thomas Edison’s assistant: for Edison he was in charge of experimentation that led to the Kinetoscope and Kinetograph, the first commercially successful moving image machines.

Dickson established what we know today as the 35mm format (in 1891–1892); designed the Black Maria film studio and facilities to develop and print film; and he supervised production of more than 100 films for Edison (he acted as producer-director using an assistant to operate camera).

After leaving Edison he was a founding member of the American Mutoscope Co. (later American Mutoscope & Biograph, then Biograph). He also set-up production; designed a studio; trained staff and supervised film production. In 1897 he went to England to set-up the European branch of the company and repeated all that again.

During his career he made between 500 and 700 films and many of his films are images used by scholars of the period – Fred Ott Sneezing, Sandow Annabelle’s Butterfly Dances, etc.

His career touched many of the pioneers of the industry so by looking at his work, this well-illustrated book covers much of the early history of the industry, but from the perspective of his career. It is also a window on Thomas Edison, but from a quite different perspective.

Click cover for more information.

Visual Delights - two - Exhibition and Reception

Edited by Vanessa Toulmin & Simon Popple.

Visual Delights II, Exhibition and Reception is an international anthology of papers taken from the successful second Visual Delights conference held at the University of Sheffield in 2002.

It brings together a rich vein of material covering many aspects of popular and visual culture in the late Victorian and early Edwardian period. Interdisciplinary in approach, it includes essays on nineteenth century circus performers, early cinema exhibition practice, ‘penny dreadfuls’, lantern culture, early colour experiments and popular photography.

With essays from internationally renowned historians in the fields of early cinema, art history, performance, photography and theatre studies, it offers a wealth of significant new material and demonstrates a variety of approaches to this rich material.

The book is lavishly illustrated with contemporary photographs, posters, magic lantern slides and engravings and provides a rich visual resource for the further study of nineteenth century visual culture and performance practice.

Click cover for more information.

Networks of Entertainment  
Early Film Distribution 1895 - 1915

Edited by Frank Kessler & Nanna Verhoef.

This collection of essays explores the complex issue of film distribution from the invention of cinema into the 1910s. From regional distribution networks to international marketing strategies, from the analysis of distribution catalogues to case studies on individual distributors these essays written by well-known specialists in the field discuss the intriguing question of how films came to meet their audiences.

As these essays show, distribution is in fact a major force structuring the field in which cinema emerges in the late 19th and early 20th century, a phenomenon with many facets and many dimensions having an impact on production and exhibition, on offer and demand, on film form as well as on film viewing.

A phenomenon that continues to play a central role for early films even today, as digital media, the dvd as well as the internet, are but the latest channels of distribution through which they come to us.

Among the authors are Richard Abel, André Gaudreault, Viva Paci, Gregory Waller, Wanda Strauven, Martin Loiperdinger, Joseph Garncarz, Charlie Keil, Marta Braun, and François Jost.

Click cover for more information.

Film 1900: Technology, Perception, Culture

Edited by Annemone Ligensa & Klaus Kreimeier.

The current digital revolution has sparked a renewed interest in the origins and trajectory of modern media, particularly in the years around 1900, a period of rapid and profound cultural change.

This collection aims to broaden our understanding of early cinema as a significant innovation in media history. Joining traditional scholarship with fresh insights from a variety of disciplines, this book explores the institutional and aesthetic characteristics of early cinema as a specific configuration of technology, perception and culture.

It situates early cinema in trans-cultural developments, such as scientific revolutions, industrialization, urbanization, and globalization, but also addresses cultural differences in the process of modernization. Film 1900 is an important reassessment of early cinema’s position in cultural history.

Click cover for more information.

Cinematic Emotion in Horror Films and Thrillers
by Julian Hanich.
The Aesthetic Paradox of Pleasurable Fear  
Cinematic Emotion in Horror Films and Thrillers

The paradox of fear 'I'm afraid, therefore I enjoy' partly explains the popularity of horror in film or other visual depictions (even in books) on 'the fantastic'.

(information from publisher)

Why can fear be pleasurable? Why do we sometimes enjoy an emotion we otherwise desperately wish to avoid? And why are the movies the predominant place for this paradoxical experience? These are the central questions of Julian Hanich’s path-breaking book, in which he takes a detailed look at the various aesthetic strategies of fear as well as the viewer’s frightened experience.

By drawing on prototypical scenes from horror films and thrillers like Rosemary’s Baby, The Silence of the Lambs, Seven and The Blair Witch Project, Hanich identifies five types of fear at the movies and thus provides a much more nuanced classification than previously at hand in film studies.

His descriptions of how the five types of fear differ according to their bodily, temporal and social experience inside the auditorium entail a forceful plea for relying more strongly on phenomenology in the study of cinematic emotions.

See also Routledge's Bookpage.


A History of Early Film

Selected and with a new introduction by Stephen Herbert

Selected & introduction by Stephen Herbert
Selected & introduction by Stephen Herbert
Selected & introduction by Stephen Herbert.
Transferred to Digital Printing 2006 - Click publication covers for more information  
See also Routledge's Encyclopedia of Early Cinema
See also Herbert's 3 volume set on Pre-Cinema

Routledge's A History of Early Film comprises reprints of important and interesting writings on the subject, from 1894-1917. There was much development in these early days, in both film production and exhibition. This contribution considers the actual films, the technologies that made them possible, and their exhibition in a variety of venues, seen through publications of the period.

This set collects together for the first time rare and scattered material on the history of early film. Many histories of early film are needed, if we are to develop our understanding of the first years of motion pictures. This selection is limited to the English language, and mostly relates to early film in Britain - then important in both production and exhibition - with some reference to USA and Europe.

This three volume set is a unique facsimile set of rare documents on 'Early Film'. Priority is given to documents that are rare and/or difficult to consult. For this, the set has great value for researchers by giving insight on vintage documents dating back to the period of early cinema and cinematography.
This work is divided into the following sections:

  • Volume one / Invention / Victorian Cinema (1894-1901) / The medium develops (1901-6)
  • Volume two An established industry (1907-14)
  • Volume three Critical appraisal and the social concern
See also Herbert's 3 volume set on Pre-Cinema & Television
See Routledge's Encyclopaedia's on 19th & 20th Century Photography

The Travelling Cinemathograph Show
by Kevin Scrivens & Stephen Smith.
The Travelling Cinemathograph Show.
(information from publisher)

Acknowledged as a classic book detailing the advent of moving pictures in Britain and its transfer to the fairgrounds, at first as a novelty in small booths, and then its subsequent growth into magnificent travelling picture palaces.

The book attempts to catalogue every show that travelled Great Britain, with many detailed biographical notes about the people that travelled them.

There is also a detailed biographical section on the mechanical organs which were attached to the shows and the intense competition in the fairground organ building industry in Paris.

'The Travelling Cinemathograph Show' can be ordered directly from:

ISBN Number: 0 9535067 0 2
Click cover to open the Joylandbooks bookpage.

Visit the Fairground page on Early Visual Media.

Silent Cinema - An introduction
By Paolo Cherchi Usai.
 (information from publisher)  
Silent Cinema - An introduction.

Published for the first time in English in 1994, as Burning Passions, Cherchi Usai's groundbreaking guide to silent film studies has become the indispensable textbook for scholars, researchers and archivists.

This much-awaited sequel to the first edition has been extensively rewritten and updated in order to reflect the spectacular development witnessed by the discipline in the past few years.

In addition, two new chapters have been added for this edition. The first is an extensive analysis of colour technology and aesthetics, from hand-colouring to the dawn of Technicolor. The second is a detailed account of how silent films are saved from destruction, restored, and made accessible by film archives.

A number of new illustrations, tables, bibliographical references and historical sources add additional value to this fundamental survey of the first thirty years in the history of the moving image.

Click on cover for more information or to order this book.
See also Routledge's Encyclopedia of Early Cinema

See some Silent Film Stills on Early Visual Media.

Silent Film Sound
by Rick Altman.

Silent Film Sound.

This book is an unprecedented reference source for the history and use of life music accompaniment during silent film projection. The history of sound practices in the silent cinema era is less known and a less obvious field for research.

Altman however rewrites the history of sound practices by the aid of primary sources. This major work is a key reference book for all film libraries, pre-cinema & early cinema collections.

More information on this book can be read on the Columbia University Press bookpage where also bookorders can be placed. See also Amazon to order this title.

Rick Altman is professor of cinema and comparative literature at the University of Iowa. He is the author of 'The American Film Musical', editor of 'Sound Theory Sound Practice', and coeditor of 'The Sounds of Early Cinema'.

See some further links to Early Cinema websites.
- Film Sound History.
- Early Cinema related sites.
- Early Film page on Early Visual Media.

The International Federation of Film Archives
This book, published by the FIAF, is an homage to the precious and most vulnerable first 50 years of film history. One of the many chapters in the book is dedicated to the dangers of fire and nitrate.

The then chapters of this mammoth volume (690 pages) explains various facets of nitrate.
Deac Rossel, member of both, The British Film Institute and The Magic Lantern Society of Great-Britain unveils the history of celluloid.

To most people it is less known that a large amount of these vintage moving images were colored by hand, frame by frame.
A small selection of film stills are illustrating this myriad of colors so characteristic for the early film era.

The book publishes articles by more than 100 authors. The papers given at the symposium 'The Last Nitrate Picture Show', FIAF Congress june 2000, is included.

350 illustrations, with two color sections, are illustrating this combustible part of early film history. The book concludes with a Nitrate Filmography.

Click on cover to order the book directly from FIAF Bookshop.

See some early Nitrate film stills on Early Visual Media.

Le Cinéma Graphique
By Dominique Willoughby.

Le Cinéma Graphique

'Le Cinéma Graphique' offers a 170 years history of animated drawings and optical toys to the age of today's digital cinema. The amazing world of serial drawings and paintings to conjure-up the of cinema and his early forerunners such as Emile Reynaud's 'Theatre Optique'.

The book offers a new approach on the history of cinema, the arts, spectacles, television, Internet, audiovisual design and video games. This is one of the rare well researched publications offering a wide scope on the development of the animated image.

The author studied intensively the art of graphic cinema and realized a film on the movement of stroboscopic discs from the 19th century.

Click book cover for more information on the Le Cinéma Graphique.

Early Cinema: From Factory Gate To Dream Factory
Simon Popple and Joe Kember

'Early Cinema: From Factory Gate To Dream Factory' explores the period 1895 to 1914 when cinema established itself as the leading form of 'visual culture' among rapidly expanding global media.

It emerged from a rich tradition of scientific, economic, entertainment and educational practices, and quickly developed as a worldwide institution. The book introduce the student to the study of cinema as a series of aesthetic, technological, cultural, ideological and economic debates while exploring new and challenging approaches to the subject.

It is divided into thematic sections with a broad topic and making use of the latest research in this field presenting both critical and practical advice for the student through a series of case studies.
(Information from the back-cover of the publication)

"Bringing new perspectives and rigour to the study of film and popular culture, there is a real need for the up-to-date introduction that Popple and Kember provide"
(Prof. Ian Christie - Birbeck College, London)

The book is published by the Wallflower Press
Click cover for more information.
See also Routledge's Encyclopedia of Early Cinema

Uncany Bodies
By Robert Spadoni.
The Coming of Sound Film and the Origins of the Horror Genre  
(information from publisher)

Uncany Bodies
The Coming of Sound Film and the Origins of the Horror Genre

In 1931 Universal Pictures released Dracula and Frankenstein, two films that inaugurated the horror genre in Hollywood cinema. These films appeared directly on the heels of Hollywood's transition to sound film.

Uncanny Bodies argues that the coming of sound inspired more in these massively influential horror movies than screams, creaking doors, and howling wolves. A close examination of the historical reception of films of the transition period reveals that sound films could seem to their earliest viewers unreal and ghostly.

By comparing this audience impression to the first sound horror films, Robert Spadoni makes a case for understanding film viewing as a force that can powerfully shape both the minutest aspects of individual films and the broadest sweep of film production trends, and for seeing aftereffects of the temporary weirdness of sound film deeply etched in the basic character of one of our most enduring film genres.

More information can be found on the University of California Press website.

Performing Illusions - Cinema, Special Effects and the Virtual Actor
By Dan North..
 (information from publisher)  
Performing Illusions.

The camera supposedly never lies, yet film's ability to frame, cut and reconstruct all that passes before its lens made cinema the pre-eminent medium of visual illusion and revelation from the early twentieth century onwards.

This volume examines film's creative history of special effects and trickery, encompassing everything from George Méliès’ first trick films to the modern CGI era.

Evaluating movements towards the use of computer-generated 'synthespians' in films such as Final Fantasy: The Spirits Within (2001), this title suggests that cinematic effects should be understood not as attempts to mimic real life perfectly but as constructions of substitute realities, situating them in the cultural lineage of the stage performers and illusionists of the nineteenth century.

With analyses of films such as Destination Moon (1950), Spider-Man (2002) and the King Kong films (1933 and 2006), this new volume provides an insight into cinema's capacity to perform illusions.

Click cover for information or order this book from Wallflower Press.
Click cover for information or order this book from Columbia University Press.

The Cinema of Jan Švankmajer
Edited by Peter Hames.
 (information from publisher)  

The Cinema of Jan Švankmajer.

The Cinema of Jan Švankmajer explores the legacy of this legendary Czech surrealist filmmaker, a key influence on directors such as Terry Gilliam and Tim Burton, and one of the greatest animators in film history.

Thus updated second edition _ still the only full-length study of his work _ features contributions from scholars and colleagues within the Czech surrealist movement, as well as a new chapter on Švankmajer's feature films and an extended interview with Švankmajer himself.

This volume is required reading for students of Czech cinema as well as all budding animators and disciples of surrealism.

Click cover for information or order this book from Wallflower Press.
Click cover for information or order this book from Columbia University Press.

'l' Śuvre de Georges Méliès'
By Laurent Mannoni & Jaques Malthête.

'l' Śuvre de Georges Méliès'

A wonderful and unprecedented Méliès Oeuvre catalogue illustrated with 500 documents from the Cinémathèque Française and the CNC.

The catalogue is accompanying the exhibition in the Cinémathèque Française curated by Laurent Mannoni & Jaques Malthête.

Click on cover for more information or to order this publication.

Read further information on the new Méliès catalogue and DVD.


Stereoscopic Cinema and the Origins of 3-D Film
By Ray Zone.
1838 - 1952  

Stereoscopic Cinema and the Origins of 3-D Film.

This book is a welcome addition to the publications devoted to Stereoscopic Cinema.
At the dawn of cinematography, the three-dimensional image was already at the height of his popularity thanks to widespread stereoscopic photographs.

By this as it may, 'The Power of Love' (1922), first stereoscopic film, profits from a stereoscopic technology and experience started in 1838 with the invention of the Wheatstone stereoscope.

The book's content unveils a myriad of trivia such as the above fact which correct the general idea that stereoscopic cinema started in the 1950's with the aid of red & blue anaglyph glasses to separate the left & right images.

Besides the thorough research on the chronology of 3-D films, the book is also looking back to the forerunners of stereoscopic sight as experienced in the
18th. Century peepshows.

'Stereoscopic Cinema and the Origins of 3-D Film' can be ordered directly from: Kentucky Press. Click on cover for more information or to order this book.

See also the author's website.
Click for Visual Media's introduction on stereoscopy.

The Horror Genre - From Beelzebub to Blair Witch
by Paul Wells.
(information from publisher)  
The Horror Genre - From Beelzebub to Blair Witch

A concise and accessible introduction to the history and key themes of one of the most important film genres in cinema history. The main issues and debates raised by horror and the approaches and theories that have been applied to horror texts are all explored.

In addressing the evolution of the horror film in social and historical context, this volume explores how it has reflected and commented upon particular historical periods, and asks how it may respond to the new millennium by citing recent innovations in the genre's development, such as the urban myth narrative underpinning Candyman and The Blair Witch Project.

Paul Wells is Director of Animation at the Animation Academy, Loughborough University, UK. He is the author of Animation: Genre and Authorship (2002)

Click cover for information or order this book from Wallflower Press.
Click cover for information or order this book from Columbia University Press.

Read about the forerunner of Horror movies on Early Visual Media.

The Man Who Stopped Time
by Brian Clegg.
(information from publisher)  
The Man Who Stopped Time.

The photographs of Eadweard Muybridge are immediately familiar to us. Less familiar is the dramatic personal story of this seminal and wonderfully eccentric Victorian pioneer, now brought to life for the first time in this engaging and thoroughly entertaining biography.

His work is iconic: the first icons of the modern visual age. Men, women, boxers, wrestlers, racehorses, elephants and camels frozen in time, captured in the act of moving, fighting, galloping, living. Scarcely a day goes by without their derivate use somewhere in today's media. And if most of us have seen Muybridge's distinctive stop-motion photographs, all of us have seen the fruit of his extraordinary technological innovation: today's cinema and television.

But it is his personal life that possesses all the ingredients of a classic non-fiction best-seller: a passionately driven man struggling against the odds; dire treachery and shocking betrayal; a cast of larger-than-life characters set against a backdrop of San Francisco and the Far West in its most turbulent and dangerous era; a profusion of scientific and artistic advances and discoveries, one hotly following on another; the nervous intensity of two spectacular courtroom dramas (one pitting Muybridge against the richest man in the land and staring ruin in the face, the other sees him fighting for his life).

And for the opening act, a foul murder on a dark and stormy night.

Skillfully articulating the fascinating history of a now ubiquitous technology, author Brian Clegg combines ingredients from science and biography to create an eminently readable, fast-paced, and surprising story.

Click on cover for more information or to order this catalogue.

The Haunted Gallery - Painting, Photography, Film c. 1900
By Lynda Nead.
The Haunted Gallery.

The dawn of cinema dramatically changed our visual culture.

'The Haunted Gallery' is a fascinating and well illustrated book showing the influences of the young medium, Moving Pictures, in relation to Painting, Photography, Magic Lantern pictures, Astronomy and Stage Magic at the 'hing point' of the 19th. & 20th. Centuries.

This groundbreaking book explores the history of Visual Media in Britain during this key period that witnessed a transformation from stasis to movement across the entire range of Visual Media.

For this as it may, this book should become one of the inavitable reference sources for all 'vintage and today's' media history enthusiasts.
Click on cover for more information or to order this book.

'The Haunted Gallery' (291 pages) can be ordered directly from:
Yale University Press.

William Haggar - Fairground Film maker
By Peter Yorke.

William Haggar - Fairground Film maker.
Biography of a Pioneer of the Cinema.

Since most people came in contact with the invention of cinemathography on Fairground, a biography on the life of a Fairground exhibitor offers a wonderful look behind the scenes of these earliest pioneer public filmscreenings.

The author, Peter Yorke, is William Haggar's great-grandson which gives the book an even more greater appeal since the story is based on oral reminiscences, unpublished family memoirs and contemporary press reports.
Read more about the book on the author's website.

This book is a must for all interested in Victorian itinerant theatres, fairground bioscope shows, the films by Haggar himself and popular entertainment at the end of the
19th. and the dawn of the 20th. Century in general.

'William Haggar - Fairground Film maker' can be ordered directly from:
Áccent Press Ltd.
Click on cover for more information or to order this book.

Visit another Fairground exhibitor on Early Visual Media.

.Animation Art at Auction, The Early Years  
Series of 3 books
Animation Art at Auction
Animation Art at Auction - since 1994.
This is a lavishly illustrated 3 volume series of animation ephemera prizes realized in auction houses.

Depicted and still available are vol. I 'The early Years: 1911 - 1953' and vol. 3 'Since 1994'

Besides their commercial purpose, the books act as an important reference guide with hundreds of illustrations from animation films and the studios who produced them.

Animation Art at Auction' is available from Bushwood Books. P&P free within the UK.

The Cinema of Attractions Reloaded
by Wanda Strauven.
  (information from The University of Chicago Press)
The Cinema of Attractions Reloaded.

Twenty years ago, noted film scholars Tom Gunning and André Gaudreault introduced the phrase “cinema of attractions” to describe the essential qualities of films made in the medium’s earliest days, those produced between 1895 and 1906. Now, 'The Cinema of Attractions Reloaded' critically examines the term and its subsequent wide-ranging use in film studies.

The collection opens with a history of the term, tracing the collaboration between Gaudreault and Gunning, the genesis of the term in their attempts to explain the spectacular effects of motion that lay at the heart of early cinema, and the pair’s debts to Sergei Eisenstein and others.

This reconstruction is followed by a look at applications of the term to more recent film productions, from the works of the Wachowski brothers to virtual reality and video games.

With essays by an impressive collection of international film scholars - and featuring contributions by Gunning and Gaudreault as well - The Cinema of Attractions Reloaded will be necessary reading for all scholars of early film and its continuing influence.

'The Cinema of Attractions Reloaded' can be ordered directly from: Amsterdam University Press. Click on cover for more information or to order this book.

Du Praxinoscope au cellulo:
Editorial par Véronique Cayla.
un demi-siècle de cinéma d’animation en France (1892-1948)
'Du Praxinoscope au Cellulo' is an important reference source for the first 50 years of animation film in France. It was published on the occasion of a rétrospective held in the Cinémathèque Française, Paris.

The catalogue offers an extensive chronology on the first half century of animation in France.

Starting with Emiel Reynaud's, on glass painted, moving images (1892) in which, for the first time, perforations where used to transport and synchronise the hand-painted transparencies.

The lavishly illustrated book features a complete technical fiche of 120 French animation films. In addition, a good selection of 14 films on DVD is enclosed in this book.

Published by the CNC (Centre National de la Cinématographie) the catalogue can be ordered from Scope Editions.

This catalogue + DVD is an essential reading for students, researchers, collectors and enthusiast in (French) animation films.
Click on cover for more information or to order this book.


E. J.
Sous la direction de Dominique de Font-Réaulx,.
Actes du colloque du centenaire
Thierry Lefebvre et Laurent Mannoni.

E. J. Marey.
Actes du colloque du centenaire

In 2004, the centenary of the death of E. J. Marey was celebrated (1830 - 1904).
Marey was the inventor of 'La méthode Graphique, Chronophotography and and keyfigure in the cinema pioneer era.

The text of the 2004 colloquium «Étienne-Jules Marey et le Film Scientifique», is now available in a new key reference book 'E. J. Marey.
Actes du colloque du centenaire'
In addition, the book is accompanied by an an unprecedented chronopictorial reference source featuring a DVD with 400 early films.

More information on this well illustrated book can be read on the Cinémathèque's Colloque Marey page.
The book is available in the Cinémathèque' s bookshop or can be ordered directly from the publisher ARCADIA.

400 chronophotographical films from the period 1890 - 1904, preserved by the Cinémathèque Française, are now available to the public for the first time.

Both, book & DVD, make a fascinating reference and should be available in all filmlibraries and private film bookshelves of the avid pre-cinema & cinema collector, historian or researcher.

The animate! book - Rethinking animation
Edited by Benjamin Cook and Gary Thomas.

the animate! book - rethinking animation.

animate!, the ground-breaking commissioning project established by Arts Council England and Channel 4 which supports risk-taking and experimental animation works for television, is the focus of The animate! Book, just published by LUX in collaboration with Arts Council England.

Since 1990 animate! has commissioned 84 dynamic and diverse films including works from David Shrigley & Chris Shepherd (Who I Am and What I Want), Run Wrake (Rabbit) and AL + AL (Perpetual Motion in the Land of Milk and Honey and Interstellar Stella), amongst others.

The animate! Book, illustrated with 870 full-colour film images and graphics, explores the vibrant discourses round the scheme, taking animate! as a starting point for a wide-ranging exploration of the relationship between art and animation, and the place of animation and its concepts in contemporary art practice.

The book additionally comes with a DVD of ten films commissioned by animate! representing the diversity of projects that the project has supported. (Text Source)
The book is published by LUX and distrubuted Wallflower Press
Click cover for more information.

Stanley Kubrick
by Martin Scorsese, Jan Harlan & others.
Stanley Kubrick:
An exhibition of the Deutsches Filmmuseum, Frankfurt am Main and Christiane Kubrick/Stanley Kubrick Estate

Stanley Kubrick is one of the most outstanding directors in film history. For the first time worldwide, the Deutsches Filmmuseum presents a major exhibition on his work.
In close co-operation with Christiane Kubrick and his long-standing executive producer, Jan Harlan, the inaccessible estate of the director has been catalogued. For eight months an archivist of the Deutsches Filmmuseum has been researching at the estate at St. Albans, near London.

In a co-operation between Deutsches Filmmuseum and the Deutsches Architektur Museum in Frankfurt am Main , the Stanley Kubrick Exhibition was presented in Frankfurt am Main as a world premiere from March 31 to July 04, 2004.

From October 5, 2006 to January 7, 2007 it is shown at the Caermersklooster in Ghent. In an area of about 1,200 square metres the exhibition shows primary material from the Kubrick Archives: iconographic items from all of his films, costumes, special effects documentation, camera equipment and extensive working and research documents. (Text from Ghent Film Festival website)

Cinema Before Cinema: The Origins Of Scientific Cinematography
Virgilio Tosi

'Cinema Before Cinema' is one of the most useful sources I ever came across. The book argues that cinema began before the public screening of the Cinématographe Lumière on 28 December 1895.

The reel origins of cinema can be found in the work of early scientific experimenters such as Etienne-Jules Marey, Georges Demeney, Jules Janssen, Albert Londe, Ottomar Anschütz, Eadweard Muybridge, etc.

Originally this book was published in the Italian language (1984), 'Il Cinema prima di Lumière'. Initially accompanied with a video documentary, the current English translation is accompanied by a DVD documentary. (Although you need to order them separately)

In addition to the original '84 version, the translation is enriched with new research and insights.
'Cinema Before Cinema' is published by the British Universities Film & Video Council
Click cover for more information.

See also Routledge's Encyclopedia of Early Cinema

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