Performing new media, 1890-1915 /edited by Kaveh Askari, Scott Curtis, Frank Gray, Louis Pelletier, Tami Williams and Joshua Yumibe.
Performing new media, 1890-1915 /edited by Kaveh Askari, Scott Curtis, Frank Gray, Louis Pelletier, Tami Williams and Joshua Yumibe.
- New Barnet, Herts : John Libbey Publishing Limited, (c)2015.
- 1 online resource
Includes bibliographies and index.
Performing on the screen : actors and personalities -- Lois Weber at Rex : performing femininity across media / Diva intermedial : Lyda Borelli between art, photography, theatre and cinema / Why sue "Little Mary?" : how Independent Moving Pictures Company of America v Gladys Smith and Owen Moore (1911) defined celebrity and professionalism for film actors / Camera distance and acting in the Griffith Biography / Performance times : the lightning cartoon and the emergence of animation / La transparence du Fregoligraph en question / In the flesh : personal appearances and the picture personality in Britain / Performers : now synchronised on screen / Performing beside the screen : narrators, showmen, and musicians -- Missing believed lost : the film narrator, then and now / Standards of practice in transition : the showmanship of Jasper Redfern as it emerged / Showmanship skills and the changing role of the exhibitor in 1910s Scotland / Showing film in winter (1904-1906) : Alberts Frères' film galas in Dutch multi-purpose buildings / Performing new media and the creation of national identity : Kräusslich and Köpke in Norway before 1910 / Music programming and the formation of Swedish cinema culture / "Marvelous and fascinating" : L. Frank Baum's Fairylogue and radio-plays (1908) / The multiple media lecture : Racing with death in Antarctic blizzards (1915) / Performing with the screen : audiences, educators and officials -- Kinoreformbewegung revisited : performing the cinematograph as a pedagogical tool / Health on display : the Panama-Pacific International Exposition as sanitary venue / Lyrical education : music and colour in early non-fiction film / "Offensive and riotous behaviour"? Performing the role of an audience in Irish cinema of the mid-1910s / Tango mad and affected by cinematographitis : rhythmic "contagions" between screens and audiences in the 1910s / Intermedial performance -- Screening sensations and live performance : the creative blending of traditional and new projected media at the start of the twentieth century / Le spectacle de lanterne magique considèrè sous l'angle de la conférence : quelques traces écrites d'une performance orale / Getting to know the Dutch : magic lantern slides as traces of intermedial performance practices / 20 minutes or less : short-form film-and-theatre hybrids : skits, sketches, playlets, and acts in vaudeville, variety, revues, &c. / Between Karagöz and cinema : connectivity, mobility, collectivity / Entre nouveauté et continuité : le spectacle cinématographique serait-il une émergence des ombres françaises? / "Performed live and talking. No kinematograph" : amateur performances of Tableaux vivants and local film exhibition in Germany around 1900 / Performing painting : projected images as living pictures / Colour as performance in visual music, film tinting and digital painting / Coda -- Early cinema today and its "digital performance" : the re-discovery of The soldier's courtship (1896) / Shelley Stamp -- Ivo Blom -- Leslie Midkiff DeBauche -- Charles O'Brien -- Malcolm Cook -- Frédéric Tabet -- Chris O'Rourke -- Ian Christie -- Martin Loiperdinger -- Peter Walsh -- María Antonia Vélez-Serna -- Ansje van Beusekom -- Gunnar Iversen -- Christopher Natzén -- Artemis Willis -- Gregory A. Waller -- Frank Kessler and Sabine Lenk -- Marina Dahlquist -- Jennifer Peterson -- Denis Condon -- Kristina Köhler -- Ludwig Maria Vogl-Bienek -- Alain Boillat -- Sarah Dellmann -- Gwendolyn Waltz -- Canan Balan -- Thierry Lecointe -- Daniel Wiegand -- Valentine Robert -- Joshua Yumibe -- Franziska Heller.
In the years before the First World War, showmen, entrepreneurs, educators, and scientists used magic lanterns and cinematographs in many contexts and many venues. To employ these silent screen technologies to deliver diverse and complex programs usually demanded audio accompaniment, creating a performance of both sound and image. These shows might include live music, song, lectures, narration, and synchronized sound effects provided by any available party--projectionist, local talent, accompanist or backstage crew--and would often borrow techniques from shadow plays and tableaux vivants. The performances were not immune to the influence of social and cultural forces, such as censorship or reform movements. This collection of essays considers the ways in which different visual practices carried out at the turn of the 20th century shaped performances on and beside the screen.
9780861969104
Silent films--History.
Motion pictures and theater--History.
Art.
Electronic Books.
PN1993 / .P474 2015
Includes bibliographies and index.
Performing on the screen : actors and personalities -- Lois Weber at Rex : performing femininity across media / Diva intermedial : Lyda Borelli between art, photography, theatre and cinema / Why sue "Little Mary?" : how Independent Moving Pictures Company of America v Gladys Smith and Owen Moore (1911) defined celebrity and professionalism for film actors / Camera distance and acting in the Griffith Biography / Performance times : the lightning cartoon and the emergence of animation / La transparence du Fregoligraph en question / In the flesh : personal appearances and the picture personality in Britain / Performers : now synchronised on screen / Performing beside the screen : narrators, showmen, and musicians -- Missing believed lost : the film narrator, then and now / Standards of practice in transition : the showmanship of Jasper Redfern as it emerged / Showmanship skills and the changing role of the exhibitor in 1910s Scotland / Showing film in winter (1904-1906) : Alberts Frères' film galas in Dutch multi-purpose buildings / Performing new media and the creation of national identity : Kräusslich and Köpke in Norway before 1910 / Music programming and the formation of Swedish cinema culture / "Marvelous and fascinating" : L. Frank Baum's Fairylogue and radio-plays (1908) / The multiple media lecture : Racing with death in Antarctic blizzards (1915) / Performing with the screen : audiences, educators and officials -- Kinoreformbewegung revisited : performing the cinematograph as a pedagogical tool / Health on display : the Panama-Pacific International Exposition as sanitary venue / Lyrical education : music and colour in early non-fiction film / "Offensive and riotous behaviour"? Performing the role of an audience in Irish cinema of the mid-1910s / Tango mad and affected by cinematographitis : rhythmic "contagions" between screens and audiences in the 1910s / Intermedial performance -- Screening sensations and live performance : the creative blending of traditional and new projected media at the start of the twentieth century / Le spectacle de lanterne magique considèrè sous l'angle de la conférence : quelques traces écrites d'une performance orale / Getting to know the Dutch : magic lantern slides as traces of intermedial performance practices / 20 minutes or less : short-form film-and-theatre hybrids : skits, sketches, playlets, and acts in vaudeville, variety, revues, &c. / Between Karagöz and cinema : connectivity, mobility, collectivity / Entre nouveauté et continuité : le spectacle cinématographique serait-il une émergence des ombres françaises? / "Performed live and talking. No kinematograph" : amateur performances of Tableaux vivants and local film exhibition in Germany around 1900 / Performing painting : projected images as living pictures / Colour as performance in visual music, film tinting and digital painting / Coda -- Early cinema today and its "digital performance" : the re-discovery of The soldier's courtship (1896) / Shelley Stamp -- Ivo Blom -- Leslie Midkiff DeBauche -- Charles O'Brien -- Malcolm Cook -- Frédéric Tabet -- Chris O'Rourke -- Ian Christie -- Martin Loiperdinger -- Peter Walsh -- María Antonia Vélez-Serna -- Ansje van Beusekom -- Gunnar Iversen -- Christopher Natzén -- Artemis Willis -- Gregory A. Waller -- Frank Kessler and Sabine Lenk -- Marina Dahlquist -- Jennifer Peterson -- Denis Condon -- Kristina Köhler -- Ludwig Maria Vogl-Bienek -- Alain Boillat -- Sarah Dellmann -- Gwendolyn Waltz -- Canan Balan -- Thierry Lecointe -- Daniel Wiegand -- Valentine Robert -- Joshua Yumibe -- Franziska Heller.
In the years before the First World War, showmen, entrepreneurs, educators, and scientists used magic lanterns and cinematographs in many contexts and many venues. To employ these silent screen technologies to deliver diverse and complex programs usually demanded audio accompaniment, creating a performance of both sound and image. These shows might include live music, song, lectures, narration, and synchronized sound effects provided by any available party--projectionist, local talent, accompanist or backstage crew--and would often borrow techniques from shadow plays and tableaux vivants. The performances were not immune to the influence of social and cultural forces, such as censorship or reform movements. This collection of essays considers the ways in which different visual practices carried out at the turn of the 20th century shaped performances on and beside the screen.
9780861969104
Silent films--History.
Motion pictures and theater--History.
Art.
Electronic Books.
PN1993 / .P474 2015