287 Slices
Medium 9780861967094

The Social Impact of Screen Culture 1880–1914

Ludwig VoglBienek John Libbey Publishing ePub

Magic Lantern Entertainment given to 1,450 poor and destitute children by the members of the Fulham Liberal Club and Institute, engraving from The Graphic (23 February 1889): 189.

MAN SWALLOWING RATS, lantern slide with combined rack work and lever mechanism, Carpenter & Westley, England, c. 1880.

In 1889, the Liberal Club of Fulham (London) organised a lantern show for 1,450 destitute children. The weekly newspaper The Graphic published a picture of this performance in a wood engraving showing a large, packed auditorium decorated with paper lanterns and garlands. The view is toward the stage, whose back wall is covered by a lighted circle almost four metres in diameter in which a larger-than-life-size, bearded man in a nightcap lies in bed while two rodents make for his open mouth. The projection illuminant shines brilliantly in the lantern’s housing. A projectionist operates the apparatus, and a second man acting as lecturer points to the image on the screen to underline to the audience his interpretation of what is occurring. A girl sitting on the shoulders of an adult is pointing at the image, as are several people in the first row, expressing the excitement with which they are following what happens on the screen.

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Medium 9780861966899

Chapter 10 Ian Christie, “An England of our Dreams”?: early patriotic entertainments with film in Britain during the Anglo-Boer War

Richard Abel John Libbey Publishing ePub

The Anglo-Boer War of 1899–1902 has long been known as one of the first conflicts in which modern media played an important role, with photographic illustration, telegraphy and film all actively involved.1 But it would be more accurate to say that these “new media” were finding their place amid the established media of print and performance. Rather than stake a simple claim for the novelty of film, historians of the medium and its place in visual culture can offer the more complex insights that arise from tracing how film borrowed from and echoed the themes expressed in other media, and how in doing so it negotiated its place in the hierarchy of media consumption – and thus contributed to popular sentiment. Above all, by focusing on how and to whom film was shown, rather than merely on the surviving textual examples, it should be possible to contribute substantially to the continuing debates among historians about the implications of this arch-imperialist war.2 The significance of the turn of the century music hall as a locus of jingoistic patriotism has long been recognized, but the place of film in the music hall, one of its earliest venues, has hardly received the attention it merits.3 As film was conscripted into a wide variety of roles, it accurately reflected many of the ambiguities and dilemmas that were exposed by the war itself: the price demanded by as well as the pride involved in war with the Boer nationalists.

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Medium 9780861966738

Disney’s full–length animated feature films

Amy M. Davis John Libbey Publishing ePub


The complete list

My subject list

The Classic Period

The Middle Period

The Modern Period

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Medium 9780861966899

Chapter 21 Daniel Sánchaz Salas, Spanish lecturers and their relations with the national

Richard Abel John Libbey Publishing ePub

This essay addresses the question of how the concept of the national provides a context for the work of the Spanish lecturer in early cinema. As is well known, previous studies have always stressed that the film lecturer was responsible for mediating between the screen and viewers, for whom, at least in the beginning, moving pictures were something strange.1 Also we should not forget that he was dealing with a specific public, determined not only by the period of time, but also by the location. Generally, histories of early cinema have analysed film lecturing from a local perspective. In the case of itinerant exhibitors, however, the lecturer often was not part of the group of people accompanying the film show, but rather a different person at each venue, chosen from among the inhabitants of the various locales in which the film show was presented. This recurring circumstance increased the likelihood that the lecturer, in mediating the show, tended to make references to the local context he shared with the audience.

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Medium 9781864620542

Sore Society: The Dissolution of the Image and the Assimilation of the Trauma

John Libbey Publishing ePub

Why digital images? In the following discussion, the new media are regarded as a turning point in representation. The symbols and self-esteem in the public sphere show us a house divided in itself, and this plays a role in creating media and in constructing new images that are detached from referential and representational bonds. The public has difficulties in approaching the private with explanations and images. There is a tendency that expression goes in the reverse direction, from the private sphere to the public media. The point at which you live clearly expresses that you are made of flesh and blood, and is found in affect and trauma. Images coming from these private spaces now fill the public media. This is a tendency that can also be more generally seen in the aesthetics and theory of (moving) images. The characteristics of digital images and the use Orlan makes of them, as well as the crisis in representation that she and the media mark, are linked with the notion of ‘sore society’. Why is there a displacement from representation towards the presentation of the real and the trauma? Why is the place for physical and psychic affect and their present dissolution sought in visual aesthetics? In answering this question, my essay attaches importance to affect and the wound as essential critical features.

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