Introduction: Toward a Feminist Historiography of Early Cinema

This collection of essays, drawn from a three-year AHRC research project, provides a detailed context for the history of early cinema in Scotland from its inception in 1896 till the arrival of sound in the early 1930s. It details the movement from travelling fairground shows to the establishment of permanent cinemas, and from variety and live entertainment to the dominance of the feature film. It addresses the promotion of cinema as a socially ‘useful’ entertainment, and, distinctively, it considers the early development of cinema in small towns as well as in larger cities. Using local newspapers and other archive sources, it details the evolution and the diversity of the social experience of cinema, both for picture goers and for cinema staff. In production, it examines the early attempts to establish a feature film production sector, with a detailed production history of Rob Roy (United Films, 1911), and it records the importance, both for exhibition and for social history, of ‘local topicals’. It considers the popularity of Scotland as an imaginary location for European and American films, drawing their popularity from the international audience for writers such as Walter Scott and J.M. Barrie and the ubiquity of Scottish popular song. The book concludes with a consideration of the arrival of sound in Scittish cinemas. As an afterpiece, it offers an annotated filmography of Scottish-themed feature films from 1896 to 1927, drawing evidence from synopses and reviews in contemporary trade journals.


Film History ◽  
2009 ◽  
Vol 21 (4) ◽  
pp. 311-325 ◽  
Author(s):  
Patrick Feaster ◽  
Jacob Smith
Keyword(s):  

Author(s):  
Cleo Hanaway-Oakley

This chapter presents an alternative to the popular critical vein that sees Joyce’s Ulysses and early cinema as conveying a mechanical, impersonal view of the world. It is argued that Ulysses and certain genres of early cinema were engaged—naively or otherwise—in a revaluation of Cartesian dualism, involving the reappraisal of mind/body and human/machine binaries. The physical comedy of Bloom and Charlie Chaplin is analysed with reference to phenomenological ideas on prosthesis and the machine–human interface, while other genres of early cinema, such as Irish melodrama and trick films, are considered in the light of phenomenological theories of gesture and embodiment. By comically mocking mind/body separation and depicting the inseparability of subjectivity and corporeality, Joyce and the early film-makers go beyond the ideas of Bergson and anticipate Merleau-Ponty’s later notion of the ‘body-subject’.


Author(s):  
Laura Salah Nasrallah

Through case studies of archaeological materials from local contexts, Archaeology and the Letters of Paul illuminates the social, political, economic, and religious lives of those whom the apostle Paul addressed. Roman Ephesos, a likely setting for the household of Philemon, provides evidence of the slave trade. An inscription from Galatia seeks to restrain traveling Roman officials, illuminating how the travels of Paul, Cephas, and others may have disrupted communities. At Philippi, a donation list from a Silvanus cult provides evidence of abundant giving amid economic limitations, paralleling practices of local Christ followers. In Corinth, a landscape of grief includes monuments and bones, a context that illumines Corinthian practices of baptism on behalf of the dead and the provocative idea that one could live “as if not” mourning. Rome and the Letter to the Romans are the grounds to investigate ideas of time and race not only in the first century, when we find an Egyptian obelisk inserted as a timepiece into Augustus’s mausoleum complex, but also of Mussolini’s new Rome. Thessalonikē demonstrates how letters, legend, and cult are invented out of a love for Paul, after his death. The book articulates a method for bringing together biblical texts with archaeological remains in order to reconstruct the lives of the many adelphoi—brothers and sisters—whom Paul and his co-writers address. It is informed by feminist historiography and gains inspiration from thinkers like Claudia Rankine, Judith Butler, Giorgio Agamben, Wendy Brown, and Katie Lofton.


Author(s):  
Nicolas S. Witschi

The technology for and, consequently, the artistic potential of cinema emerged at the end of the nineteenth century during a period roughly contemporaneous with the careers of many prominent realist authors. Despite this concurrence, early cinema was, by and large, of relatively little interest to the creators of realist literature. However, their literary works have proven immensely popular with filmmakers. After surveying the limited but ultimately telling responses to the new medium by a number of writers from the realist period, this chapter suggests, through a concluding analysis of three distinctive works of cinema that were based on realist fiction, that the two forms ultimately share an abiding and even structuring affinity for the power of realistic representations to define and direct the reader’s or viewer’s perspective.


Author(s):  
Kathryn Kalinak

This chapterexamines the diversity of international practices in film music outside Hollywood during the silent film era. It describes performance practices around the globe and offers a broader context in which to consider American practices during this period. It suggests that music functioned as a cultural interface throughout the silent era in a way quite different from the sound era and that music in the silent era had an impressive power to interact with moving images in ways not controlled by films or their producers.


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