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History of the Kinetograph, Kinetoscope, and Kineto-phonograph
This text is a facsimile edition of the first history of the cinema by W.K.L. Dickson and Antonia Dickson. The book was first published in 1895 when practical moving pictures were only two years old.
History of the Kinetograph, Kinetoscope And Kinetophonograph
This is a facsimile ed. of the first history of the cinema by W.K.L. Dickson & Antonia Dickson, & was reproduced from W.K.L. Dickson's own annotated copy of the book. When this book was first published in 1895, practical moving pictures were barely two years old, & film projection was yet to be perfected. Dickson had begun to work with Edison in 1883; within 5 years, he was leader of the team that was attempting to build an instrument which does for the eye what the phonograph does for the Ear.Ó The results of their labor were the kinetograph (the camera used for photographing motion pictures) & the kinetoscope (the means for viewing them). This book allows the reader to experience the wonder & promise of the cinema in its infancy. Illustrations.
How the Movies Got a Past
How the Movies Got a Past presents a comprehensive survey of the rise of historiographical discourse on cinema in North America as it is reflected in publications, exhibitions, lectures, and films about the cinema as a technology, artform, and source of entertainment, from its inception up to 1930. With a wealth of case studies and illustrations, this book will appeal to media historians, silent movie buffs, film archivists, and students alike.
The Man Who Made Movies
The story of W.K.L. Dickson—assistant to Edison, inventor, and key figure in early cinematography: “Valuable and comprehensive.” —Communication Booknotes Quarterly W.K.L. Dickson was Thomas Edison’s assistant in charge of the experimentation that led to the Kinetoscope and Kinetograph—the first commercially successful moving image machines. In 1891–1892, he established what we know today as the 35mm format. Dickson also designed the Black Maria film studio and facilities to develop and print film, and supervised production of more than one hundred films for Edison. After leaving Edison, he became a founding member of the American Mutoscope Company, which later became the American Mutoscope & Biograph, then Biograph. In 1897, he went to England to set up the European branch of the company. Over the course of his career, Dickson made between five hundred and seven hundred films, which are studied today by scholars of the early cinema. This well-illustrated book offers a window onto early film history from the perspective of Dickson’s own oeuvre.
Wondrous Difference
The ethical and ideological implications of cross-cultural image-making continue to stir debate among anthropologists, film scholars, and museum professionals. This innovative book focuses on the contested origins of ethnographic film from the late nineteenth century to the 1920s, vividly depicting the dynamic visual culture of the period as it collided with the emerging discipline of anthropology and the new technology of motion pictures. Featuring more than 100 illustrations, the book examines museums of natural history, world's fairs, scientific and popular photography, and the early filmmaking efforts of anthropologists and commercial producers to investigate how cinema came to assume the role of mediator of cultural difference at the beginning of the twentieth century.
Disappearing Tricks
This work revisits the golden age of theatrical magic and silent film to reveal how professional magicians shaped the early history of cinema. The author treats cinema and stage magic as overlapping practices that together revise our understanding of the origins of motion pictures and cinematic spectacle.
Just Images
Just Images: Ethics and the Cinematic charts current developments within the field of ethics and the role it plays in the study of moving images. It is the first collection of essays of its kind that brings together articles by film and media scholars from three continents, and provides multiple points of engagement of film with present and past histories, politics, myth making, and with core aspects of human subjectivity. The essays cover a wide range of topics, such as the European Union; Europe during World War II and after; film genres; the Israeli–Palestinian conflict; early American history, and recent catastrophic events. The collection includes an introductory chapter by Thomas Els...
Encyclopedia of Early Cinema
One-volume reference work on the first twenty-five years of the cinema's international emergence from the early 1890s to the mid-1910s.
