American Cinema 1890-1909: Themes and Variations (Screen

On the flip of the 20 th century, cinema was once fast constructing itself as a sound type of well known entertainment.The essays in American Cinema 1890-1909 discover and outline how the making of movies flowered into an that may ultimately turn into the relevant leisure establishment of the realm. starting with all of the early varieties of images that moved, this quantity tells the tale of the discovery and consolidation of many of the strategies that gave upward push to what we now name "cinema." by means of interpreting the battles over patents, construction, exhibition, and the reception of movie, readers find out how going to the films grew to become a social culture in American society.

In the process those 20 years, cinema succeeded either in constructing itself between different leisure and educational media and in updating a variety of varieties of spectacle.

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Such thematic grouping might include projected lanternslides as well, and frequently included an oral commentary spoken or arranged by the exhibitor. Or the exhibitor might decide to follow the dominant vaudeville aesthetic and present a “variety program,” emphasizing a diverse range 14 ANDRÉ GAUDREAULT AND TOM GUNNING Famous final close-up (The Great Train Robbery, Edison, 1903). Digital frame enlargement. of entertainment rather than a single theme. Thus, comic gags might jostle with scenes of state funerals, or films of war might be followed by a dance or acrobatic number.

Haines of the North American Phonograph Company, he arrived at about Souvenir strip of the Edison Kinetoscope (Sandow, Edison, 1894). Digital frame enlargements. 34 PAUL C . SPEHR noon in order to be filmed at midday. The group was welcomed by Dickson, who apologized for Edison, who was napping after an all-night session and planned to join them for lunch after the filming. Sandow stripped for action and three short films were taken. Dickson framed the shots in medium-close-up, displaying Sandow’s torso from just above the knees.

B. Kline, and Richard T. Haines of the North American Phonograph Company, he arrived at about Souvenir strip of the Edison Kinetoscope (Sandow, Edison, 1894). Digital frame enlargements. 34 PAUL C . SPEHR noon in order to be filmed at midday. The group was welcomed by Dickson, who apologized for Edison, who was napping after an all-night session and planned to join them for lunch after the filming. Sandow stripped for action and three short films were taken. Dickson framed the shots in medium-close-up, displaying Sandow’s torso from just above the knees.

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