Cover

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Title Page, Copyright

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pp. i-iv

Contents

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pp. v-vi

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Preface

Martin Loiperdinger

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pp. 1-6

Early cinema and its media performance practices had already fallen into oblivion for more than six decades when the International Federation of Film Archives (FIAF) screened fiction films from 1900 to 1906 to film scholars and archivists at...

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Stimulating the Audience: Early Cinema’s Short Film Programme Format 1906 to 1912

Andrea Haller and Martin Loiperdinger

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pp. 7-22

Early cinema reached its widest scope with the commencing boom of fixed-site cinemas from 1906 onward. The large majority of films from the period of early cinema shown again today date from 1906 to 1912. Under the leadership...

Part I: Programming and Performing Early Cinema Today – Outstanding Examples

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The Best Years of Film History: A Hundred Years Ago

Mariann Lewinsky

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pp. 25-36

In the summer of 2003 the festival Il Cinema Ritrovato presented a series of five programmes of films from 1903, curated and introduced by Tom Gunning. I do not know how this came about. The section was called...

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‘From the Bottom of the Sea’: Early Film at the Oberhausen Festival

Tom Gunning

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pp. 37-42

Man Ray once said: “The worst films I’ve ever seen, the ones that send me to sleep, contain ten or fifteen marvelous minutes. The best films I’ve ever seen only contain ten or fifteen valuable minutes.” A tee shirt for sale at the 56th International...

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From the Past to the Future: Suffragettes – Extremists of Visibility in Berlin

Madeleine Bernstorff

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pp. 43-52

Feminism is increasingly being declared outdated, a mere museum piece: there is, the argument runs, nothing more to fight for and the agenda of the 1970s is well and truly obsolete.1 It was against this apparently...

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Silent Films in their First Decades – Objects for Research or for Exhibition?

Eric de Kuyper

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pp. 53-66

One can only agree with Michel Marie when he writes: “First of all, a film is a number in a catalogue, then a title, then an object of review in the contemporary press. After that, it becomes a film strip in an anonymous...

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Programming the Local: Mitchell & Kenyon and the Local Film Show

Vanessa Toulmin

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pp. 67-76

The Mitchell & Kenyon Collection is now the third largest film collection in the world relating to the output of a single company from the early 1900s. The Collection was donated to the British Film Institute in 2000 by Peter Worden a local businessman...

Part II: Crazy Cinématographe: Early Cinema Performance on the Luxembourg Fairground

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Back to the Future: Early Cinema and Late Economy of Attention An interim report about Crazy Cinématographe

Claude Bertemes, Nicole Dahlen

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pp. 79-106

The tumultuous phenomenology of fairgrounds, that sense-numbing simultaneity of flashing lights, candyfloss aroma and screaming rollercoaster riders, is, in a certain respect, like the colourfully iridescent masquerade of a monomaniac...

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The Crazy Cinématographe, or the Art of the Impromptu Spectator

Dick Tomasovic

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pp. 107-114

It’s a Sunday in early September. The sun, peeking through the clouds, has persuaded families that it would be a fine day for a stroll on the Schueberfouer, the great outdoor fair in the city of Luxemburg. With an amused or undecided air, you survey the stands...

The Art of Crazy Programming Documentation of Crazy Cinématographe Programmes, 2007 to 2010

Claude Bertemes, Nicole Dahlen

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pp. 115-134

Conclusion

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Programming and Performing Early Cinema Today: Strategies and Dispositifs

Frank Kessler

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pp. 137-146

Since the foundation of the KINtop yearbook in 1992, the presentation of early films to audiences today has continued to be an important issue for the editors. Over the past two decades we (Sabine Lenk, Martin Loiperdinger and myself) have organised a series...

The Contributors

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pp. 147-149

KINtop

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pp. 150-152