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The current digital revolution has sparked a renewed interest in the origins and trajectory of modern media, particularly in the years around 1900 when the technology was rapidly developing. This collection aims to broaden our understanding of early cinema as a significant innovation in media history. Joining traditional scholarship with fresh insights from a variety of disciplines, this book explains the aesthetic and institutional characteristics in early cinema within the context of the contemporary media landscape. It also addresses transcultural developments such as scientific revolutions, industrialization, urbanization, and globalization, as well as differing attitudes toward modernization. Film 1900 is an important reassessment of early cinema's position in cultural history.

Table of Contents

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  1. Cover
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  1. Title Page, Copyright
  2. pp. i-iv
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  1. Contents
  2. pp. v-vi
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  1. Introduction Triangulating a Turn: Film 1900 as Technology, Perception and Culture
  2. Annemone Ligensa
  3. pp. 8-15
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  1. Chapter 1 Archaeologies of Interactivity: Early Cinema, Narrative and Spectatorship
  2. Thomas Elsaesser
  3. pp. 16-29
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  1. Chapter 2 Viewing Change, Changing Views: The ‘History of Vision’-Debate
  2. Frank Kessler
  3. pp. 30-43
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  1. Chapter 3 The Ambimodernity of Early Cinema: Problems and Paradoxes in the Film-and-Modernity Discourse
  2. Ben Singer
  3. pp. 44-59
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  1. Chapter 4 Mind, the Gap: The Discovery of Physiological Time
  2. Henning Schmidgen
  3. pp. 60-73
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  1. Chapter 5 ‘Is Everything Relative?’: Cinema and the Revolution of Knowledge Around 1900
  2. Harro Segeberg
  3. pp. 74-83
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  1. Chapter 6 The Aesthetic Idealist as Efficiency Engineer: Hugo Münsterberg’s Theories of Perception, Psychotechnics and Cinema
  2. Jörg Schweinitz
  3. pp. 84-93
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  1. Chapter 7 Between Observation and Spectatorship: Medicine, Movies and Mass Culture in Imperial Germany
  2. Scott Curtis
  3. pp. 94-105
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  1. Chapter 8 The Scene of the Crime: Psychiatric Discourses on the Film Audience in Early Twentieth Century Germany
  2. Andreas Killen
  3. pp. 106-119
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  1. Chapter 9 Seen Through the Eyes of Simmel: The Cinema Programme as a ‘Modern’ Experience
  2. Andrea Haller
  3. pp. 120-131
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  1. Chapter 10 ‘Under the Sign of the Cinematograph’: Urban Mobility and Cinema Location in Wilhelmine Berlin
  2. Pelle Snickars
  3. pp. 132-147
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  1. Chapter 11 Perceptual Environments for Films: The Development of Cinema in Germany, 1895-1914
  2. Joseph Garncarz
  3. pp. 148-157
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  1. Chapter 12 ‘Fumbling Towards Some New Form of Art?’: The Changing Composition of Film Programmes in Britain, 1908-1914
  2. Ian Christie and John Sedgwick
  3. pp. 158-171
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  1. Chapter 13 The Attraction of Motion: Modern Representation and the Image of Movement
  2. Tom Gunning
  3. pp. 172-181
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  1. Chapter 14 ‘Dashing Down Upon the Audience’: Notes on the Genesis of Filmic Perception
  2. Klaus Kreimeier
  3. pp. 182-193
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  1. Chapter 15 German Tonbilder of the 1900s: Advanced Technology and National Brand
  2. Martin Loiperdinger
  3. pp. 194-207
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  1. Chapter 16 Sculpting With Light: Early Film Style, Stereoscopic Vision and the Idea of a ‘Plastic Art In Motion’
  2. Michael Wedel
  3. pp. 208-231
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  1. Chapter 17 ‘A Cinematograph of Feminine Thought’: The Dangerous Age, Cinema and Modern Women
  2. Annemone Ligensa
  3. pp. 232-243
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  1. Chapter 18 Cinema as a Mode(l) of Perception: Dorothy Richardson’s Novels and Essays
  2. Nicola Glaubitz
  3. pp. 244-255
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  1. Biographies of the Authors
  2. pp. 256-257
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  1. Backcover
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