In this Book

  • Beyond the Screen: Institutions, Networks, and Publics of Early Cinema
  • Book
  • Edited by Marta Braun, Charles Keil, Rob King, Paul Moore, and Louis Pelletier
  • 2012
  • Published by: Indiana University Press
summary

The visionaries of early motion pictures thought that movies could do more than just entertain. They imagined the medium had the potential to educate and motivate the audience. In national and local contexts from Europe, North America, and around the world, early filmmakers entered the domains of science and health education, social and religious uplift, labor organizing and political campaigning. Beyond the Screen captures this pioneering vision of the future of cinema.

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-viii
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  1. Introduction
  2. Marta Braun, Charlie Keil, Rob King, Paul Moore and Louis Pelletier
  3. pp. 1-8
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  1. PART I: Charity and Religion
  1. 1. “Neutrality-Humanity”: The Humanitarian Mission and the Films of the American Red Cross
  2. Jennifer Horne
  3. pp. 11-18
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  1. 2. Early Missionary Filming and the Emergence of the Professional Camera man
  2. Stephen Bottomore
  3. pp. 19-26
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  1. 3. Mission on Screen: the Church Army and its Multi-Media Activities
  2. Frank Gray
  3. pp. 27-34
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  1. 4. “Baits to Entrap the Pleasure-Seeker and the Worldling”: Charity Bazaars Introduce Moving Pictures to Ireland
  2. Denis Condon
  3. pp. 35-42
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  1. 5. Paroles éducatives et religieuses lors des projections de films en France avant 1915
  2. Martin Barnier
  3. pp. 43-50
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  1. 6. Mütter, verzaget nicht! (1911) [Mothers, Despair Not!]: Henny Porten’s Promotion for Mothers’ Welfare
  2. Martin Loiperdinger and Holger Ziegler
  3. pp. 51-60
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  1. PART II: Government and Civics
  1. 7. The Tsar and The Kinemat ograph: Film as History and The Chronicle of the Russian Monarchy
  2. Oksana Chefranova
  3. pp. 63-70
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  1. 8. “Wheelbarrows” and “Real Soldiers”: Advertising, Audiences and War Films of all Varieties
  2. Liz Clarke
  3. pp. 71-77
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  1. 9. “What is a Picture?”: Film as Defined in British Law Before 1910
  2. Ian Christie
  3. pp. 78-84
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  1. 10. Le cinéma et les élections au Québec: de l’attraction à la banalité
  2. Germain Lacasse
  3. pp. 85-93
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  1. 11. A Moving Picture Farce: Public Opinion and the Beginnings of Film Censorship in Quebec
  2. Louis Pelletier
  3. pp. 94-104
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  1. PART III: Education and Advocacy
  1. 12. Health Instruction on Screen: The Department of Health in New York City, 1909–1917
  2. Marina Dahlquist
  3. pp. 107-116
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  1. 13. John Collier, Thomas Edison and the Educational Promotion of Moving Pictures
  2. Amanda R. Keeler
  3. pp. 117-125
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  1. 14. “And They Can See Half-Naked Dancers, Catching Young Men In Their Nets”: Teachers and the Cinema in Norway, 1907–1913
  2. Gunnar Iversen
  3. pp. 126-130
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  1. 15. Documentaries, Family Film Nights and the First Film University: The Early Works and Big Ideas of Belgian Film Pioneer Hippolyte De Kempeneer (1876–1944)
  2. Gerda Cammaer
  3. pp. 131-140
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  1. PART IV: Science and Magic
  1. 16. The School of the Future or Ganot’s Physics?: Edison’s Foray into Educational Cinema
  2. Oliver Gaycken
  3. pp. 143-152
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  1. 17. Multi-Purposing Early Cinema: A Psychological Experiment Involving Van Bibber’s Experiment (Edison, 1911)
  2. Marsha Orgeron
  3. pp. 153-160
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  1. 18. Dissecting the Medical Training Film
  2. Scott Curtis
  3. pp. 161-167
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  1. 19. Corporal Permeability and Shadow Pictures: Reconsidering Uncle Josh at the Moving Picture Show (1902)
  2. Amy E. Borden
  3. pp. 168-175
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  1. 20. Eroticism and Death: The Skeleton in the Trick Film
  2. Murray Leeder
  3. pp. 176-183
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  1. 21. Magies en images, les prestidigitateurs et la machine
  2. Frédéric Tabet
  3. pp. 184-192
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  1. PART V: Art and Aesthetics
  1. 22. Early Film Colour, Today and Yesterday
  2. Charles O’Brien
  3. pp. 195-199
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  1. 23. Salvage Ethnography and the Exoticisation of Decay in Peter Delpeut’s Lyrical Nitrate and Bill Morrison’s Decasia
  2. Nadia Bozak
  3. pp. 200-206
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  1. 24. Picture Craft, Visual Education and the Lantern: A Lecture Fantasy
  2. Kaveh Askari
  3. pp. 207-213
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  1. 25. The Scope of Those Scopes: Production Diversity for the Mutoscope and Biograph During the Movies’ Early Years
  2. Paul C. Spehr
  3. pp. 214-222
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  1. 26. The High-Stakes History of the French Camera Operators’ Union before the First World War
  2. Priska Morrissey
  3. pp. 223-230
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  1. PART VI: Exhibition and Showmanship
  1. 27. Les séries culturelles de la conférence-avec-projection et de la projection-avec-boniment: continuités et ruptures
  2. André Gaudreault and Philippe Gauthier
  3. pp. 233-238
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  1. 28. Les “conférenciers de cinéma” en France (1896–1930): Historique à travers différents lieux de projection, genres filmiques et réseaux
  2. Thierry Lecointe
  3. pp. 239-246
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  1. 29. Les images en mouvement au théâtre de variétés: le cas de l’Apollo de Düsseldorf
  2. Frank Kessler et Sabine Lenk
  3. pp. 247-254
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  1. 30. Royals, Rembrandts and Luxors: Patterns and Clusters in the Nomenclature of Dutch Cinemas
  2. André van der Velden
  3. pp. 255-262
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  1. 31. Local Showmanship in the Early Feature Era: The Case of Stanley Mastbaum
  2. Joel Frykholm
  3. pp. 263-270
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  1. 32. A Transformative Moment: Samuel Rothafel and the Rise of Multi-Class Moviegoing in the Midwest, 1911–1913
  2. Ross Melnick
  3. pp. 271-278
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  1. PART VII: Community and thePublic Sphere
  1. 33. “This Splendid Temple”: Watching Movies in the Wanamaker Department Store
  2. Caitlin McGrath
  3. pp. 281-287
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  1. 34. “Boost Your Town in the Movies”: Municipal Film Companies in the United States, 1910–1917
  2. Martin L. Johnson
  3. pp. 288-296
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  1. 35. Early Cinema and the Public Sphere of the Neighbourhood Meeting Hall: The Longue Durée of Working-Class Sociability
  2. Judith Thissen
  3. pp. 297-306
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  1. 36. Trans-Inter-National Public Spheres
  2. Wolfgang Fuhrmann
  3. pp. 307-314
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  1. 37. Turning the Social Problem into Performance: Slumming and Screen Culture in Victorian Lantern Shows
  2. Ludwig Maria Vogl-Bienek
  3. pp. 315-324
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  1. Editors and contributors
  2. pp. 325-328
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  1. Index of Films
  2. pp. 329-331
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  1. Index of Names
  2. pp. 332-336
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  1. Backcover
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