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  • Corporeality in Early Cinema: Viscera, Skin, and Physical Form
  • Edited by Marina Dahlquist, Doron Galili, Jan Olsson, and Valentine Robert
  • 2018
  • Book
  • Published by: Indiana University Press
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Corporeality in Early Cinema inspires a heightened awareness of the ways in which early film culture, and screen praxes overall are inherently embodied. Contributors argue that on- and offscreen (and in affiliated media and technological constellations), the body consists of flesh and nerves and is not just an abstract spectator or statistical audience entity.


Audience responses from arousal to disgust, from identification to detachment, offer us a means to understand what spectators have always taken away from their cinematic experience. Through theoretical approaches and case studies, scholars offer a variety of models for stimulating historical research on corporeality and cinema by exploring the matrix of screened bodies, machine-made scaffolding, and their connections to the physical bodies in front of the screen.

Table of Contents

  1. Cover
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  1. Half Title, Series Info, Title Page, Copyright
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  1. Contents
  2. pp. v-viii
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  1. General Introduction
  2. Marina Dahlquist, Doron Galili, Jan Olsson, Valentine Robert
  3. pp. 1-10
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  1. Part I: Impossible Bodies
  1. Introduction
  2. pp. 11-12
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  1. Chapter 1. The Impossible Body of Early Film
  2. Tom Gunning
  3. pp. 13-24
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  1. Chapter 2. Ovidian Violence: George Méliès’s Explosive Screen Bodies
  2. Vito Adriaensens
  3. pp. 25-34
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  1. Chapter 3. The Body under the Scalpel in the Illustrated Press and the Cinema
  2. Jérémy Houillère, Timothy Barnard
  3. pp. 35-45
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  1. Chapter 4. Ghosts and Their Nationality in the Fin de Siècle Machinery
  2. Ian Christie
  3. pp. 46-58
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  1. Part II: Inventories of the Body
  1. Introduction
  2. pp. 59-60
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  1. Chapter 5. Field Trip to Insanity: Bodies and Minds in the Dr. Maestre Film Collection (Spain, 1915)
  2. Luis Alonso García, Daniel Sánchez-Salas, Begoña Soto-Vázquez
  3. pp. 61-73
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  1. Chapter 6. The Celluloid Specimens: Animal Origins for the Moving Image
  2. Benjamin Schultz-Figueroa
  3. pp. 74-84
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  1. Chapter 7. Death by a Thousand Cuts: On-Screen Executions in Early American Cinema
  2. Gary D. Rhodes
  3. pp. 85-93
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  1. Chapter 8. Staged Bodies, Caged Bodies: Early Cinema in the Age of Human Zoos
  2. Rodolphe Gahéry, Timothy Barnard
  3. pp. 94-102
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  1. Chapter 9. “Stills from a Film That Is Missing”: Indigenous Images and the Photographic Interval in Early Cinema
  2. Joanna Hearne
  3. pp. 103-116
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  1. Part III: Performing Bodies
  1. Introduction
  2. pp. 117-118
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  1. Chapter 10. Risky Business: The Early Film Actor and Discourses of Danger
  2. Charlie Keil, Denise McKenna
  3. pp. 119-133
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  1. Chapter 11. Bodies in Motion: Dancing and Boxing in Early Norwegian Cinema
  2. Gunnar Iversen
  3. pp. 134-145
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  1. Chapter 12. The Beauty of the Forzuti: Irresistible Male Bodies On- and Offscreen
  2. Ivo Blom
  3. pp. 146-155
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  1. Chapter 13. Nudity in Early Cinema; or, the Pictorial Transgression
  2. Valentine Robert
  3. pp. 156-166
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  1. Chapter 14. Paul Capellani: The Body Put to the Test by Cinema
  2. Sébastien Dupont-Bloch, Timothy Barnard
  3. pp. 167-172
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  1. Part IV: Bodily Features
  1. Introduction
  2. pp. 173-174
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  1. Chapter 15. Hair and Hairiness in Early Cinema
  2. Jean-Claude Seguin, Timothy Barnard
  3. pp. 175-180
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  1. Chapter 16. Lumière Agents in Mexico: The “Body” of Film as a Late-Nineteenth-Century Discourse
  2. John Fullerton
  3. pp. 181-190
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  1. Chapter 17. Breathing Faces, Twinkling Eyes: On the Cinematic Visage in Russian Films of the 1910s
  2. Oksana Chefranova
  3. pp. 191-205
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  1. Chapter 18. Making Faces: Character and Makeup in Early Cinema
  2. Alice Maurice
  3. pp. 206-218
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  1. Part V: Embodied Audiences
  1. Introduction
  2. pp. 219-220
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  1. Chapter 19. “Keep It Dark”: The Fatale Attraction of the Female Viewer’s Body
  2. Mireille Berton
  3. pp. 221-230
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  1. Chapter 20. “The Best Synonym of Youth”: G. Stanley Hall, Mimetic Play, and Early Cinema’s Embodied Youth Spectator
  2. Christina Petersen
  3. pp. 231-239
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  1. Chapter 21. Perils of Cinema? The German Cinema Debate and the “Nerve-Racking” Medium
  2. Stephanie Werder
  3. pp. 240-248
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  1. Chapter 22. “The Taste of the Moment Seems All for ‘Pictures’”: Irish Historical Bodies before the Early Cinema Screen
  2. Denis Condon
  3. pp. 249-260
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  1. Part VI: Bodies in Exhibition Spaces
  1. Introduction
  2. pp. 261-262
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  1. Chapter 23. The Viewer’s Body in Motion: Physical and Virtual Effects of Three-Dimensional Spectacles
  2. Martin Barnier
  3. pp. 263-274
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  1. Chapter 24. Moving the Spectator, Dancing with the Screen: Early Dance Instruction Films and Reconfigurations of Film Spectatorship in the 1910s
  2. Kristina Köhler
  3. pp. 275-288
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  1. Chapter 25. A Rational and Entertaining Species of Amusement to Bipeds of All Ages: The Splendid Camera Obscura
  2. Alison Reiko Loader
  3. pp. 289-300
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  1. Appendix: Original French Texts
  1. Chapter 26. Le corps sous le scalpel de la presse illustrée et du cinéma
  2. Jérémy Houillère
  3. pp. 303-313
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  1. Chapter 27. Corps mis en scène, corps mis en cage: Le cinématographe au temps des zoos humains
  2. Rodolphe Gahéry
  3. pp. 314-322
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  1. Chapter 28. Paul Capellani: Le corps à l’épreuve du cinéma
  2. Sébastien Dupont-Bloch
  3. pp. 323-328
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  1. Chapter 29. Poils et pilosités dans le cinéma des origines
  2. Jean-Claude Seguin
  3. pp. 329-335
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  1. Chapter 30. Le corps du spectateur en mouvement: Effets réels et virtuels des spectacles tridimensionnels
  2. Martin Barnier
  3. pp. 336-348
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  1. Index
  2. pp. 349-360
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Additional Information

ISBN
9780253033666
Related ISBN(s)
9780253033659, 9780253033673, 9780253033680
MARC Record
OCLC
1057241157
Pages
370
Launched on MUSE
2018-12-06
Language
English
Open Access
No
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