Essays on “how motion pictures in the first two decades of the 20th century constructed ‘communities of nationality’ . . . recommended.” —Choice While many studies have been written on national cinemas, Early Cinema and the “National” is the first anthology to focus on the concept of national film culture from a wide methodological spectrum of interests, including not only visual and narrative forms, but also international geopolitics, exhibition and marketing practices, and pressing linkages to national imageries. The essays in this richly illustrated landmark anthology are devoted to reconsidering the nation as a framing category for writing cinema history. Many of the 34 contributors show that concepts of a national identity played a role in establishing the parameters of cinema’s early development, from technological change to discourses of stardom, from emerging genres to intertitling practices. Yet, as others attest, national meanings could often become knotty in other contexts, when concepts of nationhood were contested in relation to colonial/imperial histories and regional configurations. Early Cinema and the “National” takes stock of a formative moment in cinema history, tracing the beginnings of the process whereby nations learned to imagine themselves through moving images.

One-volume reference work on the first twenty-five years of the cinema's international emergence from the early 1890s to the mid-1910s.

Remnants of early films often have a story to tell. As material artifacts, these film fragments are central to cinema history, perhaps more than ever in our digital age of easy copying and sharing. If a digital copy is previewed before preservation or is shared with a researcher outside the purview of a film archive, knowledge about how the artifact was collected, circulated, and repurposed threatens to become obscured. When the question of origin is overlooked, the story can be lost. Concerned contributors in Provenance and Early Cinema challenge scholars digging through film archives to ask, "How did these moving images get here for me to see them?" This volume, which features the conference proceedings from Domitor, the International Society for the Study of Early Cinema, 2018, questions preservation, attribution, and patterns of reuse in order to explore singular artifacts with long and circuitous lives.

An authoritative and much-needed overview of the main issues in the field of early cinema from over 30 leading international scholars in the field First collection of its kind to offer in one reference: original theory, new research, and reviews of existing studies in the field Features over 30 original essays from some of the leading scholars in early cinema and Film Studies, including Tom Gunning, Jane Gaines, Richard Abel, Thomas Elsaesser, and André Gaudreault Caters to renewed interest in film studies’ historical methods, with strict analysis of multiple and competing sources, providing a critical re-contextualization of films, printed material and technologies Covers a range of topics in early cinema, such as exhibition, promotion, industry, pre-cinema, and film criticism Broaches the latest research on the subject of archival practices, important particularly in the current digital context

In her authoritative new book, Maite Conde introduces readers to the crucial early years of Brazilian cinema. Focusing on silent films released during the First Republic (1889-1930), Foundational Films explores how the medium became implicated in a larger project to transform Brazil into a modern nation. Analyzing an array of cinematic forms, from depictions of contemporary life and fan magazines, to experimental avant-garde productions, Conde demonstrates the distinct ways in which Brazil’s early film culture helped to project a new image of the country.

Early Puerto Rican Cinema and Nation Building focuses on the processes of Puerto Rican national identity formation as seen through the historical development of cinema on the island between 1897 and 1940. Anchoring her work in archival sources in film technology, economy, and education, Naida García-Crespo argues that Puerto Rico’s position as a stateless nation allows for a fresh understanding of national cinema based on perceptions of productive cultural contributions rather than on citizenship or state structures. This book aims to contribute to recently expanding discussions of cultural networks by analyzing how Puerto Rican cinema navigates the problems arising from the connection and/or disjunction between nation and state. The author argues that Puerto Rico’s position as a stateless nation puts pressure on traditional conceptions of national cinema, which tend to rely on assumptions of state support or a bounded nation-state. She also contends that the cultural and business practices associated with early cinema reveal that transnationalism is an integral part of national identities and their development. García-Crespo shows throughout this book that the development and circulation of cinema in Puerto Rico illustrate how the “national” is built from transnational connections. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

In Early Cinema in Russia and its Cultural Reception Yuri Tsivian examines the development of cinematic form and culture in Russia, from its late nineteenth-century beginnings as a fairground attraction to the early post-Revolutionary years. Tsivian traces the changing perceptions of cinema and its social transition from a modernist invention to a national art form. He explores reactions to the earliest films, from actors, novelists, poets, writers, and journalists. His richly detailed study of the physical elements of cinematic performance includes the architecture and illumination of the cinema foyer, the speed of projection and film acoustics. In contrast to standard film histories, this book focuses on reflected images: rather than discussing films and film-makers, it features the historical film-goer and early writings on film. Early Cinema in Russia and its Cultural Reception presents a vivid and changing picture of cinema culture in Russia in the twilight of the tsarist era and the first decades of the twentieth century. Tsivian's study expands the whole context of reception studies and opens up questions about reception relevant to other national cinemas.

Verhoeff investigates the emergence of the western genre, made in the first two decades of cinema (1895-1915). By analyzing many unknown and forgotten films from international archives she traces the relationships between films about the American West, their surrounding films, and other popular media such as photography, painting, (pulp) literature, Wild West Shows and popular ethnography. Through this exploration of archival material she raises new questions of historiography and provides a model for historical analysis. These first traces of the Western film reveal a preoccupation with presence and actuality that informs us about the way in which film, as new medium, took shape within the context of its contemporary visual culture. In The West in Early Cinema gaat Nanna Verhoeff op zoek naar de nog onbekende beginjaren van het westerngenre tijdens de eerste twee decennia van het medium film 1895-1915). Aan de hand van onbekende en vergeten films uit internationale filmarchieven traceert zij de relaties tussen films over het Westen, omringende filmgenres uit deze periode, en andere populaire media als fotografie, schilderkunst, (pulp)literatuur, Wild West Shows en populaire etnografie. Deze sporen van het genre tonen een grote actualiteit en variatie, die laat zien op welke manier de film als nieuw medium een vorm vond binnen de toenmalige visuele cultuur.

A pathbreaking collection of essays on early Chinese-language cinema

A study of Peruvian Cinema and the role of criticism in forming a national cinematic vision