< Program < PANEL NO. 4.: The Politics of Distribution and Exhibtion On one of his company cards, Jean Desmet had the logos of twenty-two companies printed, to suggest that…
< Program < PANEL NO. 4.: The Politics of Distribution and Exhibtion As the moving picture theaters began to make a mark on the cityscape around 1905, pedagogical groups in…
< Program < PANEL NO. 4.: The Politics of Distribution and Exhibtion This paper examines holdovers of practices from legitimate theater into the early years of standardized feature film distribution.…
< Program < PANEL NO. 4.: The Politics of Distribution and Exhibtion As film historians have long observed, the cinema was not a single thing, but an interconnected set of…
< Program Thursday, Nov. 19, 202011:00 AM - 11:40 AM ESTModerator: Hugo Ljungbäck (University of North Carolina at Chapel Hill) Martin L. Johnson (University of North Carolina at Chapel Hill)…
< Program Wednesday, Nov. 18, 202012:30 PM - 1:00 PM ESTModerator: Grazia Ingravalle (Brunel University London) Jenny Oyallon-Koloski (University of Illinois at Urbana-Champaign) - American Delsartism, Gestural Meaning, and Crafting…
< Program Wednesday, Nov. 18, 202011:50 AM - 12:20 PM ESTModerator: Haidee Wasson (Concordia University) Malcolm Cook (University of Southampton) - “Flashed before the gaze of a crowd”: Animation and…
< Program < PANEL NO. 3: Cameras, Projectors, and Trick Photography Split screen composites constitute one of early cinema’s most prevalent trick techniques. Among other things, the process was used…
< Program < PANEL NO. 3: Cameras, Projectors, and Trick Photography Tanagra and La danseuse microscopique: Stage and Composite Images Trick films have had a lasting impact on the history…
< Program < PANEL NO. 3: Cameras, Projectors, and Trick Photography With few exceptions, significant but unfortunately not lasting, in Italy the discourses on the cinema begin to find stable…