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Performing New Media: 1890-1915

Performing New Media: 1890-1915

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Performing New Media: 1890-1915

Edited by: Kaveh Askari, Scott Curtis, Frank Gray, Louis Pelletier, Tami Williams, Joshua Yumibe

The edited DOMITOR proceedings from Brighton, UK, 2012.

Publication date: 2014
Total pages: 336
ISBN: 9780 86196 714 8
Price: £ 25.00


In the years before the First World War, showmen and women, entrepreneurs, educators and scientists used magic lanterns and cinematographs in a variety of contexts and venues. The use of these silent screen technologies to deliver diverse and complex programmes usually demanded audio accompaniment, so these events were effectively always performances. Projectionists, exhibitors, onstage talent, musical accompanists, backstage crews – all contributed to performances that could include live music, song, lectures, narration and sound effects in union with projected imagery. In addition, these performances often borrowed from parallel practices, such as shadow plays and tableaux vivants, and were influenced by social and cultural forces, such as censorship or reform movements. This collection of essays considers the various ways in which different image practices at the turn of the twentieth century were performed and in turn shaped performances on and beside the screen.


Kaveh Askari is an associate professor in the English department at Western Washington University. His recent work includes articles on the magic lantern, on early cinema and art education, and on imported cinema in Iran.

Scott Curtis is an associate professor of Radio/Television/Film at Northwestern University in Evanston, Illinois. He is currently President of Domitor, the international society for the study of early cinema.

Frank Gray is the Director of Screen Archive South East at the University of Brighton. He is a specialist in Victorian and Edwardian cinema and involved in the developemnt of public events for festivals and museums that engage with the history.

Louis Pelletier is a SSHRC postdoctoral fellow at Université de Montréal and Concordia University, where he is research coordinator of the Canadian Educational, Sponsored and Industrial Film Archive project. He has published on film exhibition, silent cinema and industrial films in Living Pictures, Cinémas, Film History and The Moving Image.

Tami Williams is an associate professor of Film Studies and English at the University of Wisconsin-Milwaukee, co-secretary of Domitor, and author of Germaine Dulac: A Cinema of Sensations (forthcoming 2014). She has published numerous articles on silent cinema, edited Germaine Dulac: Au dela des impressions (2006), and curated film programs for Musée d’Orsay, Cinema Ritrovato, and the National Gallery of Art. She is currently co-editing a volume on contemporary global cinema.

Joshua Yumibe holds a joint appointment as director and assistant professor of Film Studies at Michigan State University and as lecturer in Film Studies at the University of St Andrews. He is the co-director of the Davide Turconi Project, and is also working on the Leverhulme Trust funded project, Colour in the 1920s: Cinema and Its Intermedial Contexts.

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