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Film 1900

Film 1900

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Film 1900

Technology, Perception, Culture

Edited by: Annemone Ligensa and Klaus Kreimeier

Publication date: 2009
Total pages: 256
ISBN: 9780 086196 696 7
Price: £ 20.00


The current digital revolution has sparked a renewed interest in the origins and trajectory of modern media, particularly in the years around 1900, a period of rapid and profound cultural change. This collection aims to broaden our understanding of early cinema as a significant innovation in media history. Joining traditional scholarship with fresh insights from a variety of disciplines, this book explores the institutional and aesthetic characteristics of early cinema as a specific configuration of technology, perception and culture. It situates early cinema in trans-cultural developments, such as scientific revolutions, industrialization, urbanization, and globalization, but also addresses cultural differences in the process of modernization. Film 1900 is an important reassessment of early cinema’s position in cultural history.


Introduction Triangulating a Turn: Film 1900 as Technology, Perception and Culture Annemone Ligensa

Chapter 1 Archaeologies of Interactivity: Early Cinema, Narrative and Spectatorship Thomas Elsaesser

Chapter 2 Viewing Change, Changing Views: The ‘History of Vision’-Debate Frank Kessler

Chapter 3 The Ambimodernity of Early Cinema: Problems and Paradoxes in the Film-and-Modernity Discourse Ben Singer

Chapter 4 Mind, the Gap: The Discovery of Physiological Time Henning Schmidgen

Chapter 5 ‘Is Everything Relative?’: Cinema and the Revolution of Knowledge Around 1900 Harro Segeberg

Chapter 6 The Aesthetic Idealist as Efficiency Engineer: Hugo Münsterberg’s Theories of Perception, Psychotechnics and Cinema Jörg Schweinitz

Chapter 7 Between Observation and Spectatorship: Medicine, Movies and Mass Culture in Imperial Germany Scott Curtis

Chapter 8 The Scene of the Crime: Psychiatric Discourses on the Film Audience in Early Twentieth Century Germany Andreas Killen

Chapter 9 Seen Through the Eyes of Simmel: The Cinema Programme as a ‘Modern’ Experience Andrea Haller

Chapter 10 ‘Under the Sign of the Cinematograph’: Urban Mobility and Cinema Location in Wilhelmine Berlin Pelle Snickars

Chapter 11 Perceptual Environments for Films: The Development of Cinema in Germany, 1895–1914 Joseph Garncarz

Chapter 12 ‘Fumbling Towards Some New Form of Art?’: The Changing Composition of Film Programmes in Britain, 1908–1914 Ian Christie and John Sedgwick

Chapter 13 The Attraction of Motion: Modern Representation and the Image of Movement Tom Gunning

Chapter 14 ‘Dashing Down Upon the Audience’: Notes on the Genesis of Filmic Perception Klaus Kreimeier

Chapter 15 German Tonbilder of the 1900s: Advanced Technology and National Brand Martin Loiperdinger

Chapter 16 Sculpting With Light: Early Film Style, Stereoscopic Vision and the Idea of a ‘Plastic Art In Motion’ Michael Wedel

Chapter 17 ‘A Cinematograph of Feminine Thought’: The Dangerous Age, Cinema and Modern Women Annemone Ligensa

Chapter 18 Cinema as a Mode(l) of Perception: Dorothy Richardson’s Novels and Essays Nicola Glaubitz

Biographies of the Authors


Klaus Kreimeier is Professor emeritus of Media Studies at the University of Siegen, Germany. He studied Theatre, German literature and Art History. He was a noted Journalist in Press and Broadcasting. He also worked as lecturer at several media academies in Germany and other countries. Currently, he is head of the research project “Industrialization of Perception” at the University of Siegen, Germany

Annemone Ligensa received her MA degree in Theater, Film, and Television Studies, English and Psychology at the University of Cologne, Germany. Afterwards, she worked there as assistant manager of the ZfMK (Center for Media Studies Cologne) and as lecturer in Media Psychology.

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