Encyclopedia of Early Cinema(Part I) .pdf
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1、 I illustrated lectures Illustrated lecture was the popular term for the numerous documentary-like, audiovisual programs that flourished before 1920. Indeed, they were perhaps the dominant form of screen practice before moving pictures. Travel lectures were particularly popular, but the range of top
2、ics was extremely broad, from scientific subjects, exemplified by Abb Franois Moignos influential work in France, to social-issue programs such as Jacob Riiss “How the Other Half Lives and Dies” (1888) in the USA. Soon after the emergence of moving pictures, magic lantern showmen began to intergrate
3、 them into their lectures. In late 1896, at the Brooklyn Institute of Arts and Science, Alexander Black organized a program that included films and a lecture on glaciers using colored photographic slides. In March 1897, Henry Evans Northrop delivered a full-length illustrated lecture, “A Bicycle Tou
4、r Through Europe,” that integrated slides and films, using four or five hand-tinted photographic slides for each Lumire film that was shown. Slides were cheaper, more plentiful, and avoided the flicker effect that was hard on spectators eyes. This method of alternating slides and film became popular
5、 with such titles as “The Horitz Passion Play” (1897) and “The Passion Play of Oberammergau” (1898). It was common in England as well, where Robert W.Paul presented the two-hour illustrated lecture “Army Life, or How Soldiers Are Made” (1900) and G.West and this approach was adopted by others such a
6、s Edward Curtis, Frederick Monsen, and Garret P.Serviss by the 190607 season. About the same time, similar forms of integration were developed by “educational” groups such as the Maison de la Bonne Presse and Socit populaire des beaux-arts in France. Many of the early multiple-reel/feature films app
7、earing after 1912 were documentary-like versions of illustrated lectures. These represented an important shift for two reasons. First, they consisted entirely of moving pictures. Second, they were also multi-unit enterprises, in some cases with an international reach. Popular subjects such as Rainys
8、 African Hunt (1912), The Durbar in Kinemacolor (1912) and Sir Douglas Mawsons Marvelous Views of the Frozen North (1915) were shown in different countries with locally selected narrators who, although of varied ability, tended to write their own scripts and so humanize and personalize their subject
9、s. After 191516, documentary-like programming moved increasingly in two different directions. One was the illustrated lecture using films (or slides and films); the other was Encyclopedia of early cinema 442 the multi-unit program of the same subject that came increasingly to rely on intertitles rat
10、her than a lecture. The latter was often the version designed for broad release. Thus, former President Theodore Roosevelts 1914 illustrated lecture, “The Exploration of a Great River,” was reworked with intertitles and released as Colonel Theodore Roosevelts Expedition into the Wilds (1916). The ne
11、ed for a reliable and Figure 53 Lyman Howe program, 1906. (Courtesy of Charles Musser.) consistent message with broad distribution at low cost was undoubtedly one reason why, during World War I, the US government used intertitles rather than lectures for such films as Pershings Crusaders (1918) and
12、Americas Answer (1918). These films were what became known as the documentary. The documentary program (with intertitles) emerged as the dominant form after World War I, but the illustrated lecture still remained popular, at least in selected circles, throughout the silent period and beyond. See als
13、o: biblical films; color; education; religious filmmaking; travalogues Further reading Musser, Charles and Carol Nelson (1990) High-Class Moving Pictures: Lyman H.Howe and the Forgotten Era of Traveling Exhibition, 18801920, Princeton: Princeton University Press. CHARLES MUSSER Entries A-Z 443 illus
14、trated magazines The illustrated magazine was one of many cultural contexts within which moving pictures emerged, and some parallels can be drawn between the content of the magazine medium and moving picture production and exhibition. In particular the proportions of different subject matter categor
15、ies in both suggest related concerns with representing aspects of everyday life recognizable to consumers as well as extraordinary events or foreign cultures presented as exotic aspects of a wider world. From the early days of commercial printing, periodical publications often included some kind of
16、illustration, although this mainly consisted of generic decorative motifs rather than realistic representations tied to written texts. In the 18th century, in parallel with the beginnings of newspaper publication, magazines discussing political and general issues began to appear, and this trend cont
17、inued into the early 19th century, particularly through general-interest titles with a broadly educational mission. Illustrated magazines of all types became widespread in Europe and the USA from the middle decades of the 19th century onwards. Three main genres can be distinguished: (1) weekly news
18、magazines such as Illustrated London News (London, 1842), or LIllustration (Paris, 1843) and their satirical counterparts such as Charivari (Paris, 1832) and Punch (London, 1841); (2) everincreasing numbers of special interest monthlies such as trade papers, hobby magazines, and the publications of
19、political or religious pressure groups; and (3) monthly miscellanies such as Harpers Magazine (New York, 1847), Cornhill Magazine and Temple Bar (both London, 1860). The monthly miscellany offers perhaps the closest comparison to early moving pictures. Initially its content was a mixture of serializ
20、ed fiction and general-interest articles, including some social commentary, with a relatively low proportion of illustration dictated by the cost of wood engraving. However, changes in printing technology, and other economic factors such as increasing leisure time and disposable income among a middl
21、e-class readership, gradually made mass circulation possible and allowed cheaper, easier, and more prolific illustration. A new generation of illustrated monthly general-interest magazines appeared in most markets from the late 1880s, in which the amount of illustration increased and the contents be
22、came more “popular” through inclusion of elements such as celebrity profiles, stories for children, and “curiosity” pictures and puzzles. The first such titles included Scribners Magazine (New York, 1887) and Strand Magazine (London, 1891), and numerous other titles followed the same format in the 1
23、890s, especially mass magazines in the USA, from Munseys and McClures to Ladies Home Journal and Saturday Evening Post. The staple of these magazines continued to be fictional stories (self-contained short stories, series of unconnected stories involving the same characters, or serialized novels), a
24、nd factual articles on contemporary life, in almost equal proportions. All sections of the magazines exhibited a large number of illustrations: Strand claimed to include at least one picture at every double-page opening, and rarely if ever failed in this ambition. One important feature was the adopt
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