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Outline

Title
Abstract
Introduction
Questioned Practice
"Experimental" as a Titled Sub-Genre
Digital Foundations for Early Cinema Analysis
Conclusion
References
All Topics
History
Cultural History

Crafts, Trades, and Techniques of Early Cinema

Profile image of Valentine RobertValentine Robert

2024, Crafts, Trades, and Techniques of Early Cinema

https://doi.org/10.3998/MPUB.14468539
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506 pages

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Abstract

These proceedings of the 16th conference of the international society for the study of early cinema Domitor includes 26 studies and numerous rarely seen figures dealing with the often overlooked history of the crafts, trades and techniques of early cinema. By examining material culture and the institutionalization of practices into trades during the late 19th and early 20th centuries, this new investigation into the skills and the techniques that defined the cinema in its early decades aims to foster a better understanding of the medium in its varied industrial and professional aspects. The art and gestures of craftspersons—including performers, camera operators, editors, directors, designers, engineers, projectionists, programmers, and critics—, like those of the factory or laboratory workers, are considered for their emerging specificity, as well as in relation to existing cultural, material and technological forms. This book shows how the industrialization of cinema, the professionalization of workers, and the standardization of techniques led to the creation (or at times, subversion) of norms, and consequently legitimized certain skills, crafts and techniques at the expense of others. The intermedial approaches deployed in this collection bring into focus the influence of multiple professional worlds and cultural practices on the nascent film medium, as well as the necessary adaptations and transformations required by the latter. This circulatory dynamic concerns people and practices, studied in a non-diffusionist approach taking into account transcultural interactions. Chapters examine the mechanisms of professionalization and identity-building as they relate to professions such as filmmaker or colorist, as well as to more unexpected occupations such as accountant, censor, or chemical engineer. The notion of technique is broadly defined. Several of the volume’s chapters deal with cameras or special effects, as well as with new historical investigation into mysterious technical devices such as shutters, cue systems or working samples. Going beyond this preoccupation with materiality, the collected studies also approach technique as a human and cultural activity, and thus as a set of gestures, crafts, and expertise. The book more specifically opens up a reflection on the skills of screen performers and on the training that brought the institutionalization of body techniques and film acting. The book further illustrates to an unprecedented extent that the first film workers were frequently women. Several chapters are dedicated to the unconventional careers of specific film workers, with particular attention being given to the diversity and complexity of professional trajectories. Indeed, this book demonstrates that the invention of cinema was deeply enmeshed with the rise of international networks, which resulted in the standardization of technical practices within corporate and national contexts being ultimately shaped by globalization.

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References (545)

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  103. José Inácio de Melo Souza, Imagens do passado: São Paulo e Rio de Janeiro nos primórdios do cinema (São Paulo: Editora Senac, 2004), 271.
  104. Gazeta de Notícias (19 April 1911): 5, quoted in Vicente de Paula Araújo, A Bela Época do cinema brasileiro (São Paulo: Editora Perspectiva, 1976), 363.
  105. "O Guarany," Jornal do Commercio (20 April 1911): 18; "O Guarany," Correio da Manhã (17 April 1911): 10.
  106. "O que vai pelos cinemas e outras casas de diversões," Correio da Manhã (20 April 1911): 3.
  107. Rick Altman, "Penser l'histoire du cinéma autrement: un modèle de crise," Vingtième Siècle 46 (April-June 1995): 65.
  108. Araújo, A Bela Época do cinema brasileiro, 363.
  109. "Teatro Variedades," Correio Paulistano (22 August 1911): 9.
  110. "Teatro Variedades," Correio Paulistano (25 August 1911): 7.
  111. Paulo Augusto Gomes, Pioneiros do cinema em Minas Gerais (Belo Horizonte: Crisálida Livraria e Editora, 2008), 47-48.
  112. "Cinemetrophonia," O Pharol (23 May 1913): 1.
  113. Gastão Tojeiro (author) and Griselda Lazzaro Schleder (music), Carlito & Chico Boia (Rio de Janeiro: Arquivo Nacional, BR_ RJANRIO_ 6E_ CPR_ PTE_ 0164, 1920).
  114. "Falecimentos," Jornal do Commercio (7 May 1941): 5.
  115. William Nunes Condé, Marc Ferrez & Filhos: Comércio, distribuição e exibição nos primórdios do cinema brasileiro (1905-1912), MA thesis, Universidade Federal do Rio de Janeiro, 2012, 55-57.
  116. Condé, Marc Ferrez & Filhos, 56.
  117. Ana M. López, "Early Cinema and Modernity in Latin America," Cinema Journal 40.1 (Autumn 2000): 49. travailler avec lui sur les décors de la Solax les week-ends. Henri Ménessier, Fonds Commission de recherche historique (CRH), Cinémathèque française, CRH33-B2, 3-4.
  118. Sur l'organisation de la production à la Solax, voir Alison McMahan, Alice Guy-Blaché : Lost Visionary of the Cinema (New York : Continuum, 2002), 110-153.
  119. « The family doctor says: When the last leaf falls, she will have passed away », traduction personnelle. Intertitre de Falling Leaves (Alice Guy-Blaché, Solax, États-Unis, 1912).
  120. Ménessier ne précise pas les films dans lesquels il aurait figuré mais dit qu'on lui demandait souvent de faire « le garçon de bistrot ». « Je jouais les bistrots simplement parce que j'avais un cousin qui avait un bistrot à Suresnes, et de temps en temps, je lui donnais un coup de main ». Henri Ménessier, Fonds Commission de recherche historique (CRH), Cinémathèque française, CRH33-B2, 6.
  121. Ménessier fut même l'un des codirecteurs de la société de distribution créée par Herbert Blaché, la United States Amusement Corporation, en 1917. Sur les complications rencontrées par la Solax, voir Alison McMahan, Alice Guy- Blaché : Lost Visionary of the Cinema, 154-206.
  122. Voir par exemple « Metro Completes New Nazimova Picture », Moving Picture World (24 août 1918) : 1241.
  123. Par exemple, dans un article de 1928, il est précisé que Ménessier a été l'assistant metteur en scène de Rex Ingram pendant quatre ans, [anon.] « Constance Talmadge dans Venus », Supplément de l'Écho Anamite (15 décem- bre 1928). Dans un autre article de 1929, cette fois dans Cinémonde, Henri Ménessier est décrit comme « le bras droit de Rex Ingram », [anon.], « De nos correspondants : Nice », Cinémonde (24 janvier 1929) : 271.
  124. Il n'existe pas de filmographie détaillée de la fin de carrière d'Henri Ménessier, son embauche à la Paramount est citée dans « L'aube d'une aire de pros- périté » insert publicitaire présentant les nouvelles équipes des studios de Joinville de la Paramount publié dans La Cinématographie française, (22 mars 1930).
  125. Menessier se décrit comme « Assistant Director » dans un annuaire profes- sionnel de 1920 et comme « Director Motion Pictures » sur sa fiche matricule de 1918. Henri Ménessier, U.S., World War I Draft Registration Cards, 1917- 1918, New York, Manhattan City, 158, Draft Card M ; « Henri Ménessier », Motion Picture Studio Director and Trade Annual (New York : Motion Picture News, 1920), 309.
  126. Annuaire général de la cinématographie et des industries qui s'y rattachent (Paris : Cinémagazine, 1929), 785.
  127. Journaux comptables (JC).
  128. Henri Bousquet, « L'âge d'or », dans Jacques Kermabon (dir.), Pathé, premier empire du cinéma (Paris : Centre Georges Pompidou, 1994), 56.
  129. Cote F/ 17/ 17275, Archives nationales (AN).
  130. Bonnay, Actes d'État civil, 5MI_ D297, Archives départementales de la Somme (ADS).
  131. Matricule militaire, D4R1 692, Archives départementales de Paris (ADP).
  132. Acte de naissance n o 354, V4E 9334, ADP.
  133. Acte de mariage, V4E 9367, ADP.
  134. Stéphanie Salmon, Pathé, à la conquête du cinéma, 1896-1929 (Paris : Tallandier, 2014), 30.
  135. Acte de décès, V4E 8661, ADP.
  136. JC1bis, 12 février 1898. JC1, 28 février 1899, 30 juillet 1899, 31 août 1899, 30 janvier 1900, collection de la Fondation Jérôme Seydoux-Pathé (coll. FJSP par la suite).
  137. « Marchandises générales à Camille Legrand prise de vues cinémato, voyage de Loubet en Russie, 1 130 francs » (JC3, 13 mai 1902) : 731, coll. FJSP.
  138. « Frais de voyage à Legrand (Camille), ses dépenses de séjour à Londres pour couronnement cinémato, 962,50 francs » (JC3, 1 er juillet 1902) : 772, coll. FJSP. Cf. le film Le couronnement du roi Édouard vii (n o 588) 60 m.
  139. « Dépenses pour scènes, cinéma, prises de vues à Legrand, 700 francs » (JC5, 31 août 1903) : 142, coll. FJSP.
  140. Concernant les dépenses relatives aux prises de vues effectués par les théâtres de Vincennes, de Montreuil ou de Nice, le poste « caisse théâtre de prises de vues » présente uniquement des sommes totales.
  141. « Legrand (opérateur), Vincennes at. payé pour frais de voyage en Italie, 300 francs » (JC6, 18 avril 1904) : 138, coll. FJSP.
  142. Cf. deux films pris en Italie par Legrand : Réf Gaumont-Pathé archives (GPA par la suite) : Venise en gondole (n o 1162), 1904PDOC 00316 et De Naples au Vésuve (n o 1165), 1904PDOC 00317.
  143. Registre NMD 1863, Claude Aubourdier (1863-1902), époux d'Anne Juliette Lafoucrière (1870-?), soeur de Marie-Philippine, épouse de Camille Legrand. Cf. Jitka de Préval, Camille Legrand, un opérateur Pathé sur la route des Indes (Paris : Riveneuve, 2021), 25-32.
  144. « Souvenirs sur la Maison Pathé Frères 1904-1905-1906 », Hugues Laurent, architecte-décorateur, manuscrit non publié de 21 janvier 1949, CRH105-B4, La Cinémathèque française (CF).
  145. JC11 et 12, coll. FJSP.
  146. Stucker CRH51-B2, 13 mars 1948, CF.
  147. « Fabrication Films Négatifs à Vermeulen, opérateur ; Appointements : s/ appointements et ceux de s/ employé … » (JC, 31 août 1906) : 333, coll. FJSP.
  148. Anton Evgeniev, "Irochkina kariera," Kino-teatr 2 (1918): 13-16; Anton Evgeniev, "Irochkina kariera," Kino-teatr 4 (1918): 9-12; Anton Evgeniev, "Irochkina kariera," Kino-teatr 5 (1918): 10-12.
  149. Garri, "V pogone za triukom, Rasskaz," Vestnik kinematografii 1.81 (1914): 17.
  150. Garri, "V pogone za triukom, Rasskaz."
  151. I. Mavich, "Kino-unikum," Sine-Fono 5-6 (1916): 60.
  152. Bor. Mirskii, "Kak ia igral dlia kinematografa…Priznanie neudachnika," Sine-Fono 26, 1913, 27.
  153. Don Bartalo, "Improvizator," Kino-teatr i zhizn' 1 (1913): 6.
  154. V. D., "Budush'nost. Fel'ieton," Proektor 4 (1915): 7.
  155. V. D., "Mutnaia voda (iz sluchainogo khlama)," Proektor 3 (1915): 6-7.
  156. Armando, "Utro fil'mofabrikanta," Kine-zhurnal 23-24 (1915): 79.
  157. Armando, "Utro fil'mofabrikanta."
  158. V. Ermilov, "Kino-ispug (novogodnii fel'ieton)," Kine-zhurnal 17-24 (1917): 41.
  159. See, for instance: "V kinematograficheskom mire," Artist i stsena, 8 (1912): 24;
  160. E. Nagrodskaia, "Kinematograficheskie goresti i radosti," Kinematograf 1 (1915): 6.
  161. Zhakass, "V biblioteke," Teatral'naia gazeta 34 (1915): 15.
  162. Zhakass, "V biblioteke."
  163. Vede, "Milaia provintsiia (vmesto rozhdestvenskoi idillii)," Proektor 1 (1916): 8.
  164. L. O. [Lev Ostroumov], "Shveitsar," Vestnik kinematografii 122 (1917): 6.
  165. Amo Bek-Nazarov, Zapiski aktera i kinorezhissera (Moscow: Iskusstvo, 1965).
  166. Yuri Tsivian, "Early Russian cinema: some observations," in Inside the Film Factory: New Approaches to Russian and Soviet cinema, ed. Ian Christie and Richard Taylor (London/ New York: Routledge: 1991).
  167. Twentieth-Century Urban America (Austin: University of Texas Press, 2017);
  168. and William Paul, When Movies Were Theater. Architecture, Exhibition, and the Evolution of American Film (New York: Columbia University Press, 2016). As Paul Moore has shown in his study of Toronto moviegoing, "nickel madness" did not characterize the movie experience of every urban center, although concerns about the impact of the cinema on youth was broadly shared. See Paul S. Moore, Now Playing: Early Moviegoing and the Regulation of Fun (New York: SUNY Press, 2008).
  169. Paul, When Movies Were Theater, 83.
  170. Paul, When Movies Were Theater, 94.
  171. "Moving Pictures in Los Angeles Church," The (Stockton, Calif.) Evening Mail (1st April 1911): 15.
  172. "Moving Pictures in Church Service," The Santa Ana (Calif.) Register (17 July 1911): 3.
  173. See Jennifer Peterson, Education in the School of Dreams: Travelogues and Early Nonfiction Film (Durham, NC: Duke University Press, 2013).
  174. W.H. Ives, "What School Facilities Should Be Provided for Instruction by Means of Motion-Picture Machines, Stereopticon Lanterns, Phonographs, Player-Pianos, Etc.?," Journal of Proceedings and Addresses of the Fiftieth Annual Meeting. National Education Association of the United States (1912): 1231.
  175. Helen Lockwood Coffin, "The Movies on the Move," Everybody's Magazine (October 1912): 505-506.
  176. See Mary Heaton Vorse, "Some Picture Show Audiences," The Outlook (24 June 1911): 441-447.
  177. Flora L. Hendley, "A Practical Solution of the Moving Picture," Teacher's Magazine no. 27, (October 1914): 50-51.
  178. "Pictures Are Now Put To Many Serious Uses," Alliance (Neb.) Times and Herald (24 January 1913): 2.
  179. "Questionnaire to Social, Educational, and Religious Institutions in New York City," 17 March 1914. National Board of Review of Motion Pictures records, Manuscripts and Archives Division, The New York Public Library.
  180. Jeff Martin, "Beyond the Wall Label: Moving Images in the Archives of the Brooklyn Museum." M.A. Thesis, New York University, 2 May 2005.
  181. For more, see Martin L. Johnson, "Ruth Gould Dolesé," in Women Film Pioneers Project, ed. Jane Gaines, Radha Vatsal, and Monica Dall'Asta (New York, NY: Columbia University Libraries, 2020).
  182. Devin Orgeron, Marsha Gordon, and Dan Streible, Learning with the Lights Off: Educational Film in the United States (New York: Oxford University Press, 2012), 24.
  183. Orgeron, Gordon, and Streible, Learning with the Lights Off, 24.
  184. Waldekranz, "Levande fotografier;" Jan Olsson, "Magnified Discourse: Screenplays and Censorship in Swedish Cinema of the 1910s," in Celebrating 1895: The Centenary of Cinema, ed. John Fullerton (London: John Libbey, 1998), 239-252; "Svart på vitt: film, makt och censur," Aura. Filmvetenskaplig tidskrift 1.1 (1995): 14-46.
  185. See for example: "Biograf-censur," Nordisk Filmtidning 1.12-13 (November 1909): 3-6; N.N. "Centralcensureringen," Nordisk Filmtidning 1.14-18 (December 1909): 3; and "Till Redaktionen af Nordisk Filmtidning," Nordisk Filmtidning 1.14-18 (December 1909): 6. The article is commented on and criticized in G-g, "Biograffrågan," Svenska Dagbladet (29 December 1909): 5.
  186. "På reformstråt," Nordisk Filmtidning 1.9 (August 1909): 1.
  187. Axel Ryding, "Öppna svar till Seminarieadjunkten, Fil. Kand. Fröken Marie Louise Gagner," Nordisk Filmtidning 1.14-18 (December 1909): 8. Author's translation.
  188. G-g, "Biograffrågan," Svenska Dagbladet (29 December 1909): 5.
  189. Ryding, "Öppna svar till Seminarieadjunkten," 8.
  190. E.W., "Biografeländet," Nordisk Filmtidning 1.22 (April 1910): 3.
  191. See for example: E.B-n, "Från danska biografvärlden," Nordisk Filmtidning 1.3 (March 1909): 2; "Hvarifrån komma biograffilms," Nordisk Filmtidning 1.10-11 (November 1909): 2-3.
  192. See for example N.N., "Centralcensureringen," Nordisk Filmtidning 1.14-18 (December 1909): 3. As the journal Nordisk Filmtidning contains film lists and advertisements, it is a good source, if not comprehensive, on films dis- tributed and exhibited in Sweden before the advent of national censorship.
  193. "Till herrar Kinematografägare [Editorial]," Nordisk Filmtidning 1.12-13 (November 1909): 6.
  194. Handlingar efterlämnade av Marie Louise Gagner, filmcensor 1911-1933: Programblad och stolpaffischer. Statens biografbyrå. Ö2a. Statens biografby- rås arkiv.
  195. Programblad och stolpaffischer 1908-1911 Ö2 A:7. Statens biografbyrås arkiv.
  196. Programblad och stolpaffischer 1908-1911 Ö2 A:6. Statens biografbyrås arkiv.
  197. Jan Olsson, "Magnified Discourse: Screenplays and Censorship in Swedish Cinema of the 1910s," in Jan Holmberg, Förtätade bilder: Filmens närbilder i historisk och teoretisk belysning (Stockholm: Aura förlag, 2000), 31-68.
  198. See for example Richard Abel, The Red Rooster Scare: Making Cinema American, 1900-1910 (Berkeley and Los Angeles: University of California Press, 1999), 151-174; Nanna Verhoeff, The West in Early Cinema. After the Beginning (Amsterdam: Amsterdam University Press, 2006).
  199. E.W., "Biografeländet," Nordisk Filmtidning 1.22 (April 1910): 3.
  200. "Den hvita liljan," Nordisk Filmtidning 1.14-18 (December 1909): 20.
  201. According to Henri Bousquet, the original version of La révolte de Redwood was 255 meters-long, which is four meters longer than the version presented this history nearly fifty years later and separately claims that prior to World War I, "we did not keep much in the way of books" (95-96). Still, when Vitagraph sold its film exchanges to General Film Co. in 1910, Moving Picture World noted that they relocated their offices, including the "bookkeeping and […] accounting department" to their factory in Flatbush (Brooklyn);
  202. "Vitagraph Executive Offices Moved to Factory," Moving Picture World (27 August 1910): 472.
  203. Kalton C. Lahue, Mack Sennett's Keystone: The Man, the Myth, the Comedies (New York: A.S. Barnes & Co., 1971), 247; Staiger, "Hollywood Mode," 136.
  204. John L. Carey, The Rise of the Accounting Profession: From Technician to Professional, 1896-1936 (New York: American Institute of Certified Public Accountants, 1969), 3.
  205. André Gaudreault and Philippe Marion, "A Medium Is Always Born Twice," Early Popular Visual Culture 3.1 (2005): 3-15.
  206. Carey, Rise of the Accounting Profession; Stephen A. Zeff (ed.), The U.S. Accounting Profession in the 1890s and Early 1900s (New York: Garland Publishing, 1988);
  207. John Gary Previts and Barbara Dubis Merino, A History of Accountancy in the United States: The Cultural Significance of Accounting (Columbus, OH: Ohio State University Press, 1998), ix, 175-234.
  208. Unlike the early film companies, several of these are now major companies that are still active today.
  209. Lori L. Solsma and Dale L. Flesher, "Exploring the clientele of an accounting firm in early twentieth century America," Accounting History Review 23. 3 (2013): 295-315.
  210. For more on this professionalization of accountants, see: Richard Brown, History of Accounting and Accountants (New York: Augustus M. Kelley Publishers, 1968 [1905]), 271-280; Chris Poullaos, "Professionalisation," in The Routledge Companion to Accounting History, ed. John Richard Edwards and Stephen P. Walker (New York: Routledge, 2009), 259-261.
  211. This is especially true during the early formation of Hollywood studios in the late 1910s and early 1920s. Richard Koszarski, An Evening's Entertainment: The Age of the Silent Feature Picture, 1915-1928 (Berkeley: University of California Press, 1990), 91-92; Jane M. Gaines, Pink Slipped: What Happened to Women in the Silent Film Industries? (Champaign, IL: University of Illinois Press, 2018), 193-194.
  212. H. Thomas Johnson and Robert S. Kaplan, Relevance Lost: The Rise and Fall of Managerial Accounting (Boston: Harvard Business School Press, 1987), 61.
  213. Johnson and Kaplan, Relevance Lost, 64.
  214. "Banquet Given by Saxe Enterprises, Milwaukee," Moving Picture World (27 January 1912): 306. For clarity, there was also a director of the same name who worked for Keystone as early as 1916.
  215. Douglas Gomery, "Saxe Amusement Enterprises: The Movies Come to Milwaukee," Milwaukee History 2.1 (1979): 21.
  216. Gomery, "Saxe Amusements Enterprises," 18.
  217. "Banquet Given by Saxe Enterprises, Milwaukee," Moving Picture World (27 January 1912): 306.
  218. "Exhibitors News," Moving Picture World (21 November 1914): 1100.
  219. As previously footnoted, Vitagraph had a bookkeeping department in 1910, further supporting such an interpretation.
  220. "Washington, D.C., Exchanges Feel the Boom," Motion Picture News (8 May 1915): 55; "Victor Abbey's Paper Goes Prepaid," Moving Picture World (28 October 1916): 580; "Victor L. Abbey Joins K.E.S.E.," Moving Picture World (17 November 1917): 1058; "Victor L. Abbey Heads Mutual Office," Moving Picture World (9 February 1918): 851.
  221. Moving Picture World (14 December 1912): 1091. Despite calling it the "newly revised 1913" edition, this is the first record of such a ledger in the trades that I can find. It is possible that Bryson was just using this rhetorical flourish to promote sales; however, the more likely reason is provided by the ad itself which notes he had recently switched from selling through dealers to selling direct. Regardless, when exactly he first began producing and selling this ledger is not known.
  222. Philip Scranton, Endless Novelty: Specialty Production and American Industrialization, 1865-1925 (Princeton, NJ: Princeton University Press, 1997), 18.
  223. Albert Smith claims at one point that it was the role of taxation during World War I that led Vitagraph to improve the quality of their accounting practices. See Two Reels, 96. For the corresponding role that tax reform played in the professionalization of accountants, see Carey, Rise of the Accounting Profession, 70-71;
  224. James Don Edwards, History of Public Accounting in the United States (Tuscaloosa, AL: University of Alabama Press, 1960), 93.
  225. "Moving Picture News from Everywhere," Views and Film Index (11 April 1908): 6.
  226. "Laemmle Film Service, Minneapolis, Enlarges," Moving Picture World (7 November 1908): 359; "Bryson Takes 90-Day Leave of Absence," Motion Picture News (13 November 1915): 141; "Ledermann Succeeds Bryson in Minneapolis," Motion Picture News (27 November 1915): 68; John Drinkwater, The Life and Adventures of Carl Laemmle (New York: G.P. Putnam's Sons, 1931), 133-134.
  227. "Chicago Film Brevities," Moving Picture World (3 February 1917): 692; "James Bryson Returns as Universal Manager," Moving Picture World (11 January 1919): 198.
  228. "Frank Cotter, Universal's New Australian Representative," Moving Picture Weekly (28 August 1920): 8; "Wanda Wiley, Century Comedy Star, Mrs. McIntyre and Universal Officials Make Up Party," Universal Weekly (13 June 1925): 15. In 1925 he staged an infamous promotional spectacle for The Phantom of the Opera (Rupert Julian, Universal, US, 1925). He was released by Universal (and filed a failed lawsuit for wrongful dismissal) in 1933 at which point he remained involved but tangential to the British film industry until his untimely death two years later. See: "Mr. J. V. Bryson," Liverpool Echo (31 December 1935): 5; "James V. Bryson," Variety (15 January 1936): 62.
  229. "James V. Bryson Dies in London," Motion Picture Herald (4 January 1936): 16.
  230. Lahue, Mack Sennett's Keystone, 244.
  231. Lahue, Mack Sennett's Keystone, 10-11.
  232. Staiger, "Hollywood Mode," 136. As we see here, she also borrows the error Lahue makes in his introduction (but only there) on Stout's middle initial. See also: Janet Staiger, "Dividing Labor for Production Control: Thomas Ince and the Rise of the Studio System," Cinema Journal 18.2 (Spring 1979): 21-22.
  233. Junior yearbook: The Scarlet Letter vol. 60-Class of 1911 (New Brunswick, NJ: The Greek Letter Fraternities of Rutgers College, 1910), 153. Senior Yearbook: The Scarlet Letter vol. 61-Class of 1912 (New Brunswick, NJ: The Greek Letter Fraternities of Rutgers College, 1911). Stout's name appears nowhere in this edition nor in any of Rutgers' online alumni lists or the University Archives' Alumni Biological Files.
  234. The Scarlet Letter (1910), 2; Erika Gorder, Archivist. Rutgers University Libraries, email message to author, 11 December 2020.
  235. The Scarlet Letter (1910), 120. Alexanderplatz from Döblin to Fassbinder (Camden House, 2017), Noël Carroll and Film: A Philosophy of Art and Popular Culture (Bloomsbury, 2019) and Fiction and Imagination in Early Cinema: A Philosophical Approach to Film History (Bloomsbury, 2019)-and has co-edited New Perspectives on Early Cinema History: Concepts, Approaches, Audiences. notes
  236. Charles Musser, "Passions and the Passion Play: Theatre, Film and Religion in America, 1880-1900," Film History 5.4 (1993): 419-456.
  237. Tom Gunning, D.W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph (Urbana: University of Illinois Press, 1994), 92, my italics; Noël Burch, "Passion, poursuite: la linéarisation," Communication 38 (1983): 38-39.
  238. Jeffrey A. Dym, Benshi, Japanese Silent Film Narrators, and Their Forgotten Narrative Art of Setsumei: A History of Japanese Silent Film Narration (Lewiston: Edwin Mellen Press, 2003).
  239. Richard Crangle, " 'Next Slide Please': The Lantern Lecture in Britain, 1890-1910," in The Sounds of Early Cinema, ed. Richard Abel and Rick Altman (Bloomington: Indiana University Press, 2001), 45.
  240. "The Passion Play," Philadelphia Inquirer (23 November 1897): 5.
  241. New Haven Journal-Courier (15 March 1898): 5, quoted by Musser, "Passions and the Passion Play," 444.
  242. Musser, "Passions and the Passion Play," 419-456.
  243. Musser, "Passions and the Passion Play," 434.
  244. Charles Musser, The Emergence of Cinema: The American Screen to 1907 (New York: Charles Scribner's Sons, 1991), 193-209.
  245. Musser, The Emergence of Cinema, 200-202.
  246. Musser, "Passions and the Passion Play," 425.
  247. "The Proposed Passion Play," New York Dramatic Mirror (30 October 1880): 7.
  248. "Shock of Repulsion," New York Dramatic Mirror (9 October 1890): 9, quoted by Musser, "Passions and the Passion Play," 426.
  249. Cf. André Gaudreault, "La Passion du Christ: une forme, un genre, un dis- cours", in Une invention du diable? Cinéma des premiers temps et religion/ An Invention of the Devil? Religion and Early Cinema, ed. Roland Cosandey, André Gaudreault and Tom Gunning (Lausanne/ Quebec City: Payot Lausanne/ Presses de l'Université Laval, 1992), 91-101.
  250. John L. Stoddard, John L. Stoddard Lectures. Volume 4 (Boston: Balch Brothers, 1901), 238.
  251. Stoddard, John L. Stoddard Lectures. Volume 4, 285.
  252. Stoddard, John L. Stoddard Lectures. Volume 4, 280, 283.
  253. Stoddard, John L. Stoddard Lectures. Volume 4, 289.
  254. Stoddard, John L. Stoddard Lectures. Volume 4, 296.
  255. Musser, "Passions and the Passion Play," 435-436.
  256. Musser, "Passions and the Passion Play," 435-436.
  257. Baltimore Sun (8 February 1898): 7.
  258. Musser, "Passions and the Passion Play."
  259. Pastor Madison C. Peters, 1 April 1898. Reprinted in Moving Picture World (22 February 1908): 133.
  260. R. F. Putnam, 15 February 1898. Reprinted in Reprinted in Moving Picture World (22 February 1908): 133., quoted by Musser, "Passions and the Passion Play," 443.
  261. F. M. Prescott Catalogue of New Films (1899): 39, in Motion Picture Catalogs by American Producers and Distributors, 1894-1908, ed. Charles Musser et al. (Frederick: University Publications of America, 1984).
  262. Lubin Manufacturing Company Catalogue Special, "The Passion Play" (1905): 13, in Motion Picture Catalogs by American Producers and Distributors.
  263. For more on the tradition of illustration in early cinema see Valentine Robert, "Attraction/ Narration/ Illustration: A Third Paradigm for Early Cinema", in Mario Slugan and Daniël Biltereyse, New Perspectives on Early Cinema History: Concepts, Approaches, Audiences (London: Bloomsbury, 2022), 41-64.
  264. Cf. Mario Slugan, "Textualism, Extratextualism, and the Fiction/ Nonfiction Distinction in Documentary Studies," Studies in Documentary Film 15.2 (2021): 114-126.
  265. Philadelphia Inquirer (23 November 1897): 5.
  266. New Haven Journal-Courier (15 March 1898): 5.
  267. Cf. Mario Slugan, Fiction and Imagination in Early Cinema: A Philosophical Approach to Film History (London: Bloomsbury, 2019).
  268. Rapport du 3 décembre 1906 sur l'atelier des coloris, usine de Vincennes, FJSP, Livre I, 296 et Stéphanie Salmon, Pathé. À la conquête du cinéma.1896- 1929 (Paris : Tallandier, 2014), 243.
  269. Camille Flammarion, Dictionnaire encyclopédique universel contenant tous les mots de la langue française, tome 2 (Paris : Flammarion, 1894-1898), 635.
  270. Flammarion, Dictionnaire encyclopédique universel contenant tous les mots de la langue française, tome 2, 635.
  271. Teresa Castro, « Les couleurs ornementales du cinéma des premiers temps », 1895 revue d'histoire du cinéma 71 (2013) : 19-31.
  272. Nicole Hudgins, « Le genre de la coloration : masculinité, féminité et pho- tographies coloriées à la main dans le monde Nord-Atlantique, 1850-1880 », traduit de l'anglais par Jean-François Cornu, Photographica 4 (2022) : 23-39.
  273. Voir Laurent Mannoni, « De la lanterne magique au cinématographe », dans Laurent Mannoni, Donata Pesenti Campagnoni (dir.), Lanterne magique et film peint (Paris : Éditions de la Martinière, 2009), 254-263.
  274. Stéphanie Salmon et Jacques Malthête-Méliès, « Élisabeth and Berthe Thuillier », dans Jane Gaines, Radha Vatsal, and Monica Dall'Asta (dir.), Women Film Pioneers Project (New York : Columbia University Libraries, 2020) dis- ponible sur l'UFR : https:// wfpp.colum bia.edu/ pion eer/ elisab eth-and-ber the- thuill ier/ .
  275. Madeleine Rebérioux, « Demain, les ouvrières et l'avenir au tournant du siècle », Revue du Nord 250 (1981) : 669, cité dans Jean-Marc Olivier (dir.), Le Travail en Europe occidentale des années 1830 aux années 1930 : mains-d'oeuvre artisanales et industrielles, pratiques et questions sociales (Paris : Armand Colin, 2020), 159.
  276. G.-Michel Coissac, Coloris des diapositives de projection et des bandes magné- tiques (Paris : Maison de la Bonne Presse, 1906).
  277. G.-Michel Coissac, Manuel pratique du conférencier-projectionniste (Paris : Maison de la Bonne Presse, 1908).
  278. Firmin Didot et Bottin réunis, Annuaire-almanach du commerce, de l'industrie, de la magistrature et de l'administration : ou almanach des 500 000 adresses de Paris, des départements et pays étrangers (Paris : 1907), 1426.
  279. Louis Laffitte, « Rapport général sur l'exposition internationale de l'Est de la France, Nancy, 1909 », L'Essor économique de la Lorraine (1912) : 150.
  280. Ernest Coustet, Traité pratique de cinématographie, volume 1: Production des images cinématographiques (Paris : C. Mendel, 1913).
  281. Procès-verbal du conseil d'administration de la société Pathé du 20 février 1906, FJSP, cité dans Stéphanie Salmon, Pathé à la conquête du cinéma (1896-1929) (Paris : Tallandier, 2014), 562.
  282. Procès-verbal du conseil d'administration du 28 décembre 1908, FJSP.
  283. Louis Didiée, « La méthode de coloris Pathécolor », Bulletin de la Société française de photographie 7 (juillet 1925) : 150-160.
  284. Voir le descriptif ici: www.cinem athe que.fr/ fr/ cat alog ues/ appare ils/ col lect ion/ mach ine-a-decou per-les-films-35-mm-au-pochoi rap-95-1785.html ; www.cinem athe que.fr/ fr/ cat alog ues/ appare ils/ col lect ion/ mach ine-a-appliq uer-le-pochoi rap-94-113.html.
  285. Voir le rapport de l'ingénieur Mayer du 2 octobre 1922 donnant la liste des ouvrières primées au rendement à la découpe et à la machine à colorier, Association CECIL, fonds Pathé et Kodak-Pathé : Dossier Charles Pathé ; Livres de fabrication et de recherche (1906-1927).
  286. Louis Didiée, « La méthode de coloris Pathécolor », 150-160.
  287. à 1911, FJSP, HIST-P-079.
  288. Rapport du 3 décembre 1906 sur l'atelier des coloris, usine de Vincennes, Livre de fabrication I, CECIL, 296.
  289. Simone Bodève, Celles qui travaillent (Paris : Ollenforff, 1913).
  290. Voir John Augustine Ryan, Salaire et droit à l'existence, traduit de l'anglais par Lazare Collin (Paris : V. Giard et E. Brière, 1910), 16-17.
  291. Sur le salaire familial, conseil d'administration du 1 er mai 1920, FJSP.
  292. Le Guern, « Contribution of the European Kodak Research Laboratories », 146-148.
  293. Cette qualité de « manager » est directement indiquée par Robinson dans sa lettre à Walter Bent du 16 avril 1929, voir note 3.
  294. Lettre de Charles Thomas Robinson à Walter Bent, 16 avril 1929, n. p., réf. A1648, boîte 136, KHC-BL.
  295. Les carnets se trouvent dans les boites 136 et 154 sous les références respectives A1649 et A1747.
  296. Charles Thomas Robinson, « Monsieur Tom Robinson », carnet de notes, n. p., réf. A1274, boîte 96, KHC-BL.
  297. Les extraits cités du carnet ont été déchiffrés et retranscrits par nos soins, sans modifications ni correction orthographique ou grammaticale. En raison de la pandémie en 2020, nous n'avons pas pu nous rendre à la British Library afin de réaliser des reproductions du carnet de notes.
  298. Voir par exemple la formule de la fonte dans le répertoire Mayer pour une émulsion positive utilisée au gélatino-bromure d'argent, formule Joinville, utilisée à partir du 1 er juillet 1911. On peut y lire l'ajout entre autres de carbon- ate de potasse, de sulfate de magnésie et de bromure de potassium. Fondation Jérôme Seydoux-Pathé, « Le répertoire Mayer », www.fondat ion-jerome seyd oux-pathe.com/ dossi ers, 75.
  299. Nicolas Le Guern, « Innovations dans l'industrie du film : la recherche sur un support ininflammable chez Pathé Frères au début du vingtième siècle » (communication présentée au Congrès international d'histoire des entreprises en France, ESCP Europe, Paris, 11-13 septembre 2019).
  300. « Le répertoire Mayer », 13.
  301. Sur les procédés de virage et teinture chez Pathé, consulter « Le répertoire Mayer », 169 et 175. Lire aussi Georges-Michel Coissac, Histoire du ciné- matographe de ses origines à nos jours (Paris : Gauthier-Villars, 1925), 308-318.
  302. « Le répertoire Mayer », 180.
  303. On retrouve une formule du vert malachite dans « Le répertoire Mayer », 184, avec une acidification à base d'acide chlorhydrique.
  304. Léopold Löbel, « Les nouveaux procédés de virage par mordançage », Bulletin de la Société française de photographie 3 (1921) : 78-79.
  305. Céline Ruivo, « L'ouverture d'un service de virage à l'usine Pathé de Joinville- Le-Pont », dans Stéphanie Salmon et Jacques Malthête (dir.), Recherches et innovations dans l'industrie du cinéma. Les cahiers des ingénieurs Pathé (1906- 1927) (Paris : Fondation Jérôme Seydoux-Pathé, 2017), 245-246.
  306. « Le répertoire Mayer », 188. Le colorant jaune est la tartrazine et le colorant bleu, du bleu carmin. L'acide fort utilisé est encore l'acide chlorhydrique.
  307. « Le répertoire Mayer », 64 et 71.
  308. « Le répertoire Mayer », 76.
  309. Charles Thomas Robinson, "The property of C T Robinson", carnet de notes, réf. A1649, boîte 136, KHC-BL, n. p.
  310. Charles Thomas Robinson], « FORMULAS. Substratum & Supports », car- net de notes, réf. A1747, boîte 154, KHC-BL, n. p. Ce carnet non attribué appartenait certainement à Robinson, car les notes alternent entre le français et l'anglais, et l'écriture manuscrite est similaire à celle des autres carnets de ce dernier.
  311. Voir le plan général de l'usine Pathé Frères à Joinville-le-Pont dans « Le réper- toire Mayer », 8.
  312. Charles Thomas Robinson, "C.T. Robinson GLANZFILM", carnet de notes, réf. A1649, boîte 136, KHC-BL, n. p.
  313. Concernant la collaboration entre Pathé-Cinéma et Glanzstoff, consulter Stéphanie Salmon, Pathé : à la conquête du cinéma. 1896-1929 (Paris : Tallandier, 2014), 462-464.
  314. Lettre de Charles Thomas Robinson à Walter Bent.
  315. D. McMaster, « Letter from the Director of Scientific Research », Ministry of Aircraft Production, 6 août 1942, 1 p., réf. A1680, boîte 140, KHC-BL.
  316. Amilcare Dova, "Una visita all'Itala Film-UCI," Coltura Cinematografica 3 (1921): 63, translated by the author.
  317. Descrizione delle parti, Coll. MNC, A160/ 8.
  318. Titoli, Coll. MNC, A160/ 9.
  319. The "fogli di montaggio e tintura" could be filled in separately, as for Maciste (Coll. MNC, GP144-A944) or be contained in the production notebooks like the "Parts Description" or the "Editing subjets" (Montaggio soggetti, Coll. MNC, A160/ 10).
  320. Another handwritten note on the sample book reads: "I numeri non cor- rispondono al campionario, attenersi alla vignetta" ("The numbers do not match with the samples, stick to the frame"). In this case, the cross-references between different documents had obviously not worked.
  321. "Per eseguire tale operazione noi vi faremo spedire due campionari, da depos- itare in dogana, contenenti quattro scene per ciascuna parte del soggetto." Maciste in vacanza, corrispondenza 1920-1925, letter from UCI to Itala Film, 21 June 1923, coll. MNC, A184/ 7.
  322. Maciste innamorato, correspondence 1919-1924, letter from Itala Positivi to Atelier Butteri, 7 June 1920, coll. MNC, A179/ 1.
  323. On the use of samples in the Cabiria's restoration, please refer to Alovisio, "Il film che visse due volte," 23-24; on the same theme regarding Maciste see: Stella Dagna, Claudia Gianetto, "Maciste (1915). Restoration Note," appendix in Jacqueline Reich, The Maciste Films of Italian Silent Cinema (Blomingtoon: Indiana University Press, 2015), 267.
  324. The frames of the shots are printed partly on Agfa, partly on Kodak film stock probably datable to 1922 (the edge codes are not perfectly legible), but the first year of navigation of Conte Verde was 1923. Instead, the intertitles of the sample are printed on Kodak film dating back to 1925. In that same year, among other things, Arata was contracted by SASP (Società Anonima Stefano Pittaluga).
  325. Fabio Andreazza, "Tigre reale, uno e due. Aspetti dannunziani in un film degli anni Dieci," The Italianist 32 (2012): 273-284.
  326. Suzanne Richard, « Pathé, marque de fabrique : vers une nouvelle méthode pour la datation des copies anciennes », 1895 1 (1991) : 13-27. Nous remer- cions André Gaudreault et Jacques Malthête de nous avoir rappelé ce travail.
  327. Pathé Frères Films -Supplément de novembre 1905, p. 11 et 21-22.
  328. Voir à ce sujet, les Bulletins officiels de la propriété industrielle, consultables à l'Institut national de la propriété industrielle.
  329. La liste complète des titres est disponible auprès des auteures.
  330. Toutefois le repère n'est pas visible dans les versions numérisées consultées.
  331. Stéphanie Salmon, Pathé à la conquête du cinéma 1896-1929 (Paris : Tallandier, 2014), 137.
  332. Procès-verbal du conseil d'administration du 29 février 1904, Livre 1, 168. FJSP.
  333. Procès-verbal du conseil d'administration du 29 février 1904, Livre 1, 140. FJSP.
  334. Henri Stuckert, « Séance du 7 février 1948 », CRH49-B2, 24. CF.
  335. Procès-verbal du conseil d'administration du 20 février 1906, livre 1, 253. FJSP.
  336. Salmon, Pathé à la conquête du cinéma, 142.
  337. Jean-Pierre Berthomé, « Les décorateurs du cinéma muet en France », dans Laurent Le Forestier et Priska Morrissey (dir.), Histoire des métiers du cinéma en France avant 1945, 1895 82 (hiver 2011) : 94-95.
  338. Jacques Ducom, Le cinématographe scientifique et industriel. Traité pratique de cinématographie (Paris : L. Geisler, 1911), 176-177. Léopold Löbel, La tech- nique cinématographique (Paris : H. Dunod et E. Pinat, 1912), 148-149.
  339. Terme issu de la pratique photographique désignant l'art de cadrer, et qui est repris dans le vocabulaire appliqué à la cinématographie dans ses premiers temps. Voir Ducom, Le cinématographe scientifique et industriel, 151.
  340. À ce sujet, voir Ducom, Le cinématographe scientifique et industriel, 176-177.
  341. Georges Hatot, « Réunion du 26 juin 1948 », CRH54-B3, 15. CF.
  342. Henri Stuckert, « Réunion du 13 mars 1948 », CRH51-B2, 22-23. CF. Voir aussi Georges Hatot, « Réunion du 15 mars 1948 », CRH52-B2, 33-34. CF.
  343. Georges Hatot, « Réunion du 15 mars 1948 », CRH52-B2, 33-34. CF.
  344. Alphonse Gibory, « Réunion du 5 mai 1945 », CRH22-B1, 51. CF.
  345. Dubois, Rapport du 5 septembre 1906, Cahier des ingénieurs n o 33332, Hist- P-675. FJSP-CECIL.
  346. Henri Etiévant, « Réunion du 7 février 1948 », CRH49-B2, 23. CF.
  347. Paul Spehr, "The Scope of Those Scopes: Production Diversity and the Mutoscope and Biograph During the Movies' Early Years" in Beyond the Screen: Institutions, Networks, and Publics of Early Cinema, ed. Marta Braun, Charlie Keil, Rob King, Paul Moore, and Louis Pelletier (Herts: John Libbey Publishing, 2012), 214-222.
  348. Spehr, "The Scope of Those Scopes," 215.
  349. Spehr, "The Scope of Those Scopes," 215.
  350. For an insightful and detailed study of the traditions and practitioners of this film genre, see Ian Christie The Last Machine: Early Cinema and the Birth of the Modern World (London: British Film Institute, 1994), and Ian Christie, "Ghosts and Their Nationality in the Fin de Siècle Machinery" in Corporeality in Early Cinema: Viscera, Skin, and Physical Form, ed. Marina Dahlquist, Doron Galili, Jan Olsson, and Valentine Robert (Bloomington: Indiana University Press, 2018), 46-58.
  351. G. W. Bitzer, Billy Bitzer: His Story (New York: Farrar, Straus and Giroux, 1973), 10.
  352. For an insightful analysis of films such as these (which also includes the "Living Pictures" sub-genre) see Valentine Robert, "Nudity in Early Cinema: or, the Pictorial Transgression" in Corporeality in Early Cinema, 156-166.
  353. The Barber's Queer Customer (Arthur Marvin, 1900) features this note in the Spehr log: "Multi-racial faces of customer."
  354. See Jacqueline Stewart's definitive analysis of "Reading Blackness, Blackface" in Migrating to the Movies: Cinema and Black Urban Modernity (Berkeley: University of California Press, 2005), 53-66.
  355. This incident was reported in The New York Times: "Lynching in the South: Young White Woman's Sensational Speech to Negroes in Boston" (18 July 1899): 3.
  356. Spehr, "The Scope of Those Scopes," 219; 222; n. 20.
  357. An inspiring and bracing recent study by David Eng and Shinhee Han, Racial Melancholia, Racial Dissociation (Duke University Press, 2019), strongly informed my response to this section of the catalogs and thus my analysis of them. Eng and Han consider the deep intersectional divisions that charac- terize so much of contemporary culture, including a survey of critical race theory regarding the many and varied historical fights for civil rights and the founding trauma of the nation: "a long history of 'whiteness as property' in US law and jurisprudence tracing its origins to the establishment of the US nation-state through indigenous dispossession and the transatlantic slave trade." (Eng and Han, 9). Special thanks also to Vance Blackfox for our con- versation and his indelible lecture about the history of Indian Schools. Christian Ilgner and Dietmar Linke, "Filmtechnik: Vom Malteserkreuz zum Panzerkino," in Oskar Messter: Filmpionier der Kaiserzeit (KINtop Schriften 2), ed. Martin Loiperdinger (Basel: Stroemfeld/ Roter Stern, 1994). Unfortunately, Ilgner and Linke do not give their source and apparently there is no known documentation of the Modell XI. "Von dem ab 1902 hergestellten Modell XI sind keine Unterlagen bekannt." Christian Ilgner and Dietmar Linke, "Filmtechnik: Vom Malteserkreuz zum Panzerkino," in Oskar Messter: Filmpionier der Kaiserzeit, 105. A Modell XII from 1904 with three-bladed shutter does exist, however, and is illustrated in their article (p. 104), although in such a way as to hide the shutter.
  358. Eye catalogue number APP358. The catalogue entry is for the projector and does not separately mention the shutter.
  359. William Branson, Improvements in or Relating to Shutters for Kinematograph Apparatus., GB107839 (A), issued 19 July 1917.
  360. Branson, Improvements in or Relating to Shutters.
  361. Branson, Improvements in or Relating to Shutters.
  362. Hepworth, Animated Photography, 55.
  363. See for example, William Diggle's 1919 patent (No. GB135711A) for a trans- parent cover blade of wire gauze, silk, linen, or cotton possessing the similar motive that "there shall be no dark moment on the screen." William Diggle, Improved Kinematograph Shutter, GB135711 (A), issued 4 December 1919. Like Branson, Diggle's profession was Kinematograph Operator.
  364. Edward Eleazer Halford, Improvements in Shutters in or Relating to Cinematography, GB191400273 (A), issued 17 September 1914.
  365. Jaroslav Anděl and Petr Szczepanik, eds., Cinema All the Time: An Anthology of Czech Film Theory and Criticism, 1908-1939, trans. Kevin B. Johnson (Prague/ Ann Arbor: National Film Archive, 2008), 90.
  366. Robert Anderson, "The Motion Picture Patents Company: A Reevaluation," in The American Film Industry, ed. Tino Balio (Madison: University of Wisconsin Press, 1976, revised 1985), 141.
  367. See Charlie Keil, Early American Cinema in Transition: Story, Style, and Filmmaking, 1907-1913 (Madison: University of Wisconsin Press, 2001) and David Bordwell, Janet Staiger, and Kristin Thompson, The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (New York: Columbia University Press, 1985).
  368. Previous to this date, behind-the-scenes rhetoric often equated motion pic- ture production to the theater, such as in the regular Moving Picture World column "Studio Saunterings" by Louis Reeves Harrison. See for example: Louis Reeves Harrison, "Studio Saunterings," Moving Picture World 11.6 (10 February 1912): 465; Moving Picture World 11.7 (17 February 1912): 557; Moving Picture World 12.2 (13 April 1912): 127.
  369. See Brian R. Jacobson's, Studios Before the System: Architecture, Technology, and the Emergence of Cinematic Space (New York: Columbia University Press, 2015).
  370. "Centaur Activities," Moving Picture World 22.2 (10 October 1914): 175.
  371. See: David E. Nye, America's Assembly Line (Cambridge: The MIT Press, 2015). It is also notable that Ford opened a factory in downtown Los Angeles in 1913, "Ford Factory Now Nears Completion," Los Angeles Times (2 November 1913): VII5.
  372. Siegfried Giedion, Mechanization Takes Command: A Contribution to Anonymous History (Oxford University Press, 1948), 31.
  373. See for example: Thackeray P. Leslie, "Lubin of Lubinville: From Optician to Millionaire Picture Manufacturer," Movie Pictorial 1.9 (4 July 1914): 12;
  374. Monte M. Katterjohn, "J. Stuart Blackton: The Belasco of the Motion Picture Play," Movie Pictorial 1.10 (11 July 1914): 10; F.H. Richardson, "The Home of Vitagraph," Moving Picture World 19.4 (24 January 1914): 401.
  375. Bell & Howell Company, Standard Film Perforator brochure (ca. 1915- 1916), National Museum of American History Trade Literature Collection, Washington, D.C. (hereafter NMAH Trade Literature Collection).
  376. Standard Film Perforator, undated brochure, Bell & Howell Co., NMAH Trade Literature Collection. I determined the date of the brochure to be roughly 1915-1916 based on the companies it references as using its equipment.
  377. Bell & Howell Co., As to the Best Means of Taking Motion Pictures: Opinions of Users of The Bell & Howell Camera Concerning the Efficiency of that Instrument, What Others Say About What We Do, (Chicago: Bell & Howell Co., stamped 5 May 1917), NMAH Trade Literature Collection.
  378. For more on the changing dynamic between cameramen and directors in the silent era see Patrick Keating, Hollywood Lighting: From the Silent Era to Film Noir (New York: Columbia University Press, 2009) and Christopher Beach, A Hidden History of Film Style: Cinematographers, Directors, and the Collaborative Process (Berkeley: University of California Press, 2015).
  379. G. Gennert Condensed Price List (1 May 1922). G. Gennert File, NMAH Trade Literature Collection. These numbers are from a bit later, but I found camera prices to be fairly consistent over many years.
  380. "Mitchell Increases Production Program; to Built New Plant," American Cinematographer 4.3 (June 1923): 22.
  381. Statistics of Income for 1927, Treasury Department, Bureau of Internal Revenue (Washington: United States Government Printing Office, 1929), http:// www. irs.gov/ pub/ irs-soi/ 27s oire par.pdf.
  382. Brochure for "Standard Film Perforator" Bell & Howell Company, Cinemachinery, Chicago, (mid to late-1910s), Thomas Kimmwood Peters Papers, Library of Congress, Washington D.C.
  383. Bell & Howell Co., As to the Best Means of Taking Motion Pictures. The quotes are dated and the latest one is 24 March 1915, so it is more likely this pam- phlet is from 1915.
  384. According to the inflation calculator dollartimes.com, this equates to almost $30,000 in 2022.
  385. Carl Louis Gregory, "Motion Picture Photography," The Moving Picture World (18 September 1915): 1994.
  386. Bell & Howell ad, American Cinematographer 2.26 (1 February 1922): 12.
  387. Brian Coe, The History of Movie Photography (Westfield, NJ: Eastview Editions, 1981): 84.
  388. Malte Hagener, "Divided, Together, Apart: How Split Screen Became Our Everyday Reality," in Pandemic Media: Preliminary Notes Toward and Inventory, eds. Philipp Dominik Keidl, Laliv Melamed, Vinzenz Hediger, and Antonio Somaini (Lüneburg: Meson Press, 2020), 33-40.
  389. For a detailed analysis of Edison's film, see Miriam Hansen, Babel and Babylon: Spectatorship in American Silent Film (Cambridge, MA: Harvard University Press, 1991), 25-29.
  390. Profilmic split screen effects were not an idiosyncrasy of archaic filmmak- ing but continued to be employed. For instance, the apparent split screen composite visualizing the protagonists' parallel therapy sessions in Woody Allen's Annie Hall (Rollins-Joffe, 1977) was recorded concurrently on adja- cent stages.
  391. Some filmmakers, like Walter R. Booth and Robert W. Paul, preferably resorted to combination printing, as evidenced for instance in The Cheese Mites, or Lilliputians in a London Restaurant (1901), Scrooge; or Marley's Ghost (1901), The Haunted Curiosity Shop (1901) or The Magic Sword (1901). See also Frederick A. Talbot, Moving Pictures: How They Are Made and Worked (Philadelphia: J. B. Lippincott, 1912), 197-263. As American cinematogra- pher Carl Louis Gregory explained, combination printing was "usually used to superimpose dark images on high-lighted areas, a thing which is diffi- cult to do in the camera." Carl Louis Gregory, "Trick Photography Methods Summarized," American Cinematographer (June 1926): 22. See also Barry Salt, Film Style and Technology: History and Analysis (London: Starwood, 1983), 47.
  392. For matte shapes and matte boxes see Guido Seeber, Der praktische Kameramann: Theorie und Praxis der kinematographischen Aufnahmetechnik (Berlin: Verlag der Lichtbildbühne, 1927), 162-165.
  393. Jan Olsson, "Framing Silent Calls: Coming to Cinematographic Terms with Telephony," in Allegories of Communication: Intermedial Concerns from Cinema to the Digital, eds. John Fullerton and Jan Olsson (Eastleigh: John Libbey Publishing, 2005), 157-192.
  394. Doron Galili, Seeing by Electricity: The Emergence of Television, 1878-1939 (Durham, NC: Duke University Press, 2020), 101.
  395. Tom Gunning, "Embarrassing Evidence: The Detective Camera and the Documentary Impulse," in Collecting Visible Evidence, eds. Jane Gaines and Michael Renov (Minneapolis, MN: University of Minnesota Press, 1999), 46-64;
  396. Sarah Keller, Anxious Cinephilia: Pleasure and Peril at the Movies (New York, NY: Columbia University Press, 2020), 115-121.
  397. Sam Anderson, "Watching People Watching People Watching," New York Times (25 November 2011), https:// www.nyti mes.com/ 2011/ 11/ 27/ magaz ine/ react ion-vid eos.html?_ r= 1.
  398. Catherine A. Surowiec, This Film Is Dangerous: A Celebration of Nitrate Film (Brussels: Fédération Internationale des Archives du Film, 2002).
  399. See Paolo Cherchi Usai, Silent Cinema: A Guide to Study, Research and Curatorship (London: The British Film Institute, 2019), 215-222; and Stephen Bottomore, " 'The Sparkling Surface of the Sea of History'-Notes on the Origins of Film Preservation," in Smither and Surowiec, This Film Is Dangerous, 86-97.
  400. For more on Matuszewski see Boleslas Matuszewski, écrits cinématographiques (Paris: Association française de recherche sur l'histoire du cinéma, 2006). His landmark 1897 essay is available in English as Boleslas Matuszewski, A New Source of History, translated by Laura U. Marks and Diane Koszarski, Film History 7.3 (Fall 1995): 322-24.
  401. For general histories of film archiving and preservation see Raymond Borde, Les cinémathèques (Lausanne: L'Âge d'homme, 1983);
  402. Anthony Slide, Nitrate Won't Wait: A History of Film Preservation in the United States (Jefferson, N.C.: McFarland & Co., 1992);
  403. Penelope Houston, Keepers of the Frame: The Film Archives (London: The British Film Institute, 1994); Jacques Guyot and Thierry Rolland, Les archives audiovisuelles, histoire, culture, politique (Paris: Armand Colin, 2011);
  404. Éric Le Roy, Cinémathèques et archives du film (Paris: Armand Colin, 2013).
  405. See Richard Roud, A Passion for Films: Henri Langlois and the Cinémathèque Française (Baltimore: Johns Hopkins University Press, 1999); and Robert Sitton, Lady in the Dark: Iris Barry and the Art of Film (New York: Columbia University Press, 2014).
  406. Haidee Wasson, Museum Movies: The Museum of Modern Art and the Birth of Art Cinema (New York: Columbia University Press, 2005); Hoyt, Hollywood Vault.
  407. Bottomore, " 'The Sparkling Surface of the Sea of History' "; Paolo Cherchi Usai, "La cineteca di babele," in Storia del cinema mondiale, Volume 5: "Teorie, strumenti, memorie," ed. Gian Piero Brunetta (Turin: Einaudi, 1999), 965- 1027. See Marco Pescetelli, "Collection and Storage: Industry, Film Archives, Collectors," in The Art of Not Forgetting: Towards a Practical Hermeneutics of Film Restoration (PhD dissertation, University College London, 2010), 39-50; and Marie Frappat, L'invention de la restauration des films (PhD dis- sertation, Université de la Sorbonne Nouvelle, 2015). For what is arguably the first historiography of film archiving in North America, see the section "Pictures Become Valuable" in the famous overview of non-theatrical films by Arthur Edwin Craws, "Motion Pictures-Not for Theaters," The Educational Screen 18.1 (January 1939): 50.
  408. Bottomore, " 'The Sparkling Surface of the Sea of History'," 86.
  409. Cherchi Usai, "La cineteca di babele," 990.
  410. W. K. L. Dickson and Antonia Dickson, History of the Kinetograph, Kinetoscope and Kinephotograph (New York: Albert Bunn, 1895), 51-52 (reprinted by the Museum of Modern Art in 2000).
  411. Dickson and Dickson, History of the Kinetograph, Kinetoscope and Kinephotograph; Bottomore, " 'The Sparkling Surface of the Sea of History'," 86.
  412. "Edison's Masterpiece: The Kinetoscope," (Continental Commerce Company, 1894) in ed. Charles Musser, Motion Picture Catalogs by American Producers and Distributors,1884-1908 [microfilm edition], n.p. accessible at https:// ruc ore.librar ies.rutg ers.edu/ rutg ers-lib/ 23933/ PDF/ 1/ play/ ; Magdalena Mazaraki, "Boleslaw Matuszewski: photographe et opérateur de cinéma," 1895 44 (December 2004): 47-65. Interestingly, in 1902 the tsar authorized the publication in Russian of Matuszewski's famous pamphlet Une nouvelle source de l'histoire (that had originally circulated only in French starting in 1898), so long as the photographer's association with the Russian court was kept secret.
  413. Cherchi Usai, "La cineteca di babele," 990.
  414. For the latest of many histories of the paper print collection, see Charles Buckey Grimm, "The Origins of the Library of Congress Paper Print Collection," Journal of Film Preservation 101 (October 2019): 95-102. The classic account on the subject remains Patrick Loughney, A Descriptive Analysis of the Library of Congress Paper Print Collection and Related Copyright Materials (PhD dissertation, The George Washington University, 1988).
  415. The BNF started accepting deposits of film the same year while Robert Paul had already made an unsuccessful appeal of a similar nature to the British Museum's Library.
  416. Charles Urban, FSZ, The Cinematograph in Science, Education and Matters of State (London: Charles Urban Trading Co. Ltd.) accessible at https:// www. charl esur ban.com/ docu ment s_ ci nema togr aph.html.
  417. "Uncle Sam's Films: How He Preserves Them," Views and Films Index 2.7 (16 February 1907): 6. A 1914 article in The New York Times, however, awards the title of "the first state cinematograph office in the world" to the one opened in Copenhagen that year. See "A Cinema Record Office," The New York Times (23 January 1914): 4.
  418. "Uncle Sam's Films," 6.
  419. Lawrence Trimble, " 'Spectator's' Comments." The New York Dramatic Mirror (2 August 1911): 20. On Archives de la Planète see Paula Amad, Counter- Archive: Film, the Everyday, and Albert Kahn's Archives de la Planète (New York: Columbia University Press, 2010), and more recently ed. Valérie Perlès, Les Archives de la Planète (Paris: LIENART editions, 2019).
  420. Alex J. Philip, "Cinematograph Films: Their National Value and Preservation," Librarian 2 (1912): 367.
  421. Philip, "Cinematograph Films," 407 and 447. Philips estimates a total oper- ating cost of 20,000 pounds a year for a national film library (around 2.3 million pounds today).
  422. Vachel Lindsay, "Wanted a Museum," The Moving Picture World (9 September 1916): 1704. For his class study of film aesthetics that appeared that same year see Lindsay, The Art of the Motion Picture (New York: Macmillan Co., 1916).
  423. However, the museum at Columbia was described at the time as being "contained in a single as yet partly filled bookcase;" see Lindsay, "Wanted a Museum," 1704. For more on Freeburg and his courses at Columbia see Dana Polan, Scenes of Instruction: The Beginnings of the U.S. Study of Film (Berkeley: University of California Press, 2007), 33-89.
  424. Lindsay, "Wanted a Museum," 1704.
  425. To Preserve and Project is the name of the Museum of Modern Art's annual festival of film preservation, established in 2003.
  426. The author of "Can Films Be Preserved for Posterity," Motography 13.14 (3 April 1915): 521, used the example of the German government's effort at film preservation to exert moral pressure on their British counterparts to overcome their objections to collecting and storing the highly flammable film.
  427. For more on the establishment of the film collection of the Imperial War Museum, see Roger Smither and David Walsh, "Unknown Pioneer: Edward Foxen Cooper and the Imperial War Museum Film Archive, 1919-1934," Film History 12.2 (2000): 187-203.
  428. The work of Carlo Ginzburg, and the historians of the Annales school (Marc Bloch and Lucien Febvre) are indicative in this respect.
  429. Interview with Shields, Shields Family Archive, National University of Ireland, Galway, T13/ A/ 565 (39).
  430. Lennox Robinson, Ireland's Abbey Theatre: A History, 1899-1951 (New York: Kennikat Press, 1951), 58.
  431. "Theatres and Cinemas," Evening Herald (23 September 1916).
  432. "Paddy Ireland with the Renters and Exhibitors," The Bioscope (21 December 1916): 1230.
  433. "Knocknagow: Filming of Kickham's Famous Novel," The Irish Limelight (May 1917): 6.
  434. "Knocknagow: A Splendid Irish Film Play," Clonmel Chronicle (2 February 1918): 5.
  435. "Knock-Na-Gow: Filmed version at Magner's Theatre," The Nationalist (6 February 1918): 6.
  436. "Empire Theatre," The Irish Times (23 April 1918): 3.
  437. "Behind the Screen," The Irish Limelight (April 1918): 4.
  438. "Knocknagow," The Bioscope (16 October, 1919): 58.
  439. Bell, "Knock-na-Gow," Variety (30 September 1921): 35.
  440. Carrie Preston, Modernism's Mythic Pose: Gender, Genre, Solo Performance (Oxford: Oxford University Press, 2011).
  441. Kelly Brown, Florence Lawrence, The Biograph Girl: America's First Movie Star (Jefferson: McFarland, 1999).
  442. Jacobs and Brewster, Theatre to Cinema, 109.
  443. Maggie Hennefeld, Specters of Slapstick and Silent Film Comediennes (Columbia: Columbia University Press, 2018), 24.
  444. See Rudolf von Laban and Lisa Ullmann, Choreutics (Alton: Dance Books, 2011);
  445. Karen Bradley, Rudolf Laban (New York: Routledge, 2009); Carol- Lynne Moore, The Harmonic Structure of Movement, Music, and Dance According to Rudolf Laban: An Examination of His Unpublished Writings and Drawings (Lewiston: Edwin Mellen Press, 2009);
  446. Karen Studd and Laura Cox, Everybody Is a Body (Indianapolis: Dog Ear Publishing, 2013).
  447. Nancy Ruyter, The Cultivation of Body and Mind in Nineteenth-Century American Delsartism (Westport: Greenwood Press, 1999), xiii.
  448. Preston, Modernism's Mythic Pose, 11.
  449. Genevieve Stebbins, Delsarte System of Expression (New York: Edgar S. Werner, 1887);
  450. Anna Morgan, An Hour with Delsarte: A Study of Expression (Boston: Lee and Shepard, 1889);
  451. Florence Fowle Adams, Gesture and Pantomimic Action, 2nd ed. (New York: Edgar S. Werner, 1891).
  452. Ruyter, The Cultivation of Body and Mind, 75.
  453. Ruyter, The Cultivation of Body and Mind, 79.
  454. Ruyter, The Cultivation of Body and Mind, 122.
  455. Morgan, An Hour with Delsarte, 14.
  456. Morgan, An Hour with Delsarte, 84.
  457. Stebbins, Delsarte System, 142.
  458. Morgan, An Hour with Delsarte, 90.
  459. Morgan, An Hour with Delsarte, 70.
  460. Preston, Modernism's Mythic Pose, 60.
  461. Ruyter, The Cultivation of Body and Mind, 66; Mayer, "Deep Theatrical Roots," 187; Preston, Modernism's Mythic Pose, 87.
  462. Pearson, Eloquent Gestures, 22-23.
  463. Ruyter, The Cultivation of Body and Mind, 59.
  464. Florence Lawrence, "Growing Up with the Movies," Photoplay (November 1914): 28-41; (December 1914): 91-100; (January 1915): 95-107; (February 1915): 142-146.
  465. My thanks to Mininsohn for her work on this project, and to the Campus Research Board at the University of Illinois at Urbana-Champaign for fund- ing her research assistantship.
  466. Fowle Adams, Gesture and Pantomimic Action, 52.
  467. Fowle Adams, Gesture and Pantomimic Action, 51.
  468. Brown, Florence Lawrence, 27.
  469. Morgan, An Hour with Delsarte, 34.
  470. Lawrence, "Growing up with the Movies," 107.
  471. See Roberta Pearson, Eloquent Gestures: The Transformation of Performance Style in the Griffith Biograph Films (Berkeley and Oxford: University of California Press, 1992), and Ben Brewster and Lea Jacobs, Theatre to Cinema: Stage Pictorialism and the Early Feature Film (Oxford: Oxford University Press, 1997).
  472. Thomas Santschi, "Technique of Camera Acting," Picture Play Weekly (8 May 1915): 23.
  473. Eileen Bowser, The Transformation of Cinema, 1907-1915 (Berkeley: University of California Press, 1994), 87.
  474. C. H. Claudy, "Too Much Acting," Moving Picture World (11 February 1911): 288-289.
  475. Eugene Brewster, "Expression of the Emotions," Motion Picture Magazine (September 1914): 97. For further discussions of the series, see Victor Holtcamp, Interchangeable Parts: Acting, Industry, and Technology in US Theater (Ann Arbor: University of Michigan Press, 2019), 138-142, and Mary Ann Doane, Bigger Than Life: The Close-Up and Scale in the Cinema (Durham: Duke University Press, 2021), 92-103.
  476. Dorothy Donnell, "Psychology and the Screen," Motion Picture Classic (December 1916): 38.
  477. Donnell, "Psychology and the Screen," 37-38.
  478. Sam Schlappich, "Expressing Emotions on the Screen," Motion Picture Story Magazine (August 1916): 46.
  479. "Direction: A Matter of Period," Photoplay (August 1916): 114.
  480. Colgate Baker, "The Girl on the Cover," Photoplay (May 1915): 64.
  481. Baker, "The Girl on the Cover," 64.
  482. "Stage and Screen Acting," Motion Picture World (18 December 1915): 2164.
  483. "Stage and Screen Acting," 2164.
  484. See for example Robert Gordon, The Purpose of Playing: Modern Acting Theories in Perspective (Ann Arbor: University of Michigan Press, 2006), 8-9.
  485. Cynthia Baron, Modern Acting: The Lost Chapter of American Film and Theatre (London: Palgrave Macmillan, 2016). One exception is the training program started by Paramount in 1925. See J. B. Kaufman, "Fascinating Youth: The Story of the Paramount Pictures School," Film History 4.2 (1990): 131-151.
  486. The present chapter concerns the specific cultural and stylistic concerns that shaped the discourses surrounding American cinema. For studies of acting manuals and guidebooks in the UK see Amy Sargeant, "Manuals and Mantras: Advice to British Screen Actors," in L'uomo visibile: l'attore dal cinema delle origini alle soglie del cinema moderno, ed. Laura Vichi (Udine: Forum, 2002), 311-320, and Chris O'Rourke, Acting for the Silent Screen: Film Actors and Aspiration between the Wars (London: I. B. Tauris, 2017). For a study of film-acting pedago- gies in Italy see Mattia Lento, " 'Basta la mossa!' or Not? Silent Film, Theatre and the Pedagogy of Actors in Italy," in Film-und Fernsichten, ed. Katharina Klung, Susie Trenka, and Geesa Marie Tuch (Marburg: Schüren, 2013), 394-404.
  487. Shelley Stamp, " 'It's a Long Way to Filmland': Starlets, Screen Hopefuls, and Extras in Early Hollywood," in American Cinema's Transitional Era: Audiences, Institutions, Practices, ed. Charlie Keil and Shelley Stamp (Berkeley: University of California Press, 2004), 332-351.
  488. Ernest A Dench, "Lure of the Cinema," Motion Picture Magazine (August 1914): 100.
  489. "Inquires," Motion Picture News (July 1912): 139.
  490. Louella Parsons, "How to Become a Movie Actress," Chicago Sunday Herald (12 November 1915), in Parsons Scrapbook 1, The Margaret Herrick Library. See also "Universal Issues Warning," Motion Picture World (18 September 1915): 1976.
  491. Holtcamp, Interchangeable Parts, 23.
  492. Martin Shingler, When Warners Brought Broadway to Hollywood, 1923-1939 (New York: Palgrave, 2018), 75 note 49.
  493. Holtcamp, Interchangeable Parts, 8.
  494. Frances Agnew, Motion Picture Acting (New York: Reliance Newspaper Syndicate, 1913), 37.
  495. Agnew, Motion Picture Acting, 40.
  496. Agnew, Motion Picture Acting, 40.
  497. Agnew, Motion Picture Acting, 41.
  498. Agnew, Motion Picture Acting, 43.
  499. Edgar J. Kelly and [Andrew] Muro, Acting for Pictures How Its Done and How to Do It [sic] (New Orleans: Coste and Frichter Publishing, 1916), 18-24.
  500. Kelly and Muro, Acting for Pictures, 18-24.
  501. Kelly and Muro, Acting for Pictures, 25.
  502. Denis Diderot, The Paradox of Acting (London: Chatto & Windus, 1883).
  503. Jean Bernique, Motion Picture Acting (Chicago: Producers Service Company, 1916), 21.
  504. I. S. Sayford, "The Belle of Brooklyn," Photoplay (May 1916): 33. Benjamin's argument is made in "The Work of Art in the Age of Its Technological Reproducibility," in Walter Benjamin: Selected Writings, vol. 2, ed. Michael W. Jennings, Howard Eiland, and Gary Smith (Cambridge, MA: Belknap Press of Harvard University Press, 2003), 111.
  505. Constance Severance, "Alone with a Mirror," Photoplay (May 1916): 84-85.
  506. Mary Fuller, "Photoplay Acting is Mental Radiation," Moving Picture World (July 1914): 227.
  507. Denis Diderot lists this example in his section on "Nerves." However, Bart Huelsenbeck suggests that Seneca's remark was in jest and that Gallus was clearly feigning frenzy, Figures in the Shadows (Berlin: Walter de Gruyter, 2018), 95.
  508. Madame de Barrera, Memoirs of Rachel (Harper & Brothers, 1858), 203.
  509. De Barrera, Memoirs of Rachel.
  510. Henry Siddons, Practical Illustrations of Rhetorical Gesture and Action; Adapted to the English Drama from a Work on the Subject by M. Engel (London: Sherwood, Neely, and Jones, 1822), 16-17. Emphasis in original. Henry Siddons was the son of the legendary tragédienne Sarah Siddons (1755-1831).
  511. Siddons, Practical Illustrations of Rhetorical Gesture and Action, 45.
  512. Joseph R. Roach, The Player's Passion: Studies in the Science of Acting (Ann Arbor: University of Michigan Press, 1993), 48.
  513. Rizvana Bradley, "Black Cinematic Gesture and the Aesthetics of Contagion," TDR: The Drama Review 62.1 (Spring 2018): 23.
  514. Agnew, Motion Picture Acting, 66.
  515. Hugo Münsterberg, The Photoplay: A Psychological Study (New York: D. Appleton and company, 1916), 177-178.
  516. Sam Schlappich, "Expressing Emotions on the Screen," Motion Picture Magazine (August 1916): 46.
  517. Schlappich, "Expressing Emotions on the Screen," 47.
  518. Petra Kuppers, "Bodies, Hysteria, Pain: Staging the Invsible," in Bodies in Commotion: Disability and Performance, ed. Carrie Sandahl and Philip Auslander (Ann Arbor: University of Michigan Press, 2005), 148.
  519. Roach, The Player's Passion, 78. Roach adds: "By separating mechanics and affections into parallel but mutually supporting tracks, Du Bos bends Descartes's interactive dualism of mind and body to the actor's purposes."
  520. Subdued examples would include "Tranquil Joy" or "Quietude," while the dramatic include "Despair," "Vulgar Triumph," or "Jealous Rage." Siddons, Practical Illustrations of Rhetorical Gesture and Action, vii-viii.
  521. Jean Bernique, Motion Picture Acting for Professionals and Amateurs ([Chicago]: Producers Service Company, 1916), 67.
  522. "Complete Training for the Stage or Motion Pictures," The Motion Picture Story Magazine (July 1912): 145. Compare advertisement in April 1912 under the name F. C. Taylor's Theatrical Enterprises, booking agent for vaudeville and Taylor's Moving Picture School for Operators.
  523. Taylor's was dissolved by the New York State Attorney General for failing to pay franchise taxes. New York (State) Department of Law, Annual Report of the Attorney General, 1916, 103.
  524. Chris O'Rourke, " 'On the First Rung of the Ladder of Fame': Would-Be Cinema Stars in Silent-Era Britain," Film History 26.3 (2014): 97.
  525. Edward B. Warman, Gestures and Attitudes: An Exposition of the Delsarte Philosophy of Expression (Boston: Lee and Shepherd, 1892), 19.
  526. Victoria Duckett, "The Silent Screen, 1895-1927," in Acting, ed. Claudia Springer and Julie Levinson (Rutgers: Rutgers University Press, 2015), 30. Scholars including Duckett and Pearson note that the second-generation Delsarte books appealed to middle-class white women and educators as a way of teaching elocution, physical exercise, and dramatic acting to children. Pearson describes the system as becoming "debased" and "emblematic of histrionically coded performances" (22). Film magazines in the 1920s some- times referred to actors for having "Delsarte hands" both to indicate class and to poke fun at a certain type of bourgeois (or aspiring bourgeois) gestural behavior.
  527. Warman, Gestures and Attitudes, 24.
  528. Genevieve Stebbins, Delsarte System of Dramatic Expression (New York: Edgar S. Werner, 1886), 36.
  529. Warman, Gestures and Attitudes, 204.
  530. Stebbins, Delsarte System of Dramatic Expression, 66.
  531. Stebbins, Delsarte System of Dramatic Expression, 95, 116, 146, 147.
  532. Roberta E. Pearson, Eloquent Gestures: The Transformation of Performance Style in the Griffith Biograph Films (Berkeley: University of California Press, 1992), 23.
  533. Laura Mulvey, "Cinematic Gesture: The Ghost in the Machine," Journal for Cultural Research 19.1 (2015): 7.
  534. Tom Gunning, "The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde," in Early Cinema: Space, Frame, Narrative, ed. Thomas Elsaesser (London: British Film Institute, 1990), 56-63.
  535. Agnew, Motion Picture Acting, 40.
  536. Agnew, Motion Picture Acting, 41.
  537. Bernique, Motion Picture Acting for Professionals and Amateurs, 24.
  538. Bernique, Motion Picture Acting for Professionals and Amateurs, 24.
  539. Fred Dangerfield and Norman Howard, How to Become a Film Artiste: The Art of Photo-Play Acting (London: Odhams Press, 1921), 44.
  540. Agnes Platt, Practical Hints on Acting for the Cinema (London: 1921), 39.
  541. Hugo Münsterberg, The Photoplay: A Psychological Study (New York: D. Appleton and Co., 1916), 112. It must be noted that this psychological study does not address methods of performing or representing madness on screen.
  542. Münsterberg, The Photoplay, 81.
  543. Bernique, Motion Picture Acting for Professionals and Amateurs, 20.
  544. Schlappich, "Expressing Emotions on the Screen," 47.
  545. Platt, Practical Hints on Acting for the Cinema, 40-41. produite par la centrale thermique est évacuée par les énormes cheminées qui surplombent l'usine. Les bâtiments en toit terrasse sont construits par Georges Malo: ce principe novateur prévoit leur surélévation selon les développements de l'activité. En 1927, l'usine entre dans l'Actif de Kodak- Pathé, qui poursuivra l'activité de fabrication de pellicule. STÉPHANIE SALMON est directrice des collections de la Fondation Jérôme Seydoux-Pathé, où elle est également responsable des expositions et publications. Sa thèse de doctorat a été publiée sous le titre Pathé à la conquête du cinéma (Tallandier, 2014). Elle a également co-dirigé Les enfants du paradis (2011), Recherches et innovations dans l'industrie du cinéma, les cahiers des ingénieurs Pathé (2017), Les milles et un visages de Segundo de Chomón (2019), Henri Caruel, stéréoscopie de cinéma 1942-1953 (2021) et Alexandre Dumas à l'écran (2023). Après des études d'histoire, ANNE GOURDET-MARÈS exerce comme projectionniste et assistante caméra. Passionnée par l'histoire des tech- niques cinématographiques, elle est responsable de la collection des appa- reils cinématographiques de la Fondation Jérôme Seydoux-Pathé. Elle a spécialisé ses recherches sur l'histoire des appareils et de son support -la pellicule. Elles ont fait l'objet de plusieurs publications. Par ailleurs, elle propose des spectacles de lanterne magique et des ateliers pédagogiques portant sur les inventions techniques du cinéma. En 2018, elle publie pour le jeune public Si on allait au cinéma ! aux éditions À dos d'âne.

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