9 Matching Annotations
  1. Dec 2022
    1. Hepworth’s solar eclipse footage screened alongside Boer War films

      what a combo

    2. he elder was a famous stage magician, theater manager, author, and inventor

      the strange professions that birthed early cinema; attraction and deception

  2. Nov 2022
    1. Fortnight ago Amkino announced abruptly that henceforth U. S. cinemaddicts would not see these or any other Russian films again. With very un-Russian haste Amkino was shutting up shop, liquidating.

      What happened to these films and what happened to Amkino? irl2502@nyu.edu

  3. Oct 2022
    1. flicker films expanded the definition of cinema by stripping it down to some of its fundamentals

      Like, Russian suprematists and painterly art

    2. Just as early cinema arguably prepared audiences and worked as a buffer for shocks of technological and industrial modernity, software cinema trains the viewer in new modes of film spectatorship and new modes of narrative and affective subjectivity that correspond to the ways in which we interact with digital technologies.

      Interesting, games/VR training for the metaverse?

    3. does not slip into full narrative immersion because her attention is on surface mechanisms of the film’s assemblage

      My lack of immersion in Mission to Eart, too stuck in questioning the mechanism underneath

    4. As historians of early cinema have pointed out, the very conditions of early film projection and exhibition prevented the spectator’s narrative or aesthetic immersion into the spectacle of moving pictures. Many early screenings took place in social settings such as plazas (or the Grand Café in Paris, famous for hosting the first documented public screening in 1895), which encouraged social interaction among spectators but not immersion into the world of the film. In addition, the film projector was noisy and its mechanical operations were impossible to ignore during screenings

      Come back to this for dis.

    5. unlike cinema’s first audiences, we work within new frameworks for relating to images that are not just moving but also pixelated, digitised, and interactive.

      Unlike? What about interactivity in early cinema?