Fiction and imagination in early cinema: a philosophical approach to film history
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London
Bloomsbury Academic
2020
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | xii, 265 Seiten Illustrationen 24 cm |
| ISBN: | 9781788314121 1788314123 |
Internformat
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Datensatz im Suchindex
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| adam_text | Contents List of Illustrations Acknowledgements Introduction ix xi 1 1 The status of fiction in early cinema: Train and trick films Are there textual criteria for fictionality? Extratextual criteria of fictionality Reception and exhibition context Train films and The Arrival of a Train The importance of exhibition context and magic theatre A Trip to the Moon and trick films Production and promotion context 21 21 29 32 33 38 41 48 2 Hale’s Tours and adjacent cultural series: Illusion, immersion, imagination Panoramas and terminological conflation Travelogues as ersatz-tourism: Any place for imagination? Phantom rides: From fiction of travel to non-fiction of place Hale’s Tours The myth of a ‘demented fellow’ The troubles with hybridity Historicizing the imagined seeing thesis 59 61 70 75 83 83 88 93 3 Re-enactments in early cinema: Fake, fiction, fact What is a fake? Fakes, indexicality and fictionality Fakes and imaginary participation 99 100 114 126 4 The lecturer and make-believe: The borders of the text and explicit mandates The relation of the film lecturer to the text Ideal, printed and delivered lectures The lecturer and the performance of the film narrator through deixis 135 139 149 157
viii 5 Contents Implicit mandates and fictional narrators Narrative and narrator in early cinema Narrative Narrator Contemporary narratological discourse Genette s theory of voice The near-ubiquity thesis for literary fiction The near-absence thesis for fiction film The enunciator as the filmic narrator The return of the great image-maker Exceptions to near-absence thesis for fiction film 165 167 167 172 178 186 191 194 194 198 201 Conclusion 205 Notes Bibliography Index 211 247 261 -
‘ fascinaiing exploration óf the imagimit ive engagement zv/էհ, and the experience of, early cinema A by examining the relationship between immersion and illusion,faking and pet ion, the hybridity of fiction and non-fiction, and the nature of visual imagination. Stugans nezv book will be a model for scholars who wish to combine conceptual and theoretical zvork with original film historiography. DANIËL BILTEREYST, PROFESSOR IN FILM AND MEDIA HISTORY, GHENT UNIVERSITY, BELGIUM ‘Theproblem narratologistsface up to when they turn to cinema are kindred to ones semiologists of the 1960s had to deal with when we ask - what do we really mean when we say “the language offilm? There are no lexemes, no grammar, not even commas. Mario Singan is on a journey to figure out all this anew, and he does so brilliantly through this book.՝ YURI TSIVIAN, WILLIAM COLVIN EMERITUS PROFESSOR, UNIVERSITY OF CHICAGO, USA ‘Mario Slugan proposes an innovative marriage between philosophy and film historiography which brings conceptual analysis to bear on historical evidence in ways that complicate current philosophical categories and that clarify our understanding of the cognitiveframeworks ofearlyflm-sfiectatorship. NOËL CARROLL, DISTINGUISHED PROFESSOR OF PHILOSOPHY, CITY UNIVERSITY OF NEW YORK, USA When watching a recent instalment of Batman, it is perfectly acceptable to say that we see Batman fighting Bane. It is not customary to say that we see Christian Bale dressed as Batman going through the motions of punching Tom Hard}՛ pretending to be Bane. But if we consider the promotion and reception
of films from the early days of cinema, we realize that producers and audiences alike spoke precisely in this way. In other words, productions such as Méliès’s isas The Four Troublesome Heads and Porter’s 1903 Uncle Tom’s Cabin that we nowadays consider as some of the earliest film fictions, were treated as doeumentational’ recordings of (magic) theatre performance by their contemporaries. In an innovative combination of new film history and philosophical aesthetics, Mario Slugan proposes that the period between ISSO and 1915 provides a unique opportunity, not only for construing how a new representational medium became employed in the production, of fictions and the crucial role the discourse on imaginary engagement played in this process, but for better understanding the notion of fiction overall. By looking at the production, promotion, exhibition, and reception of early European and American cinema, he investigates why we engage with some films as fictions and others as non-fictions despite· both being based on actuality material - photographs. Most strikingly, Slugan argues that film’s fictional status may change over time and that cinema provides a better model for understanding fiction tiran literature. MARIO SLUGAN is Lecturer at the Department of Film of Studies, Queen Mary University of London, UK. He is the author of Montage as Perceptual Experience: Berlin Alexanderplatz from Dublin to Fassbinder (Caniden House, 2017) and Noël Carroll and Film: A Philosophy ofArt and Popular Culture (Bloomsbury, 2019).
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| any_adam_object | 1 |
| author | Slugan, Mario 1983- |
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| discipline | Allgemeines |
| era | Geschichte 1880-1915 gnd |
| era_facet | Geschichte 1880-1915 |
| format | Book |
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| language | English |
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| spelling | Slugan, Mario 1983- Verfasser (DE-588)1141393441 aut Fiction and imagination in early cinema a philosophical approach to film history Mario Slugan London Bloomsbury Academic 2020 xii, 265 Seiten Illustrationen 24 cm txt rdacontent n rdamedia nc rdacarrier Geschichte 1880-1915 gnd rswk-swf Film (DE-588)4017102-4 gnd rswk-swf Fiktion (DE-588)4192723-0 gnd rswk-swf Motion pictures / Aesthetics Imagination Motion pictures / Philosophy Motion pictures / History Motion pictures History Film (DE-588)4017102-4 s Fiktion (DE-588)4192723-0 s Geschichte 1880-1915 z DE-604 Erscheint auch als Online-Ausgabe, PDF 978-1-3501-1568-2 Erscheint auch als Online-Ausgabe 978-1-3501-1569-9 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031707567&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031707567&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
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| title | Fiction and imagination in early cinema a philosophical approach to film history |
| title_auth | Fiction and imagination in early cinema a philosophical approach to film history |
| title_exact_search | Fiction and imagination in early cinema a philosophical approach to film history |
| title_full | Fiction and imagination in early cinema a philosophical approach to film history Mario Slugan |
| title_fullStr | Fiction and imagination in early cinema a philosophical approach to film history Mario Slugan |
| title_full_unstemmed | Fiction and imagination in early cinema a philosophical approach to film history Mario Slugan |
| title_short | Fiction and imagination in early cinema |
| title_sort | fiction and imagination in early cinema a philosophical approach to film history |
| title_sub | a philosophical approach to film history |
| topic | Film (DE-588)4017102-4 gnd Fiktion (DE-588)4192723-0 gnd |
| topic_facet | Film Fiktion |
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