Description
Book SynopsisFrom Méliès to New Media contributes to a dynamic stream of film history that is just beginning to understand that new media forms are not only indebted to but firmly embedded within the traditions and conventions of early film culture. Adopting a media archaeology, this book will present a comparative examination of cinema including early film experiments with light and contemporary music videos, silent film and their digital restorations, German Expressionist film and post-noir cinema, French Gothic film and the contemporary digital remake, Alfred Hitchcock’s films exhibited in the gallery, post medium films as abstracted light forms and interactive digital screens revising experiments in precinema. Media archaeology is an approach that uncovers the potential of intermedial research as a fluid form of history. It envisages the potential of new discoveries that foreground forgotten or marginalised contributions to history. It is also an approach that has been championed by influential new historicists like Thomas Elsaesser as providing the most vibrant and productive new histories (2014).
Table of ContentsList of Illustrations
Acknowledgements
Introduction: Beginnings and Ends: Historical Collusion
Chapter 1: Cigarette Burns and Bullet Holes: Celluloid Cues in Digital Cinema
Section I: Early Cinema: Colour and Spectrality
Chapter 2: Applied Colour: Chromatic Frankenstein's Monsters?
Chapter 3: The Serpentine Dance Films: 'Dream Visions That Change Ten Thousand Times a Minute'
Section II: Luminescence, Montage and Frame Ratios
Chapter 4: Memory and Noir: Neon Contrasts
Chapter 5: Cutting: Shock and Endurance
Chapter 6: Screens, Scale Ratio: Vertical Celluloid in the Digital Age
Section III: Cinema Beyond the Frame
Chapter 7: Hallucinatory Framing and Kaleidoscopic Vision
Chapter 8: Ephemeral Screens: The Muybridgizer
Bibliography
Index
