(2021). Bringing the world to the child. Technologies of global citizenship in American education. Early Popular Visual Culture. Ahead of Print.

(2021). Early cinema in Asia. Early Popular Visual Culture. Ahead of Print.

(2021). Castan’s Panopticum: Ein Medium wird besichtigt. Early Popular Visual Culture. Ahead of Print.

(2021). Robert Paul and the origins of British cinema. Early Popular Visual Culture. Ahead of Print.

(2021). A million pictures: magic lantern slides in the history of learning. Early Popular Visual Culture. Ahead of Print.

(2021). Victorian photography, literature, and the invention of modern memory: already the past. Early Popular Visual Culture. Ahead of Print.

(2021). Playful visions: optical toys and the emergence of children’s media culture. Early Popular Visual Culture. Ahead of Print.

ABSTRACT For early film-makers in Britain the countryside was a highly valuable resource. As a modern urban culture acquired a distinctly ruralist orientation, the landscapes and lives of rural Britain became popular subjects for a rapidly developing visual mass media. Within this expanding visual economy, rural settings provided both picturesque space for the screen and interesting situations and

(2021). Acting out: cabinet cards and the making of modern photography. Early Popular Visual Culture. Ahead of Print.

(2021). Japonisme and the birth of cinema. Early Popular Visual Culture. Ahead of Print.

(2020). Visions of electric media: television in the Victorian and machine ages. Early Popular Visual Culture. Ahead of Print.

(2020). 《百苗图汇考》(Systematic textual analysis of the Miao albums). Early Popular Visual Culture. Ahead of Print.

(2020). Victorian negatives: literary culture and the dark side of photography in the nineteenth century. Early Popular Visual Culture. Ahead of Print.

(2020). Public spectacles of violence: sensational cinema and journalism in early twentieth-century Mexico and Brazil. Early Popular Visual Culture. Ahead of Print.

(2020). Media archaeology and intermedial performance: deep time of the theatre. Early Popular Visual Culture. Ahead of Print.

(2020). Screenwriting teachers 1910–1922: origins, contribution and legacy. Early Popular Visual Culture. Ahead of Print.

(2020). Variations on media thinking. Early Popular Visual Culture. Ahead of Print.

(2020). Réveiller l’archive d’une guerre coloniale: photographies et écrits de Gaston Chérau correspondant de guerre en Libye (1911-1912). Early Popular Visual Culture. Ahead of Print.

(2020). Silent Serial Sensations: the Wharton Brothers and the Magic of Early Cinema. Early Popular Visual Culture. Ahead of Print.

(2020). Seeing by electricity: the emergence of television, 1878-1939. Early Popular Visual Culture. Ahead of Print.

(2020). Inventing cinema: machines, gestures and media history. Early Popular Visual Culture. Ahead of Print.

(2020). The spectacle of illusion: magic, the paranormal, and the complicity of the mind. Early Popular Visual Culture. Ahead of Print.

ABSTRACT Taking the publications of T’ou-Se-We Press as its main historical materials and adopting the method of media archeology, this paper investigates the manufacture and films of the projector at T’ou-Se-We Orphan Arts and Crafts Institute, Shanghai (1864–1960) in relation to the technology and content of the media. The T’ou-Se-We projector was created using calcium carbide technology. The films

ABSTRACT In this paper, I argue that the practices of stereoscopic photography throughout the 19th and the beginning of the 20th century can be interpreted as technological answers to many of the questions raised by the theories of art regarding the landscape genre, such as immersion, volume, scale, and subjectivity. However, it was not a direct influence, since stereoscopic photography was perceived

ABSTRACT In this paper I consider two nearly-forgotten artistic practices: that of British painter Thérèse Lessore (1884–1945) and the annual World’s Fair Circus held in Islington, London which she painted on several occasions in the 1920s and 30s. Despite Lessore’s significant output and the positive critical attention her artwork received during her lifetime, her career has been overshadowed by that

(2020). Walter Benjamin and the aesthetics of film. Early Popular Visual Culture. Ahead of Print.

ABSTRACT Since the nineteenth century significant attention has been given to the role of architects and sculptors in the modern cemeteries of Paris. This is particularly true of places such as Père-Lachaise where their role in the commemoration of noteworthy individuals has driven tourism as well as scholarship, past and present. Yet the tombs that architects designed were by far the exception to

(2020). Damsels and divas: European stardom in silent Hollywood. Early Popular Visual Culture. Ahead of Print.

(2020). Editorial. Early Popular Visual Culture: Vol. 18, Object Lessons, Old and New: Experimental Media Archaeology in the Classroom. Guest editors: Patrick Ellis and Colin Williamson, pp. 1-1.

(2020). The art of objects: the birth of Italian industrial culture, 1878-1928. Early Popular Visual Culture. Ahead of Print.

(2020). Menus for movieland: newspapers and the experience of American film culture, 1913-1916. Early Popular Visual Culture. Ahead of Print.

(2020). Clothing and landscape in Victorian England: working-class dress and rural life. Early Popular Visual Culture. Ahead of Print.

(2020). Carceral fantasies: cinema and prison in early twentieth-century America. Early Popular Visual Culture. Ahead of Print.

ABSTRACT In nineteenth-century Australia, a distinct editorial interest developed for woodcut images in illustrated newspapers depicting sharks attacking people and people attacking sharks in Sydney Harbour. This article argues they were part of a culture of display of the savagery of the frontier that was the British colony. These mass-reproduced images reached a wide public both within and outside

(2020). Early British animation: from page and stage to cinema screens. Early Popular Visual Culture. Ahead of Print.

(2020). Chromatic modernity: color, cinema, and the media of the 1920s. Early Popular Visual Culture. Ahead of Print.

(2020). Afterword: Towards a variantology of hands-on practice. Early Popular Visual Culture: Vol. 18, Object Lessons, Old and New: Experimental Media Archaeology in the Classroom. Guest editors: Patrick Ellis and Colin Williamson, pp. 93-101.

ABSTRACT This short article argues for the potential of paper media to ‘tell’ early media histories through critical praxis. I will use examples of my own artwork, which include an artists’ book of feminist thaumatropes, and a series of peep boxes, to demonstrate how media made from paper (including cardboard) can act as historiographic documents themselves, producing political and social critiques

ABSTRACT Today’s students and practitioners of media have a growing and ever-changing number of options and technologies for applying design principles. From mobile devices to virtual reality, digital platforms and modes of production have changed the marketplace and continue to challenge both students and teachers alike to become adaptive learners and flexible thinkers. The ubiquity of digital screens

ABSTRACT This article explores the study of pre-cinematic toys and media within the context of a multidisciplinary childhood studies department, arguing that childhood studies and media archaeology share a number of critical preoccupations, analytical approaches, and possibilities for hands-on engagement with historical and contemporary media. From the perspective of childhood, historical media such

(2020). Pre-cinema as paradigm and collection at the Getty Research Institute. Early Popular Visual Culture: Vol. 18, Object Lessons, Old and New: Experimental Media Archaeology in the Classroom. Guest editors: Patrick Ellis and Colin Williamson, pp. 82-92.

ABSTRACT Experimental media archaeology is a hands-on approach implemented at the Film Archive & Media Archaeology Lab, embedded at the University of Groningen, the Netherlands. Inspired by Huhtamo’s concept of ‘thinkering’, the aim of this approach is to let students experiment with the different possibilities and the diverse usages of (old and new) technological objects of recording and projection

(2020). Object lessons, old and new: experimental media archaeology in the classroom. Early Popular Visual Culture: Vol. 18, Object Lessons, Old and New: Experimental Media Archaeology in the Classroom. Guest editors: Patrick Ellis and Colin Williamson, pp. 2-14.

ABSTRACT In this conversation, Tom Gunning and Annie van den Oever return to Viktor Shklovsky’s notion of ostrannenie (making strange), a neologism coined in what turned out to become a modern art theory that was developed by the young Shklovsky in the midst of the great popularity of film shows in Russia in 1913. Tom Gunning is a film historian and a theorist who wrote a series of foundational texts

(2020). Identity, community and Australian artists, 1890–1914, Paris, London and further afield. Early Popular Visual Culture. Ahead of Print.

(2020). Bad film histories: ethnography and the early archive. Early Popular Visual Culture. Ahead of Print.

(2020). Cinema, nation, and empire in Uzbekistan, 1919–1937. Early Popular Visual Culture. Ahead of Print.

(2019). Fashioning Alice: The Career of Lewis Carroll’s Icon, 1860–1901. Early Popular Visual Culture. Ahead of Print.

(2019). Replication in the long nineteenth century: re-makings and reproductions. Early Popular Visual Culture. Ahead of Print.

(2020). The man who made the movies, Early Popular Visual Culture: Vol. 18, Object Lessons, Old and New: Experimental Media Archaeology in the Classroom. Guest editors: Patrick Ellis and Colin Williamson, pp. 105-107.

(2019). A Place of Darkness: The Rhetoric of Horror in Early American Cinema. Early Popular Visual Culture. Ahead of Print.

(2020). Corporeality in early cinema. Viscera, skin, and physical form. Early Popular Visual Culture: Vol. 18, Object Lessons, Old and New: Experimental Media Archaeology in the Classroom. Guest editors: Patrick Ellis and Colin Williamson, pp. 104-105.

(2020). Discourses of vision in nineteenth-century Britain: seeing, thinking, writing. Early Popular Visual Culture: Vol. 18, Object Lessons, Old and New: Experimental Media Archaeology in the Classroom. Guest editors: Patrick Ellis and Colin Williamson, pp. 102-103.

(2019). Monitoring the movies: the fight over film censorship in early twentieth-century urban America. Early Popular Visual Culture. Ahead of Print.

ABSTRACT The lantern lecturing business diversified in a number of ways in the second half of the nineteenth century. At the top end of one kind of cultural scale were the ‘popular lecturers’ – speakers who could be relied upon to fill venues wherever they travelled and who occupied a market increasingly dominated by discourses of celebrity. These lecturers tended to visit not only the usual run of

ABSTRACT Taking a photograph from the 1906 Australian tour of William Holman Hunt’s painting The Light of the World as my starting point, I explore the special relationship colonial audiences had with magic lantern shows and related entertainments. I examine the sense of 'transport' that audiences felt at collectively witnessing images that had been 'transmitted' to them from Britain. I argue that

ABSTRACT Many museums and collections publish digital photographs or scans of objects held in their collections in online-accessible databases. What are the epistemological issues at stake when an analogue object is digitised with the aim to ‘illustrate’, ‘document’ or ‘represent’ its analogue original? This essay tackles the question based on practical, hands-on experiences that the author obtained

ABSTRACT The Australian Museum hosted a weekly program of public lantern lectures for over two decades at the beginning of the twentieth century. The slides from these lectures were based on photographs and illustrations made during the empirical pursuit of fieldwork and professional scientific enquiry, and remain intact and catalogue as a complete set in the Museum to this day. This Archive Feature

Uruguay. Figari became an artist and writer later in life, after a career as a lawyer. As part of the creole elite, he had access to the wealth and freedom that enabled him to relocate to Paris. His writings and paintings suggest his drive to maintain local, autochthonous elements in his art while appropriating European cultural elements, conceptualizing a regional identity. Williams argues that Figari

ABSTRACT This article discusses the lantern at the nineteenth-century fairground as a mobile but hidden technology and elucidates the role of this optical medium in the transnational circulation of visual culture by focussing on one particular but exemplary case: the Théâtre Courtois and the Théâtre Grandsart-Courtois. This Belgian fairground family travelled during five generations around European