(2020). Motor city movie culture, 1916-1925. Early Popular Visual Culture: Vol. 18, No. 2, pp. 194-196.

(2020). Discovering lost films of Georges Méliès in fin-de-siècle flip books (1896–1901)/Des fragments de films Méliès disparus ressuscités par des flip books (1896–1901) Early Popular Visual Culture: Vol. 18, No. 2, pp. 199-200.

ABSTRACT With its sequences of projected images, accompanied by narration and often by music, the optical lantern as a communication medium proved to be effective for Christian evangelism, especially through life model slides. The religious life model slide sets or ‘scenes d’après nature’, produced by the Catholic publisher Maison de la Bonne Presse from 1908, hold a particular place in the cultural

(2021). Robert Seymour and nineteenth – century print culture: sketches by Seymour and comic illustration. Early Popular Visual Culture. Ahead of Print.

(2021). Special effects and German silent film: techno-romantic cinema. Early Popular Visual Culture. Ahead of Print.

(2021). The cinematographic activities of Charles Rider Noble and John MacKenzie in the Balkans (volume two). Early Popular Visual Culture. Ahead of Print.

(2021). City of second sight: nineteenth-century Boston and the making of American visual culture. Early Popular Visual Culture. Ahead of Print.

ABSTRACT This article presents a new discovery, based on a text published in a local newspaper in Split, Dalmatia in late 1892, which confirms the hypothesis of multiple versions of Edison and Dickson’s early Kinetoscope films, in particular, in regards to the Blacksmiths subject. Furthermore, it elucidates the relationship between Edison and announcements of initial moving image shows in Dalmatia

(2021). That Devil’s Trick: hypnotism and the Victorian popular imagination. Early Popular Visual Culture. Ahead of Print.

(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.

Most of the existing research on television focuses on the period after the Second World War, when television broadcasting started and gradually became more widespread. In his book, Doron Galili de...

(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

Daniel Mourenza’s Walter Benjamin and the Aesthetics of Film offers a comprehensive analysis of the writings of the German philosopher Walter Benjamin in relation to a varied selection of aesthetic...

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: Vol. 18, No. 2, pp. 200-203.

(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: Vol. 18, No. 2, pp. 196-198.

(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: Vol. 18, No. 2, pp. 208-210.

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: Vol. 18, No. 2, pp. 206-208.

(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.

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 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

Since the late 1990s I have developed an ongoing familiarity with the early media optical devices held at the Getty Research Institute (hereafter GRI) in Los Angeles. Most of these items are part o...

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

The essays in this special issue offer us compelling and inventive pedagogical strategies for effectively transporting artefacts and technological media from the past to the present and even for transporting our experiences of contemporary media from the present to (the recreation of) a possible experience in the past. In short, these strategies are relevant for any scholar working with technological

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

In 2014, Andreas Fickers and Annie van den Oever called for ‘a hands-on, ears-on, or an integral sensual approach toward media technologies’ (273). The idea behind this ‘experimental media archaeology,’ they explain, is that ‘doing historical re-enactments with old media artifacts [. . .] will offer new sensorial experiences and reflexive insights into the complex meanings and functionalities of past

(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.

Vanda Krefft’s well-researched biography of film producer William Fox offers a detailed account of his impactful contribution to early cinema. Fox was one of the most significant silent film produc...

(2020). A Place of Darkness: The Rhetoric of Horror in Early American Cinema. Early Popular Visual Culture: Vol. 18, No. 2, pp. 203-206.