Performing New Media, 1890-1915

Kaveh Askari is Associate Professor in the English Department at Western Washington University. Scott Curtis Associate Professor in the Department of Radio/Television/Film at Northwestern University. He is currently President of Domitor, the international society for the study of early cinema.Frank Gray is Director of Screen Archive South East at the University of Brighton.Louis Pelletier is a SSHRC postdoctoral fellow at Université de Montréal and Concordia University where he is research coordinator of the Canadian Educational, Sponsored, and Industrial Film Archive project.Tami Williams is Associate Professor of Film Studies and English at the University of Wisconsin-Madison.Joshua Yumibe is Director and Assistant Professor of Film Studies at Michigan State University. He holds a joint appointment as Lecturer in Film Studies at the University of St. Andrews.

• Introduction, Kaveh Askari, Scott Curtis, Frank Gray, Louis Pelletier, Tami Williams, and Joshua YumibePart I, Performing on the Screen: Actors and Personalities1. Louis Weber at Rex: Performing Femininity Across Media, Shelley Stamp2. Diva Intermedial: Lyda Borelli between Art, Photography, Theatre, and Cinema, Ivo Blom3. Why Sue 'Little Mary?': How Independent Moving Pictures Company of America v Gladys Smith and Owen Moore (1911) Defined Celebrity and Professionalism for Film Actors, Leslie Midkiff DeBauche4. Camera Distance and Acting in Griffith Biographs, Charles O' Brien5. Performance Times: The Lightning Cartoon and the Emergence of Animation, Malcolm Cook6. La transparence du Fregoligraph en question, Frédéric Tabet7. In the Flesh: Personal Appearances and the Picture Personality in Britain, Chris O'Rourke8. Performers—New Synchronized on Screen, Ian ChristiePart II, Performing Beside the Screen: Narrators, Showmen, and Musicians9. Missing Believed Post: The Film Narrator, Then and Now, Martin Loiperdinger10. Standards of Practice in Transition: The Showmanship of Jasper Redfern as It Emerged, Peter Walsh11. Showmanship Skills and the Changing Role of the Exhibitor in 1910s Scotland, María Antonia Vélez-Serna12. Showing Film in Winter (1904-1906): Albert Frères' Film Galas in Dutch Multipurpose Buildings, Ansje van Beusekom13. Performing New Media and the Creation of National Identity: Kräusslich and Köpke in Norway before 1910, Gunnar Iversen14. Music Programming and the Formation of Swedish Cinema Culture, Christopher Natzén15. 'Marvelous and Fascinating': L. Frank Baum's Fairylogue and Radio-Plays (1908), Artemis Willis16. The Multiple-Media Lecture: Racing with Death in Antarctic Blizzard (1915), Greg WallerPart III, Performing with the Screen: Audiences, Educators, and Officials17. Kinoreformbewegung Revisited: Performing the Cinematograph as a Pedagogical Tool, Frank Kessler and Sabine Lenk18. Health on Display: The Panama-Pacific International Exposition as Sanitary Venue, Marina Dahlquist19. Lyrical Education: Music and Colour in Early Nonfiction Film, Jennifer Peterson20. 'Offensive and Riotous Behavior'? Performing the Role of an Audience in Irish Cinema of the mid-1910s, Denis Condon 21. Tango Mad and Affected by Cinematographitis: Rhythmic 'Contagions' between Screen and Audiences in the 1910s, Kristina KöhlerPart IV, Intermedial Performance22. Screening Sensations and Live Performance: the Creative Blending of the Traditional and New Projected Media at the Start of the Twentieth Century, Ludwig Maria Vogl-Bienek23. Le spectacle de lantern magique considéré sous l'angle de la conference: quelques traces écrites d'une performance orale, Alain Boillet24. Getting to Know the Dutch: Magic Lantern Slides as Traces of Intermedial Performance Practices, Sarah Dellmann25. 20 Minutes or Less: Short-Form Film-and-Theatre Hybrids: Skits Sketches, Playlets and Acts in Vaudeville, Variety, Revues, etc., Gwendolyn Waltz26. Between Karagöz and Cinema: Connectivity, Mobility, Collectivity, Canan Balan27. Entre nouveauté et continuité: Le Spectacle cinématographique serait-il une émergence des ombres françaises?, Thierry Lecointe28. 'Performed live and talking. No Kinematograph.' Amateur Performances of Tableaux Vivants and Local Film Exhibition in Germany around 1900, Daniel Wiegand29. Performing Painting: Projected Images as Living Pictures, Valentine Robert30. Colour as Performance in Visual Music, Film Tinting, and Digital Painting, Joshua YumibeCoda31. Early Cinema Today and its 'Digital Performance': The Rediscovery of the Soldier's Courtship (1896), Franziska HellerEditors and ContributorsIndex of FilmsIndex of Names