Is it you? Recognition, representation and response in relation to the local film

Film History: An International Journal

Volumn 17, Issue 1, 2005, Pages 7-18

  Toulmin, Vanessa ^a   Loiperdinger, Martin ^b  

^a UNIVERSITY OF SHEFFIELD   (United Kingdom)

^b Trier University

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60949690653     PISSN: 08922160     EISSN: 15533905     Source Type: Journal    
DOI: 10.2979/FIL.2005.17.1.7     Document Type: Article

References (47)

1. Yorkshire Evening Post, 28 August 1904, 1.
2. Uli Jung, 'Local Films: A Blind Spot in the Historiography of Early German Cinema', Historical Journal of Film, Radio and Television 22, 3 (2002): 255.
3. This ground-breaking curatorial and collaborative research project was completed in January 2005. A wide range of material has been published on the collection, but for an introduction to the material, see Vanessa Toulmin, 'Local Films for Local People: Travelling showmen and the commissioning of local films in Great Britain, 1900-1902', in Film History 13, 2 (2001): 118-138,
4. Vanessa Toulmin, Patrick Russell and Tim Neal, 'The Mitchell and Kenyon Collection: Rewriting Film History', The Moving Image: The Journal of the Moving Image Archivist (2003): 1-18,
5. Vanessa Toulmin, Simon Popple and Patrick Russell (eds.), The Lost World of Mitchell and Kenyon: Edwardian Britain on Film (London: British Film Institute, 2004).
6. For example, at the recent Domitor conference in July 2004 held at the University of Utrecht, the subject of the local was widely discussed in a symposium chaired by Lee Grieveson and Peter Krämer, 'Global Distribution and Local Standards: A Workshop on Research and Teaching'. Subsequent discussion resulted in a wide range of definitions of the term 'local' in film studies, some of which appear in this issue of Film History.
7. See Richard Brown, 'Film and Postcards: Cross media symbiosis in early Bamforth films', paper delivered at the second Visual Delights Conference, University of Sheffield, July 2002.
8. Stephen Bottomore, 'From the Factory Gate to the "Home Talent" Drama: An International Overview of Local Films in the Silent Era', in Toulmin, Popple and Russell (eds.), The Lost World of Mitchell & Kenyon, 33-48, 33.
9. Tom Gunning, 'Pictures of Crowd Splendour: The Mitchell and Kenyon Factory Gate Film', in Toulmin, Popple and Russell (eds.), The Lost World of Mitchell and Kenyon, 52.
10. Hull Daily Mail, 23 April 1901, 4.
11. Optical Magic Lantern Journal and Photographic Enlarger 12, 140 (January 1901): 2.
12. For an overview of this, see Bottomore, 'From the Factory Gate to the Local Talent', in Toulmin, Popple and Russell (eds.), The Lost World of Mitchell and Kenyon.
13. Jane Moody, Illegitimate Theatre in London, 1770-1840 (Cambridge: Cambridge University Press, 2000).
14. See also Jim Davis and Victor Emeljanow, Reflecting the Audience: London Theatregoing, 1840-1888 (Hatfield: University of Hertfordshire Press, 2001).
15. Moody, Illegitimate Theatre in London 1770-1840, 152.
16. Davis and Emeljanow, Reflecting the Audience, 35.
17. See 'Appareil chronophotographique pour les amateurs', Photo-Gazette, 25 September1894.
18. See also Georges Demeny, Le Portrait vivant (Duoai, L. Dechristé, n.d., a four-page document held at the Agfa Historama, Cologne)
19. Laurent Mannoni, Georges Demeny: Pionnier du cinéma (Douai, 1997), 128.
20. Vincent Pinel, Louis Lumière. Inventeur et cinéaste (Paris: Nathan, 1994), 37-38,
21. quoted in Tom Gunning, 'A Mischievous and Knowing Gaze: The Lumière Cinématographe and the Culture of Amateur Photography', in Philippe Dujardin, André Gardies, Jacques Gerstenkorn, Jean-Claude Seguin (eds.), L'aventure du Cinématographe. Actes du congrès mondial Lumière (Lyon: Aléas éditeur, 1999), 314.
22. See Deac Rossell, 'Die soziale Konstruktion früher technischer Systeme der Filmprojektion', KINtop 8 (1999): 53-81
23. Gunning, 'A Mischievous and Knowing Gaze' in Dujardin, Gardies, Gerstenkorn, Seguin (eds.), L'aventure du Cinématographe, 253-255.
24. For a discussion of local films in travelling cinemas in the 1920s, see Mariann Lewinsky, 'Schweizer National-Cinema Leuzinger, Rapperswil (SG), Aktualitätenfilmproduktion und regionale Kinogeschichte der Zentral-und Ostschweiz, 1896-1945', KINtop 9 (2000): 64-81.
25. See news release, Duke University, 13 June 2003, for the full interview available at http://www.dukenews. duke.edu/
26. Tom Whiteside, 'Up for Adoption: The Adaptability of H. Lee Waters' Movies of Local People' published on the website of the Orphan Film Symposia, University of South Carolina Film Preservation Symposium, 23-25 September 1999 http://www.sc.edu/orphanfilm/orphanage/symposia/ orphans1/whiteside.html
27. Kölner Tageblatt, 330, 23 May 1896.
28. See Martin Loiperdinger, Film & Schokolade. Stollwercks Geschäfte mit lebenden Bildern (Frankfurt am Main and Basel: Stroemfeld/Roter Stern, 1999).
29. Schwäbische Kronik, 185, 10 August 1896.
30. Schwäbische Kronik, 196, 22 August 1896.
31. For exhaustive information on Vues Lumière taken at Stuttgart and the local screenings, see Loiperdinger, 163-168, 249-272, 303-304.
32. and, for an introduction to the local material produced by and forcinema owners in Scotland from the 1910s to the 1950s, Janet McBain, 'Mitchell and Kenyon's Legacy in Scotland -The Inspiration for a Forgotten Film-making Genre', in Toulmin, Popple and Russell (eds.), The Lost World of Mitchell and Kenyon, 113-125.
33. Chris Makepeace (ed.), Manchester and Salford in the 1890s: A Collection of Photographs by Samuel Coulthurst (Hendon Mill: Hendon Publishing, 1986)
34. The Samuel L. Coulthurst Photographs-Victorian Salford and Manchester" (Salford: The Friends of the Salford Museums, 2002).
35. See Vanessa Toulmin, 'The Importance of the Programme in Early Film Presentation', KINtop 11 (2002): 19-34.
36. Lytham Times, 4 July 1902, 4.
37. Lancaster Guardian, 26 April 1902, 5.
38. The Showman, 31 January 1902, 311.
39. Halifax Evening Courier, 4 February 1902.
40. Derbyshire Times, 18 January 1902, 2.
41. Southport Guardian, 3 September 1902.
42. Toulmin, Russell and Neal, 'The Mitchell and Kenyon Collection: Rewriting Film History'.
43. The Showman, 29 March 1901, 211.
44. Bradford Daily Argus, 6 Febuary 1901.
45. See Audrey Linkman, 'Fair Likeness: portrait photography at the fairground in 19th-century Britain', in Simon Popple and Vanessa Toulmin (eds.), Visual Delights: Essays on the Popular and Projected Image in the 19th Century (Trowbridge: Flicks Books, 2000), 71-84.
46. Yorkshire Evening Post, 11 April 1903, 1.
47. Hull News, 13 October 1900, 9.