A Companion to Early Cinema	5
	Contents	7
	List of Contributors	10
	Acknowledgments	16
	Introduction	17
	Part I Early Cinema Cultures	29
	1 The Culture Broth and the Froth of Cultures of So-called Early Cinema	31
	2 Toward a History of Peep Practice	48
	3 “We are Here and Not Here”: Late Nineteenth-Century Stage Magic and the Roots of Cinema in the Appearance (and Disappearance) of the Virtual Image	68
	4 The Féerie between Stage and Screen	80
	5 The Théâtrophone, an Anachronistic Hybrid Experiment or One of the First Immobile Traveler Devices?	96
	6 The “Silent” Arts: Modern Pantomime and the Making of an Art Cinema in Belle Époque Paris: The Case of Georges Wague and Germaine Dulac	115
	Part II Early Cinema Discourses	135
	7 First Discourses on Film and the Construction of a “Cinematic Episteme”	137
	8 The Discourses of Art in Early Film, or, Why Not Rancière?	157
	9 Sensationalism and Early Cinema	179
	10 From Craft to Industry: Series and Serial Production Discourses and Practices in France	199
	11 Early American Film Publications: Film Consciousness, Self Consciousness	218
	12 Early Cinema and Film Theory	240
	Part III Early Cinema Forms	259
	13 A Bunch of Violets	261
	14 Modernity Stops at Nothing: The American Chase Film and the Specter of Lynching	273
	15 “The Knowledge Which Comes in Pictures”: Educational Films and Early Cinema Audiences	293
	16 Motion Picture Color and Pathé-Frères: The Aesthetic Consequences of Industrialization	314
	Part IV Early Cinema Presentations	331
	17 The European Fairground Cinema: (Re)defining and (Re)contextualizing the “Cinema of Attractions”	333
	18 Early Film Programs: An Overture, Five Acts, and an Interlude	350
	19 “Half Real-Half Reel”: Alternation Format Stage-and-Screen Hybrids	376
	20 Advance Newspaper Publicity for the Vitascope and the Mass Address of Cinema’s Reading Public	397
	21 Storefront Theater Advertising and the Evolution of the American Film Poster	414
	22 Bound by Cinematic Chains: Film and Prisons during the Early Era	436
	Part V Early Cinema Identities	457
	23 Anonymity: Uncredited and Unknown in Early Cinema	459
	24 The Invention of Cinematic Celebrity in the United Kingdom	476
	25 The Film Lecturer	503
	26 Richard Hoffman: A Collector’s Archive	514
	Part VI Early Cinema Recollections	541
	27 Early Films in the Age of Content	543
	28 Multiple Originals: The (Digital) Restoration and Exhibition of Early Films	566
	29 Pointing Forward, Looking Back: Reflexivity and Deixis in Early Cinema and Contemporary Installations	584
	30 Is Nothing New? Turn-of-the-Century Epistemes in Film History	603
	Index	626