Focusing on early cinema's relationship with the pictorial arts,
this pioneering study explores how cinema's emergence was grounded
in theories of picture composition, craft and arts education - from
magic lantern experiments in 1890s New York through to early
Hollywood feature films in the 1920s. Challenging received notions
that the advent of cinema was a celebration of mechanisation and a
radical rejection of nineteenth-century traditions of
representation, Kaveh Askari instead emphasises the overlap between
craft traditions and modernity in early film. Opening up valuable
new perspectives on the history of film as art, Askari links
American silent cinema with the practice of teaching the public how
to appreciate fine art; charts its entrance into arts education via
art schools and university film courses; shows how concepts of
artistic production entered films through a material interest in
the studio; and examines the way in which Maurice Tourneur and Rex
Ingram made early art films by shaping an image of the film
director around the idea of the fine artist.
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