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Virtual Voyages illuminates the pivotal role of travelogues within
the history of cinema. The travelogue dominated the early cinema
period from 1895 to 1905, was central to the consolidation of
documentary in the 1910s and 1920s, proliferated in the postwar era
of 16mm distribution, and today continues to flourish in IMAX
theaters and a host of non-theatrical venues. It is not only the
first chapter in the history of documentary but also a key element
of ethnographic film, home movies, and fiction films. In this
collection, leading film scholars trace the intersection of
technology and ideology in representations of travel across a wide
variety of cinematic forms. In so doing, they demonstrate how
attention to the role of travel imagery in film blurs distinctions
between genres and heightens awareness of cinema as a technology
for moving through space and time, of cinema itself as a mode of
travel.Some contributors take a broad view of travelogues by
examining the colonial and imperial perspectives embodied in early
travel films, the sensation of movement that those films evoked,
and the role of live presentations such as lectures in our
understanding of travelogues. Other essays are focused on specific
films, figures, and technologies, including early travelogues
encouraging Americans to move to the West; the making and reception
of the documentary Grass (1925), shot on location in Turkey, Syria,
Iraq, and Iran; the role of travel imagery in 1930s Hollywood
cinema; the late-twentieth-century 16mm illustrated-lecture
industry; and the panoramic possibilities presented by IMAX
technologies. Together the essays provide a nuanced appreciation of
how, through their representations of travel, filmmakers actively
produce the worlds they depict. Contributors. Rick Altman, Paula
Amad, Dana Benelli, Peter J. Bloom, Alison Griffiths, Tom Gunning,
Hamid Naficy, Jennifer Lynn Peterson, Lauren Rabinovitz, Jeffrey
Ruoff, Alexandra Schneider, Amy J. Staples
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