This is an account of the prehistory and early years of cinema in Britain. In this new paperback edition, which has been revised to take into account recent scholarship of early cinema, the author provides an account of the rich history of the origins of film. The book demonstrates that the theory of "the persistence of vision", which led to the invention of moving pictures, has been superceded by modern scientific findings. In its place, it puts forward a theory of invention as a type of "bricolage", and shows that cinematography was a product of the forces of 19th century capitalism. It discusses the wealth of influences, both popular and bourgeois, on the culture of early cinema, including diorama, the magic lantern, itinerant entertainers and music hall. The book looks at the relationship between film and photography, and considers the nascent film business, the ways in which early cinema was received by its audiences and the developing aesthetics of cinema in its first 15 years.

For mainstream economics, cultural production raises no special questions: creative expression is to be harvested for wealth creation like any other form of labour. As Karl Marx saw it, however, capital is hostile to the arts because it cannot fully control the process of creativity. But while he saw the arts as marginal to capital accumulation, that was before the birth of the mass media. Engaging with the major issues in Marxist theory around art and capitalism, From Printing to Streaming traces how the logic of cultural capitalism evolved from the print age to digital times, tracking the development of printing, photography, sound recording, newsprint, advertising, film and broadcasting, exploring the peculiarities of each as commodities, and their recent transformation by digital technology, where everything melts into computer code. Showing how these developments have had profound implications for both cultural creation and consumption, Chanan offers a radical and comprehensive analysis of the commodification of artistic creation and the struggle to realise its potential in the digital age.

The Dream the Kicks is a classic account of the prehistory and early years of cinema in Britain. In this new paperback edition, which has been thoroughly revised to take into account recent scholarship of early cinema, Michael Chanan provides a fasciniating account of the rich and hitherto hidden history of the origins of film. Chanan demonstrates that the theory of `the persistence of vision', which led to the invention of moving pictures, has been superceded by modern scientific findings. In its place, he puts forward a theory of invention as a type of bricolage, and shows that cinematography was a product of the forces of nineteenth century capitalism. He discusses the wealth of influences, both popular and bourgeois, on the culture of early cinema, including diorama, the magic lantern, itinerant entertainers and music hall. He looks at the relationship between film and photography, and considers the nascent film business, the ways in which early cinema was received by its audiences and the developing aesthetics of cinema in its first fifteen years.

For mainstream economics, cultural production raises no special questions: creative expression is to be harvested for wealth creation like any other form of labour. As Karl Marx saw it, however, capital is hostile to the arts because it cannot fully control the process of creativity. But while he saw the arts as marginal to capital accumulation, that was before the birth of the mass media. Engaging with the major issues in Marxist theory around art and capitalism, From Printing to Streaming traces how the logic of cultural capitalism evolved from the print age to digital times, tracking the development of printing, photography, sound recording, newsprint, advertising, film and broadcasting, exploring the peculiarities of each as commodities, and their recent transformation by digital technology, where everything melts into computer code. Showing how these developments have had profound implications for both cultural creation and consumption, Chanan offers a radical and comprehensive analysis of the commodification of artistic creation and the struggle to realise its potential in the digital age.

Memories of Underdevelopment was the first great international success of Cuban cinema. The film provides a complex portrait of Sergio, a disaffected bourgeois intellectual who remains in Havana after the Revolution, suspended between two worlds. He can no longer accept the values of his family's reactionary past and yet boredom and the conditioning of his early life prevent him from committing himself to the new revolutionary society. Sergio's story is played out in the turbulent period of the Bay of Pigs invasion and the 1962 missile crisis, events he can only watch on his television screen or from his apartment balcony. The film, initially banned by the U.S. government as part of its trade quarantine of Cuba, was shown here five years after its original release. But American critics responded enthusiastically to it and the National Society of Film Critics bestowed an award on its director. This double volume includes the complete continuity script of Memories, as well as the complete novel, Inconsolable Memories, upon which the film is based. An interview with Alea is reproduced here, as well as documentation of the political controversy that surrounded the film in this country. Michael Chanan's introduction places the film in the context of Cuban political and cultural history. The volume also includes a biographical sketch of Alea, a chronology of the Cuban Revolution, reviews, commentary, a filmography, and a bibliography. Michael Chanan lives in England, where he teaches and writes on film. He is the author of The Cuban Image: Cinema and Cultural Politics in Cuba.

Tracing the history of the documentary from the first Lumiere films to Michael Moore's "Fahrenheit 9/11," Chanan addresses topics such as the documentary before documentary, how documentary film language works, the veracity of the image, the problems of the soundtrack, the migration of documentary to television, political documentary, censorship, first-person film-making, and the relations of the archives to history and memory. Focusing on the vital contribution of documentary to the public sphere--the space in which ideas are debated, public opinion is formed and those in authority are held to account--Chanan argues that, without documentary, the public sphere is unable to function.

"Musica Practica" is a historical investigation into the social practice of Western music which advances an alternative approach to that of established musicology. Citing evidence from Barthes, Nietzsche, Bakhtin, Max Weber and Schoenberg, Michael Chanan explores the communal roots of the musical tradition and the effects of notation on creative and performing practice. He appraises the psychological wellsprings of music using the insights of linguistics, semiotics and psychoanalysis. Tracing the growth of musical printing and the creation of a market for the printed score, he examines the transformation of patronage with the demise of the "ancien regime," and draws on little-known texts by Marx to analyze the formation of the musical economy in the nineteenth century.
Chanan sketches out an unwritten history of musical instruments as technology, from Tutankhamen's trumpets to the piano, the ancient Greek water organ to the digital synthesizer. The book concludes with reflections on the rise of modernism and the dissolution of the European tradition in a sea of postmodernism and "world music."
"Musica Practica" assumes no specialist knowledge of music beyond an ordinary familiarity with common terms and an average acquaintance with the music of different styles and periods. It is a fascinating commentary on the soundtrack of daily life in the metropolis of the late twentieth century.

Repeated Takes is the first general book on the history of the recording industry, covering the entire field from Edison's talking tin foil of 1877 to the age of the compact disc. Michael Chanan considers the record as a radically new type of commodity which turned the intangible performance of music into a saleable object, and describes the upset which this caused in musical culture. He asks: What goes on in a recording studio? How does it affect the music? Do we listen to music differently because of reproduction? Repeated Takes relates the growth and development of the industry, both technically and economically; the effects of the microphone on interpretation in both classical and popular music; and the impact of all these factors on musical styles and taste. This highly readable book also traces the connections between the development of recording and the rise of new forms of popular music, and discusses arguments among classical musicians about microphone technique and studio practice.