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Reading the Cinematograph
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Table of Contents

Reading the Cinematograph: Introduction, Andrew Shail Story 1: Our Detective Story (24 January 1897) by Dagonet [George R. Sims] Chapter 1: George R. Sims and the Film as Evidence, Stephen Bottomore Story 2: The Awful Story of Heley Croft (20 May 1899) by A.S. Appelbee Chapter 2: Cinema Re-Mystified: A.S. Appelbee's Technological Ghost Story, David Trotter and Chris O'Rourke Story 3: Colonel Rankin's Advertisement (December 1901) by Raymond Rayne Chapter 3: The Great American Kinetograph: News, Fakery and the Boer War, Andrew Shail Story 4: Mrs Bathurst (September 1904) by Rudyard Kipling Chapter 4: "The Very Thing": Rudyard Kipling's 'Mrs Bathurst', Tom Gunning Story 5: The Green Spider (October 1904) by A[rthur Henry] Sarsfield Ward, a.k.a. Sax Rohmer Chapter 5: 'Only from the Senses': Detection, Early Cinema and a Giant Green Spider, Stacy Gillis Story 6: Romantic Lucy (Summer 1911) by Alphonse Courlander Chapter 6: "She Had So Many Appearances": Alphonse Courlander and the Birth of the 'Moving Picture Girl, Jon Burrows Story 7: Love and the Bioscope: A Heart-Thrilling Story of a Deserted Bride (8 June 1912) by Mrs H.J. Bickle Chapter 7: Melodrama, Sensation and the Discourse of Modernity in 'Love and the Bioscope', Lise Shapiro Sanders Story 8; The Sense of Touch (December 1912) by Ole Luk-Oie [Ernest Dunlop Swinton] Chapter 8: A visit to the cinema in 1912: 'The Sense of Touch', Andrew Higson

About the Author

Andrew Shail is Lecturer in Film at Newcastle University.

Reviews

'As entertaining as it is edifying, Reading the Cinematograph showcases the transformative presence - and role - of cinema in British short fiction at the turn of the twentieth century. Andrew Shail has devised a marvelous format for the occasion; eight stories, reprinted in full and accompanied by their original illustration, followed by valuable critical commentary by eminent film scholars, and framed by Shail's indispensable historical/ critical introduction and sure editorial hand. A work of impeccable and imaginative scholarship...' Maria DiBattista, Professor of English and Chair of the Film Studies Committee, Princeton University, and author of Fast Talking Dames (Yale UP) `... the volume sustains an unbroken fascination with the wider implications of emergent cinematic technologies and modes of representation. It accurately reflects the widely felt cultural significances that were attributed to moving pictures and therefore will be valuable reading for cultural historians of the period as well as historians of cinema.' (Victorian Studies. Volume 54, No. 5, Summer 2012)

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