![]() I will return to it repeatedly in the course of this article, though most of what I have to say relates to the first two points of Rossell’s quartet I will touch on the third point only in passing, and the fourth briefly in my conclusion. Useful information can come from anywhere, keep your eyes wide open Surviving objects still have much to say, even if we already think we know what they areĤ. Everything written before 1980 is suspect: and much that was written thereafterģ. Rossell uses the historiography of Pacht’s presentation as a cautionary example of the way errors have frequently been repeated by film historians, and his article, titled “Quartet,” is structured around four pieces of historiographical advice:ġ. In English, the most detailed account of the Københavns Panorama film show has been written by Deac Rossell. ![]() Details were lacking, for instance, about exactly what films were shown by Pacht and investigating this, I realized that there was also something new to be said about the source of his films and his projector. Working on this article, however, I realized that there were a number of important aspects of this June 1896 film show on which both Engberg and later historians were silent. I have written an article discussing the implications of this review, written for the newspaper Politiken by Valdemar Koppel (1867-1949) the full review is included in English translation (Tybjerg 2022). I was prompted to take an interest in the show at Københavns Panorama by one of the reviews published on the day it opened (there had been a press screening the day before), a review that described a spectator reaction quite different from those historians have described as characteristic of the so-called cinema of attractions, the mode of presentation that predominated in the earliest years of cinema. ![]() A great deal of historical research has been done since then on the earliest years of the cinema, and film historians have many resources available today that did not exist fifty years ago. In this article, I will return to the ground covered in Engberg’s pioneering article. A film historical exchange Deac Rossell and Casper Tybjerg. ![]()
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