HAPPY ANNIVERSARY

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The Ithaca Silent Cinema community celebrates the 100-year anniversary of the famed Stewart Bridge trolley crash, staged for the Prince of India (Wharton Brothers, 1914). More information on Ithaca’s history in silent cinema can be found here. And if you are wondering whatever happened to the Wharton Brothers’ films: check the bottom of Cayuga Lake.

TROLLING THE ARCHIVE

David Archibald of the University of Glasgow recently circulated an abstract for a paper I will be giving in March as part of their seminar series. The full abstract and details for the event can be found here.

Leo Enticknap, a Lecturer at Leeds in Visual and Communication Arts, read the abstract on the British Association of Film, Television and Screen Studies email list and wrote the following (italicized portions are excerpts from my abstract):

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(A)TYPICAL FIGURES

Typical Figure, British Library

Typical Figure, British Library

Last month, the British Library released more than one million images from 17th, 18th, and 19th century books to Flickr commons. They would like the images to circulate widely–and, to this end, have invited the public to “use, remix, and repurpose” them–but they have also invited the public into a kind of collaborative preservative-historiographic relationship. It seems that the library does not know a whole lot about the images that they have scanned. From the press release: Continue reading

FIRES OLD AND NEW

About two weeks ago, a fire started at the archive.org scanning center in San Francisco. No one was hurt and, within 48 hours, employees were back at work scanning materials. According to the archive’s blog, they lost hundreds of thousands of dollars worth of cameras and scanning equipment, but most of their data was unaffected: Continue reading

DIGITAL TINTYPE CELLULOID

[vimeo http://vimeo.com/11809362 w=575&h=400]

Photographer Antonio Martinez created over 800 “modern dryplate tintypes” from b/w film to produce this stop-motion video, entitled “Near the Egress.” This complex and combinatory work remixes our visual histories and technologies. Here, the moving image precedes the motionless tintype. And digital video gives them both a different kind of life.  All of this unfolds with a nod to yet another historical-technological-mythological origin: the circus, the fairground, the site of early cinema.

ROOSEVELT IN AFRICA

Taxidermist at Work on the Roosevelt Safari Specimens (1911, Smithsonian Institute Archives)

Posting has been slow and infrequent these last couple of weeks, mostly because I am lucky to be on research leave this semester and I have been trying to focus my writing energies elsewhere.  At the moment, I am in the middle of revising a chapter that examines the intersection between ethnographic writing and cinema.  It begins with the following excerpt from Theodore Roosevelt:

I almost always had some volume with me, either in my saddle pocket or in the cartridge-bag which one of my gun bearers carried to hold odds and ends. Often, my reading would be done while resting under a tree at noon, perhaps beside the carcass of a beast I killed, or else waiting for camp to be pitched; and in either case it might be impossible to get water for washings. In consequence the books were stained with blood, sweat, gun oil, dust, and ashes; ordinary bindings either vanished or became loathsome, whereas pigskin merely grew to look as a well-used saddle looks.”

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