Making Movies Into Art: Picture Craft from the Magic Lantern to Early Hollywood

Acknowledgments Introduction Rewinding art cinema Situating cinema among the other arts Craft, picture, movement Aesthetic appreciation and the modernity of picture craft Chapter organisation 1 Moving-picture Art before Cinema: Alexander Black and the Lyceum The amateur and the institute The detective lectures and the instantaneous tableau From 'the horse in motion' to 'man in motion' Picture play aesthetics: still pictures as moving pictures Picture play reception: art cinema without the cinematograph Conclusion: a history without an invention 2 Moving Pictures Imagine the Artist's Studio The mise en scène of the studio The moving image jumps the frame Trilbyana: Transformation and absorption Lejaren à Hiller's Never-told Tales of a Studio Triart Picture Company: From Trilbyana to art history Conclusion: patchwork methods, common goal 3 Cinema Composition: The University and the Industry Picture study: from the art lecture to the film lecture Movement, contemplation and the 'tableau' Managing tableaux: the economics of film spectatorship Beyond the tableau: inscribing movement Conclusion: moving pictures and new tendencies 4 Painting with Human Beings: Maurice Tourneur as Art-film Director In the atelier of Puvis Quality films, imported film-makers The Blue Bird: From The Yellow Book to the yellow press Conclusion: Tourneur after 1920 5 Rex Ingram's Art School Cinema The oldest art school and the newest art From exceptional style to cross-media appreciation Scaramouche, or convergence Conclusion: the limits of exceptional films Conclusion: Moving Forward from the Slow MovieNotes Index

Kaveh Askari