TABLE OF CONTENTS

CHAPTER 4/PART 2  COMMERCE AND SPECTATORSHIP

        AT THE TURN OF THE CENTURY

FROM VAUDEVILLE TO SYSTEM OF REPRESENTATION: THE APPRENTICESHIP OF EDWIN S. PORTER

A Flair for Comic Strips, Cartoons, and Comedies

Figure 4.18: The Cinema as Amusement

The Spectacle of the Urban Experience: Rube and Mandy at Coney Island

Figure 4.19: The Newsreel as Series

Editorial Control and the Principle of Temporal Repetition

The Cinematic Equivalent of Meanwhile: The Execution of Czolgosz

Figure 4.20: One Way of Executing a Reproduction

Time after Time: The Habit of Overlapping

Figure 4.21: Time and Again (I)
Figure 4.22: Time and Again (II)

The Logic of Spectacle: Jack and the Beanstalk

Figure 4.23: The Spectacle of the Accepted Version

An Extreme Expression of Nonlinear Continuity: Life of an American Fireman

Figure 4.24: A Nonlinear Concept of Continuity

Mere Indications of the Real

“Where Space and Time Collide”: Linear Continuity and Psychological Validity

Striving for Visual Parallelism: The Gay Shoe Clerk

Figure 4.25: Shifting Perspectives on Dalliance

GLOSSARY

REFERENCES

Biographical Sketch 4.2: Edwin S. Porter

Figure B4.8: The Art of Reconciliation
Figure B4.9: The Stop-Action Spoof
Figure B4.10: What's So Funny about a Bad Dream?
Figure B4.11: Bumpkins in the City
Figure B4.12: Melodrama in a New Mode
Figure B4.13: Effecting the Melodramatic
Figure B4.14: Melodrama in the Mountains
Figure B4.15: Porter at Famous Players
Figure B4.16: Directing Mary Pickford

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