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David Lavery
David Lavery
Brunel University
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‘No More Unexplored Countries’
The Early Promise and Disappointing Career of Time-Lapse
Photography
in
Film Studies
Time-lapse photography—the extremely accelerated recording and projection of an event taking place over an extended duration of time—is almost as old as the movies themselves. (The first known use of time-lapse dates from 1898.) In the early decades of the twentieth century, cineastes, not to mention scientists, artists, and poets, waxed eloquently on the promise of time-lapse photography as a means for revealing “things we cannot see,” and expanding human perception. This essay examines time-lapses tremendous initial imaginative appeal for such figures as Ernst Mach, Germaine Dulac, Jean Epstein, Rudolf Arnheim, Laszlo Moholy-Nagy, and Collette, and speculates about the possible reasons for its diminution over the course of the century.
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‘All the evidence is that Cobargo is slipping’
An ecological approach to rural cinema-going
Author:
This paper considers the impact of extra-filmic elements on the cultural decision-making behaviours of a small rural Australian cinema audience, focusing on the rural New South Wales village of Cobargo in the late 1920s. In considering how why such fragile rural picture show operations either failed or became successful, it is critical to take account of rural geographies, particularly in terms of early road development, and the nature and state of road bridges in flood-prone areas. The paper argues that these elements are part of a broad ecosystemic framework for cultural decision-making which can assist in our interpretation of early newspaper advertising and promotion for picture show programs.
Cinemas in the City
Berlin‘s Public Space in the 1910s and 1920s
Author:
In the early years of the cinema and into the 1910s and 1920s, it was less the film than cinema-going itself that attracted urban publics. In this era, people were enthusiastic about technology and the achievements of modernity; while at the same time they felt anxious about the rapid and radical changes in their social and economic life. In Germany, this contradictory experience was especially harsh and perceptible in the urban metropolis of Berlin. The article demonstrates how within city life, Berlin cinemas – offering the excitement of innovation as well as optimal distraction and entertainment – provided an urban space where, by cinema-going, appeal and uncertainty could be positively reconciled.
Kissing and Killing
A Short History of Brighton on Film
Author:
Over fifty feature films have been made either in or about Brighton and they have all contributed to popular understandings of Brighton‘s history and its character. Collectively, they present the city as a site for extreme emotions and conflicts found within narratives that are always set either on the seafront or at the Royal Pavilion. It can be argued that these Brighton films are not about Brighton at all but instead serve as vehicles for the expression of popular anxieties, concerns and desires. As such, they transcend the specificities of place and history and become projections of what could be described as a national unconscious.