|
Footnotes
1 Carolyn Marvin, When Old Technologies
Were New: Thinking About Electric Communication in the Late Nineteenth
Century (Oxford: Oxford University Press, 1988).
2 My sense of the World Expositions has been shaped by: James
Gilbert Perfect Cities: Chicago's Utopias of 1893 (Chicago: University
of Chicago Press, 1991); Philippe Hamon, Expositions: Literature and
Architecture in Nineteenth Century France (Berkeley: University of
California Press, 1992); Neil Harris, Cultural Excursions: Marketing
Appetites and Cultural Tastes in Modern America (Chicago: University of
Chicago Press, 1990); Neil Harris, Wim de Wit, James Gilbert and Robert Rydell,
Grand Illusions: Chicago's World's Fair of 1893 ( Chicago: Chicago
Historical Society, 1993); John F. Kasson, Amusing the Million: Coney
Island at the Turn of the Century (New York: Hill & Wang, 1978); Thomas
Richards The Commodity Culture of Victorian England: Advertising and
Spectacle, 1851-1914 (Stanford: Stanford University Press, 1990);Robert W.
Rydell, All the World's a Fair: Visions of Empire at American International
Expositions, 1876-1916 (Chicago : Chicago University Press, 1984); Alan
Trachtenberg, The Incorporation of America: Culture and Society in the
Gilded Age (New York: Hill and Wang, 1982); Rosalind H. Williams, Dream
Worlds: Mass Consumption in Late Nineteenth-Century France (Cambridge: MIT
Press, 1982). I have dealt with the World's Fair phenomenon in my article "The
World as Object Lesson: Cinema audiences, Visual Culture and the St. Louis
World's Fair" , Film History Vol. 6 no. 4 Winter 1994, pp. 422 -44.
3 See Rydell in particular.
4 see Gilbert, pp., 75-130.
5 See Neil Harris, "Memory and the White City" in Grand
Illusions, pp. 3-32.
6 quoted in Rydell, p. 13.
7 quoted in Trachtenberg, p.213
8 The World's Work Vol. Viii, no. 4, Aug. 1904 Special
Double Exposition Number, p.5088.
9 Ibid.
10 John Onians, "`I wonder...' A short history of amazement" in
John Onians, ed. Sight and Insight: Essays on Art and Culture in Honor of
E.H. Gombrich at 85 (London: Phaidon Press, p. 11.
11 Ibid., p. 12.
12 Charles Darwin, The Expression of the Emotions in Man and
Animals (Chicago: University of Chicago Press, 1965) pp. 280-85.
13 Onians, p. 14.
14 Ibid. p. 16.
15 quoted in Ibid. p. 18.
16 Ibid., p. 24.
17 Ibid. p. 26
18 Ibid., pp. 18-26.
19 G.-B. Duchenne de Boulogne, The Mechanism of Human Facial
Expression (Cambridge: Cambridge University Press, 1990).
20 Victor Shklovsky, "Electricity and the theme of old newspapers"
Podenshchina (Leningrad Pisatelej, 1930), pp. 14-15. Another debt owed
to Yuri Tsivian who directed me to this discussion and supplied a translation
and summary.
21 Ibid., p. 14.
22 Ibid., p. 15.
23 Ibid.
24 See David E. Nye, Electrifying America: Social Meanings of a
New Technology (Cambridge: MIT Press, 1990) pp. 47- 73.
25 Victor Shklovsky, "Art as Technique" in Russian Formalist
Criticism: Four Essays ed. Lee T. Lemon and Marion J. Reis (Lincoln:
University of Nebraska Press, 1965), pp. 3-24.
26 Ibid., p. 12.
27 Ibid., pp. 12-22.
28 Ibid., p.13.
29 Ibid., p. 18.
30 Martin Heidegger, Being and Time (New York: Harpers and
Row, 1962), pp. 95-107.
31 Ibid., p. 105.
32 Wolfgang Schivelbusch, The Railway Journey: Trains and Travel
in the Nineteenth Century (New York: Urizen Books, 1979).
33 Ibid., p. 132.
34 Ibid.
35 Sigmund Freud, "The Uncanny" in The Standard Edition of the
Complete Psychological Works of Sigmund Freud Vol. 17, pp. 217-256.
36 Ibid., p. 249.
37 Ibid., p. 242.
38 Edison quoted in Roland Gelatt, The Fabulous Phonograph: from
Tin Foil to High Fidelity (Philadelphia: J.B. Lippincott Co., 1955).
p.29.
39 Demeny quoted in Jacques Deslandes, Histoire comparee du
cinema tome 1, p. 168.
40 Charles Grivel, "The Phonograph's Horned Mouth" in Wireless
Imagination: Sound, Radio, and the Avant-Garde (Cambridge: MIT Press,
1992), p.35.
41 Honore de Balzac, Cousin Pons (London: Penguin Books,
1978) p. 131.
42 Nathaniel Hawthorne, The House of Seven Gables (New York;
New American Library, 1961), p. 85.
43 Roland Barthes, Camera Lucida (New York: Hill and Wang,
1981), pp. 13-15, and passim.
44 Ibid., p. 89-90.
45 from La Post Dec. 30, 1895, quoted in Bernard Chardere,
Le Romans des Lumieres (Paris; Gallimard, 1995), p. 314.
46 Maxim Gorky, Appendix in Jay Leyda, Kino: A History of the
Russian and Soviet Film (London: Allen & Unwin, 1960), p. 407-09.
47 Ibid. p, 407.
48 Michael Taussig, Mimesis and Alterity: A Particular History of
the Senses (New York: Routledge, 1993), pp. 212-35.
49 Ibid., p. 224.
50 Ibid., p. 225.
51 Ibid., p. 233.
52 Gelatt, pp. 108-09.
53 Taussig, p. 224.
54 William Gibson, Neuromancer (New York: Ace Books, 1984).
55 My main source for biographical information on Cros comes from
the Introduction and Chronology Charles Cros, Tristan Corbiere Oeuvres
Completes ed. Louis Forestier and Pierre-Olivier Walzer (Paris: Gallimard
Bibliotheque de la Pleiade, 1970), pp. 3-45.
56 Gelatt, p. 24.
57 Arthur Rimbaud, "a Paul Demeny May 15, 1871 in Rimbaud
Complete Works, Selected Letters ed. Wallace Fowlie (Chicago: University of
Chicago Press, 1966). pp. 304-311.
58 Laurent Mannoni, Georges Demeny: Pionnier du Cinema
(Paris: Cinematheque Francais/ Pagine, 1997), p. 12.
59 Ibid. pp. 40-51.
60 Gelatt, p.23.
61 Rimbaud, p. 307.
62 Cros, "Procede d' enregistrement et de reproduction des coleurs,
des formes at des mouvements" in Oeuvres Completes, pp. 493- 498 his
writing on color photography can be found on pp. 498-510; 575-591.
63 See F.T. Marinetti ""Destruction of Syntax, Imagination without
Strings, Words-in-Freedom" in Futurist Manifestos ed. Umbro Apollonio
(New York: Viking Press, 1973), p. 104; Dziga Vertov early sound experiments
are briefly described in Dziga Vertov, "From the Notebooks of Dziga Vertov"
Film Culture Reader ed. P. Adams Sitney (New York: Prager, 1970 ) p.
362. Georges Sadoul discusses Vertov's "Laboratory of the Ear" in relation to
the sound experiments of the Italian Futurists, Marinetti and Russolo in
Dziga Vertov (Paris: Editions Champ Libre:1971), pp. 15-46.
64 Cros' early work in the education of the deaf can be found in the
documents collected in Charles Cros, Inedits et Documents ed. Pierre
E. Richard (Villelongue d'Aude: Editions Jacques Bremond. 1992), pp. 19-55.
65 James Lastra, Sound Technology and the American Cinema:
Perception, Representation and Modernity (forthcoming, Columbia University
Press).
66 see the photograph of Farber's Talking machine on display at
Barnum' Museum in Philip b. Kunhardt, Jr., Philip B. Kunhardt III, and Peter
W. Kunhardt, P.T. Barnum: America's Greatest Showman (New York: Alfred
A. Knopf, 1995), p. 63.
67 Ibid..
68 Villiers de l'Isle-Adam, Eve of the Future Eden (Lawrence:
Coronado Press, 1981), p. 149.
69 Theodor Adorno, "The Curves of the Needle", October 55
Winter 1990 pp. 49-55.
70 See Thomas Y. Levin's insightful article, "For the Record:
Adorno on Music in the Age of Its Technological Reproducibility" in October
55 Winter 1990, p. 39 -41. Lastra also discusses Chladni's influence.
71 Villiers, p.20.
72 Levin, pp. 24-26 and passim.
73 Theodor Adorno, "The Form of the Phonograph Record"
October 55 Winter 1990 p. 59.
74 Levin, pp. 38-41.
75 Adorno. "Form of the Phonograph Record", p. 61.
76 Rainer Maria Rilke, "Primal Sound" in Selected Works: Vol. I,
Prose (New York: New Directions, 1961), p. 52.
77 Ibid.
78 Ibid., p. 53.
79 Friedrich A. Kittler, "Gramophone, Film, Typewriter" in
Literature Media Information Systems ed. John Johnson (Amsterdam:
Overseas Publishers Association, 1997), p.29.
Return to the aesthetics of transition
|