Mark:
You might want to look at Tom Gunning's essay "An Unseen Energy Swallows
Space: The Space of Early Film and its Relationship to American Avant-Garde
Film".
It's included in John Fell's anthology *Film Before Griffith*.
jl

On Wed, Dec 13, 2017 at 10:14 AM, Rob Gawthrop <r...@robgawthrop.co.uk>
wrote:

> Mark
>
> Apart from obvious Méliès & Zecca  …   some regressive historians have
> considered early films (sometimes insultingly described as primitive) based
> mainly on formal achievement ( the first close-up, edit etc.) or precursors
> of hollywood narrative (point of view, establishing shots etc.) and have
> dismissed other aspects as being just amusing ‘trick films’.
>
> The following favourites (often mentioned  in the above context) have both
> perceptual and conceptual content that  relate to concerns in some
> structural films, indeed some film artists (myself included)  have remade
> or recontextualised such films from this period.
>
> James Williamson: The Big Swallow 1901
>                           : An Interesting Story 1904
> George Albert Smith: The Miller & The Sweep 1898  (& much copied)
> Cecil Hepworth: How it Feels to be Run Over 1900
> Edwin S Porter: The Dream of a Rarebit Fiend 1906
>
> Rob
>
> On 13 Dec 2017, at 16:27, Mark Street <mstreet...@gmail.com> wrote:
>
> > Hey All,
> >
> > Preparing a brief talk on The Experimental Impulse in Early Cinema....
> thinking about how it ALL was that way by definition early on; an inventory
> of tricks, effusions, failed and successful experiments.
> >
> > Any favorites anyone can recommend?
> >
> > Mark
> >
> >
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