Richard Abel is Professor Emeritus of International Cinema and Media Studies at the University of Michigan. His recent books include Americanizing the Movies and ¿Movie-Mad¿ Audiences, 1910-1914, and Menus for Movie Land: Newspapers and the Emergence of American Film Culture, 1913-1916.

Kaveh Askari is Associate Professor of English and Film Studies at Michigan State University. He is author of Making Movies into Art: Picture Craft from the Magic Lantern to Early Hollywood.

Ian Christie is Professor of Film and Media History at Birkbeck College. His recent books include The Art of Film: John Box and Production Design and Doctor Zhivago.

Denis Condon is Lecturer in Cinema at Maynooth University. He is author of Early Irish Cinema, 1895-1921.

Scott Curtis is Associate Professor in the Department of Radio/Television/Film at Northwestern University. He is author of The Shape of Spectatorship: Art, Science, and Early Cinema in Germany.

Marina Dahlquist is Associate Professor of Cinema Studies at Stockholm University. She is editor of Exporting Perilous Pauline: Pearl White and the Serial Film Craze.

Leslie DeLassus recently completed a dissertation in Film Studies at the University of Iowa titled "Salvage Historiography: Viewing, Special Effects, and Norman Dawn¿s Unpreserved Archive" and teaches online courses in Gender Studies at the University of Mississippi.

Rodolphe Gah¿ is a Doctoral Fellow at Universit¿aris Nanterre. He is presently writing a doctoral dissertation entitled "Les premi¿s actualit¿film¿ (1895-1914): des Cin¿tographes au Cin¿?"

Philippe Gauthier lectures in cinema and media at the University of Ottawa. He is author of Le montage altern¿vant Griffith.

Frank Gray is Director of Screen Archive South East at the University of Brighton. He is editor with Kaveh Askari, Scott Curtis, Louis Pelletier, Tami Wililams, and Joshua Yumibe of Performing New Media, 1890-1915.

Tom Gunning is Edwin A. and Betty L. Bergman Distinguished Service Professor in the Department of Cinema and Media Studies at the University of Chicago. He is author of D. W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph, and The Films of Fritz Lang: Allegories of Vision and Modernity.

Florian Hoof is Assistant Professor at the Institute for Advanced Studies, Media Cultures of Computer Simulation at Leuphana University L¿neburg. He is author of Engel der Effizienz. Eine Mediengeschichte der Unternehmensberatung and Angels of Efficiency: A Media History of Consulting.

Laura Horak is Assistant Professor of Film Studies at Carleton University. She is author of Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema and editor with Jennifer M. Bean and Anupama Kapse of Silent Cinema and the Politics of Space (IUP).

J¿my Houill¿ is a doctoral candidate in Film Studies at the University of Rennes 2 and the University of Montreal. His thesis is on intermedial relations between the early French comic films (1900-1914) and the satirical press of the period.

Gunnar Iversen is Associate Professor of Film Studies at Carleton University. He is author with Astrid Soderbergh Widding and Tytti Soila of Nordic National Cinemas and editor with Jan Ketil Simonsen of Beyond the Visual: Sound and Image in Ethnographic and Documentary Film.

Martin L. Johnson is Assistant Professor of Media Studies at The Catholic University of America. He is author of Main Street Movies: The History of Local Film in the United States (IUP).

Frank Kessler is Professor of Media History at Utrecht University and Director of Utrecht University¿s Research Institute for Cultural Inquiry (ICON). He is author of Mise en sc¿, and co-editor or Networks of Entertainment. Early Film Distribution 1895-1915.

Dimitrios Latsis is Assistant Professor of Film Studies at the School of Image Arts of Ryerson University in Toronto.

Sabine Lenk is a film archivist, media historian, and affiliated researcher at Utrecht University. She is author of Vom Tanzsaal zum Filmtheater. Eine Kinogeschichte D¿sseldorfs.

Tom Paulus teaches film history and film aesthetics at the University of Antwerp. He is editor with Rob King of Slapstick Comedy.

Jennifer Lynn Peterson is Associate Professor and Chair of the Department of Communication at Woodbury University. She is author of Education in the School of Dreams: Travelogues and Early Nonfiction Film.

Ryan Pierson is Assistant Professor in the Department of Communication, Media, and Film at the University of Calgary.

Jelena Rakin is a doctoral candidate in the Film Studies department at the University of Zurich. She is finishing a dissertation titled "Film Color 1895-1930. Aesthetics, Materiality, Discourses of Modernity."

Valentine Robert is Lecturer in History and Aesthetics of Cinema at the University of Lausanne. She is co-editor of Le film sur l¿art, entre histoire de l¿art et documentaire de creation.

J¿rg Schweinitz is Professor of Film History at the University of Z¿rich. He is author of Film and Stereotype: A Challenge for Cinema and Theory, and he is editor of Film Bild Kunst: Visuelle ¿thetik des vorklassischen Stummfilms.

Gregory A. Waller is Professor and Chair of Cinema and Media Studies in the Media School at Indiana University. His books include Main Street Amusements: Film and Commercial Entertainment in a Southern City, 1895-1930.

Daniel Wiegand is a postdoctoral researcher at Stockholm University. He is author of Gebannte Bewegung: Tableaux vivants und fr¿her Film in der Kultur der Moderne, and editor with J¿rg Schweinitz of Film Bild Kunst: Visuelle ¿thetik im vorklassischen Stummfilm..

Artemis Willis is a doctoral candidate in Cinema and Media Studies at the University of Chicago.

Charles Wolfe is Professor of Film and Media Studies at the University of California, Santa Barbara, and has published widely on various aspects of the history of Hollywood, independent, and documentary cinema.

Joshua Yumibe is Associate Professor and Director of Film Studies at Michigan State University. He is author of Moving Color: Early Film, Mass Culture, Modernism, and co-author of Fantasia of Color in Early Cinema.

Introduction / Scott Curtis, Philippe Gauthier, Tom Gunning, and Joshua Yumibe

Part I: Form

1. La part picturale du tableau-style / Valentine Robert

2. The Unsettling of Vision: Tableaux Vivants, Early Cinema, and Optical Illusions / Daniel Wiegand

3. The Vision Scene: Revelation and Remediation / Frank Gray

4. Animating Antiquity / Laura Horak

5. Caricature et films comiques à la Belle Époque: quand le dessin de presse rencontre le cinema / Jérémy Houillère

6. De la presse illustrée à l'actualité filmée (1894-1910) : l'émergence d'une nouvelle culture visuelle de l'information ? / Rodolphe Gahéry

7. From Pathé to Paramount: Visual Design in Movie Advertising to 1915 / Richard Abel

8. Landscape Topoi: From the Mountains to the Sea / Jennifer Peterson

9. A View Aesthetic without a View? Space and Place in Early Norwegian Polar Expedition Films / Gunnar Iversen

Part II: Material

10. Between "Recognition" and "Abstraction": Early Vocational Training Films / Florian Hoof

11. Ruptured Perspectives: The "View," Early Special Effects, and Film History / Leslie DeLassus

12. Surface and Color: Stenciling in Applied Arts, Fashion Illustration, and Cinema / Jelena Rakin

13. The Color Image / Joshua Yumibe

Part III: Networks

14. Shared Affinities and "Kunstwollen": Stylistics of the Cinematic Image in the 1910s and Art Theory at the Turn of the Century in Germany / Jörg Schweinitz

15. Techniques in Circulation: Sovereignty, Imaging Technology, and Art Education in Qajar Iran / Kaveh Askari

16. Corporeality and Female Modernity: Intermediality and Early Film Celebrities / Marina Dahlquist

17. A Scientific Instrument? Animated Photography among Other New Imaging Techniques / Ian Christie

18. Advertising with Moving Pictures: International Harvester's The Romance of the Reaper (1910-13) / Gregory A. Waller

19. The City View(ed): Muybridge's Panoramas of San Francisco and their Afterlives in Early Cinema / Dimitrios Latsis

20. California Landscapes: John Divola and the Cine-Geography of Serial Photography / Charles Wolfe

21. What is a Fake Image? / Frank Kessler and Sabine Lenk

22. The Lantern Image between Stage and Screen / Artemis Willis

Part IV: Discourses

23. Pictorialism and the Picture: Art, Photography, and the "Doctrine of Taste" in the Discourse on Transitional Era Quality Films / Tom Paulus

24. Boredom and Visions in Vachel Lindsay's Film Theory / Ryan Pierson

25. Falling Desperately in Love with the Image on Screen: "The Flictoflicker Girl" (1913) and Cinematic Structures of Fascination / Denis Condon

26. An "Advertising Punch" in Every Frame: Image Making in Early Advertising Films / Martin L. Johnson

Appendix: Translations

27. English Translation of Chapter 1: Early Cinema's Realizations: The Pictorial in the Tableau Style / Valentine Robert

28. English Translation of Chapter 5: Caricature and Comic Films in the Belle Époque: When the Illustrated Press Met the Cinema / Jérémy Houillère

29. English Translation of Chapter 6: From the Illustrated Press to Filmed Actualities (1894-1910): The Emergence of a New "Visual Information Culture"? / Rodolphe Gahéry