A Kiss in the Tunnel
P and R: George Albert Smith. UK 1899
“The railway subgenre soon incorporated short scenes for comic relief. G. A. Smith made a one-shot film of a couple kissing in a railway carriage a gag that had comic strip antecedents. He suggested that showmen insert Kiss in the Tunnel into the middle of a phantom ride, after the train had entered the tunnel. Unlike the structuring strategies suggested by Selig, comedy and scenery were contained within the same fictional world. Ferdinand Zecca’s Flirt en chernin de fer was intended for the same use, but rather than require the entrance of the train into a dark tunnel, Zecca matted in a window view of passing countryside. A Lubin film, Love in a Railroad Train (1902), depicts a male traveler’s unsuccessful attempts to sneak a kiss from a woman passenger. When they emerge from the tunnel, it turns out that he is kissing her baby’s bottom. Porter combined a variation on Lubin’s gag with Zecca’s use of a matte to make What Happened in the Tunnel. A forward young lover (G. M. Anderson) tries to kiss the woman sitting in front of him when the train goes into the tunnel but ends up kissing her black-faced maid instead. The two women, who anticipate his attempt and switch places, have a laugh at his expense. The substitution of a black maid for a baby’s bottom suggests the casual use of demeaning racial stereotypes in this period.”
Charles Musser: Before the Nickelodeon. Edwin S. Porter and the Edison Manufacturing Company. Berkeley/Los Angeles/Oxford 1991, p. 262 f.
15 years later:
L’anglais tel que Max le parle
R: Max Linder. D: Max Linder, Cécile Guyon. P: Pathé. Fr 1914
TRAUM UND EXZESS, S. 123 f.
Giant Coal Dumper.
P: Edison Manufacturing Company. USA 1897
“Shows how a full carload of coal is loaded into a vessel every thirty seconds at the great Erie Railroad docks, Cleveland, Ohio.”
Edison films catalog
TRAUM UND EXZESS, S. 119
Empire State Express
P: American Mutoscope & Biograph. USA 1902
“Empire State Express was a phenomenal hit that thrilled – and momentarily terrorized – unsuspecting viewers. In one instance, ‘two ladies in one of the boxes on the left-hand side of the horseshoe, which is just where the flyer vanishes from view, screamed and nearly fainted as it came apparently rushing upon them. They recovered in time to laugh at their needless excitement.’ Such films attracted their own constituency. Biograph’s first night at Hammerstein’s, for example, was attended by a large group of men from the New York Central Railroad; on the following Thursday, the railroad bought a block of two hundred seats in the orchestra.”
Charles Musser: The Emergence of Cinema. The American Screen to 1907. Berkeley-Los Angeles-London 1990, p. 152 ff.
TRAUM UND EXZESS, S. 118
Railroading in the East. Train Films 1897-1906.
Print: Library of Congress
Collection of films made by Edison and Biograph.
“In the 1890s illustrated lectures, often known as ‘lantern journeys’, featured railroads as the best way to reach and view American scenery. These frequently created a spatially coherent world with views of the train passing through the countryside, of the traveler/lecturer in the train, of scenery that could be seen out the window or from the front of the train, and finally of small incidents on sidings or at railway stations. The railroad, which carried its passengers through the countryside, was ideally suited for moving the narrative forward through time and space.”
Charles Musser: Before the Nickelodeon. Edwin S. Porter and the Edison Manufacturing Company. Berkeley/Los Angeles/Oxford 1991, p. 261
TRAUM UND EXZESS, S. 118 f. (about Black Diamond Express)
New York, Pont de Brooklyn
Lumière No. 321. K: Alexandre Promio. P: Auguste & Louis Lumière. Fr 1896
TRAUM UND EXZESS, S. 118
New Brooklyn to New York via Brooklyn Bridge
P: Edison Manufacturing Company. USA 1899
“This is a new negative showing the entire trip from Brooklyn to New York, in which the immense towers stand out clear and distinct against the sky. The best picture of the Brooklyn Bridge yet secured.”
Edison films catalog
TRAUM UND EXZESS, S. 120 f.
Interior NY Subway from 14th to 42nd Street
P: American Mutoscope & Biograph Co. K: G.W. Bitzer. USA 1905
Filmed on May 21, 1905 onboard the Interborough Subway from 14 St. to 42nd St., New York, N.Y.
TRAUM UND EXZESS, S. 124 f.
104th Street Curve, New York, Elevated Railway
R: James White. P: Edison Manufacturing Co. USA March/April 1899
“Taken from the front platform of a special train run backward over this celebrated S curve. Not only are the passing trains and crowded platforms of great interest, but the view of uptown New York is an excellent one, showing acre upon acre of roofs, towers, steeples and towering apartment houses. As the ‘special’ slows up at 92nd street, a Harlem express dashes by, the engineer leaning out of his cab, and waving a good-bye.”
Elevated Railroad, New York
P: American Mutoscope and Biograph Company. USA 1903
TRAUM UND EXZESS, S. 113 ff.
Mit diesem Blog will ich eine Diskussion über mein Buch “Traum und Exzess. Die Kulturgeschichte des frühen Kinos” (Wien: Zsolnay 2011) eröffnen – letztlich, um zu einer breiteren Debatte anzustiften: über Film und Kulturgeschichte, über die Archäologie der Moderne, über die Geschichte unserer Wahrnehmung, über die Bedeutung der technischen Medien vom 19. Jahrhundert bis in unsere Gegenwart des 21. Jahrhunderts. Gleichzeitig entsteht hier ein Archiv mit Filmen aus der Zeit von 1895 bis 1915.
Die Interessierten und Gebildeten aller Stände, keineswegs nur Wissenschaftler oder Studierende, sind herzlich eingeladen, sich mit Beiträgen, Vorschlägen, Gedanken oder Gedankensplittern zu beteiligen.
Hier eine Auswahl von Rezensionen:
Rolf Löchel in Literaturkritik.de, November 2012
Michael André in Getidan.de, August 2012
Michel Girke in Der Freitag, 5. Juli 2012
Rainer Berthold Schossig im Deutschlandfunk, 11. April 2012
Stefan Otto in Kino-Zeit.de, April 2012
Bert Rebhandl in Frankfurter Allgemeine Zeitung, 14. Dezember 2011
Joachim Schätz im Falter (Wien), 2. Dezember 2011