Jump to ContentJump to Main Navigation
Moving ImagesNineteenth-Century Reading and Screen Practices$
Users without a subscription are not able to see the full content.

Helen Groth

Print publication date: 2013

Print ISBN-13: 9780748669486

Published to Edinburgh Scholarship Online: May 2014

DOI: 10.3366/edinburgh/9780748669486.001.0001

Show Summary Details
Page of

PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 20 May 2022

Literary Projections and Residual Media

Literary Projections and Residual Media

Cecil Hepworth and Robert Paul

Chapter:
(p.175) Chapter 7 Literary Projections and Residual Media
Source:
Moving Images
Author(s):

Helen Groth

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748669486.003.0008

This chapter explores the relationship between two influential figures in British early cinema, Cecil Hepworth and Robert Paul. Hepworth literally forged his cinematic vision out of Pauls’ discarded frames. The first section traces the emergence of Hepworth’s language of cinema out of a bricolage of images, concepts and technologies – primarily the magic lantern, the cinematograph, the psychology of the persistence of vision, and popular storytelling devices. The second section focuses on Hepworth’s adaptation of Lewis Carroll’s Alice’s Adventures (1903). This film reflects Hepworth’s interest in the visual effects of continuity, integrating image and text in a format that supplemented what he saw as the distracting flicker effects of the cinematograph with titles designed to trigger the audience’s memory of Carroll’s familiar tale. The final section of this chapter reveals the continuities between Hepworth’s screen practice and Hugo Munsterberg’s psychological approach to film. Resonating with Munsterberg’s stress on the analogy between film and mind, the memory of reading Alice’s Adventures that Hepworth’s channels through his film was intended to elide the space between the images projected on the screen and the nostalgic stream of images generated in the minds of the audience by Carroll’s words and Tenniel’s popular illustrations.

Keywords:   Lewis Carroll, Cecil Hepworth, Robert Paul, Early Cinema, Psychology approaches to cinema, Cinema History, Alice in Wonderland

Edinburgh Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.