Flickerings

At the turn of the past century, the main function of a newspaper was to offer “menus” by which readers could make sense of modern life and imagine how to order their daily lives. Among those menus in the mid-1910s were several that mediated the interests of movie manufacturers, distributors, exhibitors, and the rapidly expanding audience of fans. This writing about the movies arguably played a crucial role in the emergence of American popular film culture, negotiating among national, regional, and local interests to shape fans’ ephemeral experience of moviegoing, their repeated encounters with the fantasy worlds of “movieland,” and their attractions to certain stories and stars. Moreover, many of these weekend pages, daily columns, and film reviews were written and consumed by women, including one teenage girl who compiled a rare surviving set of scrapbooks. Based on extensive original research, Menus for Movieland substantially revises what moviegoing meant in the transition to what we now think of as Hollywood.

Flickering Empire tells the fascinating yet little-known story of how Chicago served as the unlikely capital of American film production in the years before the rise of Hollywood (1907–1913). As entertaining as it is informative, Flickering Empire straddles the worlds of academic and popular nonfiction in its vivid illustration of the rise and fall of the major Chicago movie studios in the mid-silent era (principally Essanay and Selig Polyscope). Colorful, larger-than-life historical figures, including Thomas Edison, Charlie Chaplin, Oscar Micheaux, and Orson Welles, are major players in the narrative—in addition to important though forgotten industry titans, such as "Colonel" William Selig, George Spoor, and Gilbert "Broncho Billy" Anderson.

Remnants of early films often have a story to tell. As material artifacts, these film fragments are central to cinema history, perhaps more than ever in our digital age of easy copying and sharing. If a digital copy is previewed before preservation or is shared with a researcher outside the purview of a film archive, knowledge about how the artifact was collected, circulated, and repurposed threatens to become obscured. When the question of origin is overlooked, the story can be lost. Concerned contributors in Provenance and Early Cinema challenge scholars digging through film archives to ask, "How did these moving images get here for me to see them?" This volume, which features the conference proceedings from Domitor, the International Society for the Study of Early Cinema, 2018, questions preservation, attribution, and patterns of reuse in order to explore singular artifacts with long and circuitous lives.

Though "The Heart Sutra" is an ancient Buddhist scripture, scholars are now discovering how it offers insight into the nature of an ultimate reality perceived through intuitive wisdom. Fascinatingly, quantum physicists are increasingly discovering interesting parallels between science and the basic insights of "The Heart Sutra." In this important offering, Mu Soeng shows how the intellectual and the intuitive can begin to meet. In offering a commentary on this important piece of the world's great religious literature, "The Heart of the Universe" establishes a broad context to encounter "The Heart Sutra" on many levels -- historical, spiritual, and empirical -- each serving to interdependently illuminate the other.

The latest installment of this annual publication includes original articles, often of substantial length, and review articles on major books. Contributors include Panagiotis Dimas, Thomas Wheeton Bestor, Iakovos Vasiliou, Susanne Bobzien, William O. Stephens, Job Van Eck, Christopher Rowe, Michael V. Wedin, Gail Fine, and Anne Sheppard.