In this vivid and accessible new account of the dawn of film in Britain, internationally respected film historian and curator Bryony Dixon introduces us to Britain's first cinematic pioneers – an eclectic mix of chemists, engineers, photography enthusiasts, fairground showmen and magicians – who in a few short years built a vibrant new industry. As she chronicles the emergence of the first embryonic film forms and genres, she reveals often surprising innovations, from cutting-edge science to ingeniously witty tricks and comedies, with filmmakers reflecting existing entertainment forms as well as advancing editing and cinematography in ways that shaped the art of film for many decades after. Dixon offers fresh insights by focusing on the films themselves – many of them only recently available to view – while building on the work of generations of scholars. In the process, Dixon makes a compelling case for the British filmmakers of the era as inventive and creative figures, every bit as influential as their more celebrated contemporaries in France and the US.

"This groundbreaking book tells the fascinating story of the very beginnings of film in Britain, from the earliest non-fiction footage of delicate spider webs, rolling waves, bustling streets and parades to fantastical fiction films and magic lantern-style adaptations of books and fairytales that give us a glimpse into the Victorian imagination. Drawing on unique material held in the BFI Archive, Bryony Dixon provides in-depth insights into major filmmakers such as the Lumir̈e Brothers and Mitchell and Kenyon as well as key works like Pelicans at the Zoo (1898) and Kitty Mahone (1900) - a rare example of an early sound film. She traces the invention, business, aesthetics and impact of the brand new medium of film from 1895 to 1901. From 'actual' news footage of the Boer War (shot in Lancashire) to risqu ̌'scn̈es grivoises ' (saucy scenes) including nudity and suggestive scenarios, the films explored in this book challenge any preconceptions we might have about early film, demonstrating its breadth and boldness - as well bringing Victorian people and society vividly to life. The book is richly illustrated and beautifully designed to bring the subject to life."--

Wicked wolves and a grim governess threaten Bonnie and her cousin Sylvia when Bonnie's parents leave Willoughby Chase for a sea voyage. Left in the care of the cruel Miss Slighcarp, the girls can hardly believe what is happening to their once happy home. The servants are dismissed, the furniture is sold, and Bonnie and Sylvia are sent to a prison-like orphan school. It seems as if the endless hours of drudgery will never cease. With the help of Simon the gooseboy and his flock, they escape. But how will they ever get Willoughby Chase free from the clutches of the evil Miss Slighcarp?

Lives of over 250 people involved in history of cinema

Better Left Unsaid is in the unseemly position of defending censorship from the central allegations that are traditionally leveled against it. Taking two genres generally presumed to have been stymied by the censor's knife—the Victorian novel and classical Hollywood film—this book reveals the varied ways in which censorship, for all its blustery self-righteousness, can actually be good for sex, politics, feminism, and art. As much as Victorianism is equated with such cultural impulses as repression and prudery, few scholars have explored the Victorian novel as a "censored" commodity—thanks, in large part, to the indirectness and intangibility of England's literary censorship process. This indirection stands in sharp contrast to the explicit, detailed formality of Hollywood's infamous Production Code of 1930. In comparing these two versions of censorship, Nora Gilbert explores the paradoxical effects of prohibitive practices. Rather than being ruined by censorship, Victorian novels and Hays Code films were stirred and stimulated by the very forces meant to restrain them.

Until now, there was no modern history of the pornographic movie available - Black and White and Blue fills that void, with exlusive interviews and confrontational style.

The early years of film were dominated by competition between inventors in America and France, especially Thomas Edison and the Lumière brothers . But while these have generally been considered the foremost pioneers of film, they were not the only crucial figures in its inception. Telling the story of the white-hot years of filmmaking in the 1890s, Robert Paul and the Origins of British Cinema seeks to restore Robert Paul, Britain’s most important early innovator in film, to his rightful place. From improving upon Edison’s Kinetoscope to cocreating the first movie camera in Britain to building England’s first film studio and launching the country’s motion-picture industry, Paul played a key part in the history of cinema worldwide. It’s not only Paul’s story, however, that historian Ian Christie tells here. Robert Paul and the Origins of British Cinema also details the race among inventors to develop lucrative technologies and the jumbled culture of patent-snatching, showmanship, and music halls that prevailed in the last decade of the nineteenth century. Both an in-depth biography and a magnificent look at early cinema and fin-de-siècle Britain, Robert Paul and the Origins of British Cinema is a first-rate cultural history of a fascinating era of global invention, and the revelation of one of its undervalued contributors.