Abstract
This concluding chapter begins with unpacking the meanings of the term The Brighton School and then turns to a set of observations on how this study points towards further research on the relevance to early film of the contemporary practices of magic lanternists, especially in relation to subject matter, exhibition modes and trade practices; the evolving relationship in the 1900s between film producers, film retailers and film exhibitors; and the emerging role of the town hall showmen in the creation of two-hour shows. It underlines the growing dependency film producers would have on retailers and exhibitors and the need for new work to investigate the nature, use and development of the early film trade’s supply chains.
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Notes
- 1.
- 2.
After Kinemacolor, Smith did have one last filmic adventure and this was his short-lived involvement with the development of a new additive colour system entitled ‘Cinechrome’. His paper of 1924 for the Royal Society of the Arts describes its nature.
- 3.
The Journal of the British Film Academy, Winter, 1956–1957, p. 28. Here are listed its Council of Fellows: David Lean CBE, Sir Laurence Olivier, Michael Powell, Sir Carol Reed and G. Albert Smith.
- 4.
See Burrows (2006) for a detailed account of the Congress and its implication for British producers.
- 5.
Dover Express, 14 August 1903, 4.
- 6.
Low & Manvell, 1948, 6.
Resources and Bibliography
Books and Articles
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Burrows, Jon. 2006. When Britain Tried to Join Europe. Early Popular Visual Culture 4 (1): 1–19.
———. 2010. West Is Best!; Or, What We Can Learn from Bournemouth. Early Popular Visual Culture 8 (4): 351–362.
McKernan, Luke. 2005. The Brighton School and the Quest for Colour. In Visual Delights—Two, Exhibition and Reception, ed. Vanessa Toulmin and Simon Popple. Eastleigh: John Libbey.
———. 2013. Charles Urban: Pioneering the Non-Fiction Film in Britain and America, 1897–1925. Exeter: University of Exeter Press.
The Editor. 1908–1909. Animated Photography in Natural Colours. Penrose Pictorial Annual: The Process Year Book, A Review of the Graphic Arts 14: 129–132.
Toulmin, Vanessa. 2004. We Take Them and Make Them’: Mitchell and Kenyon and the Travelling Exhibition Showmen. In The Lost World of Mitchell & Kenyon: Edwardian Britain on Film, ed. Vanessa Toulmin, Simon Popple, and Patrick Russell, 59–68. London: British Film Institute.
———. 2010. Cuckoo in the Nest: Edwardian Itinerant Exhibition Practices and the Transition to Cinema in the United Kingdom from 1901 to 1906. The Moving Image: The Journal of the Association of Moving Image Archivists 10 (1): 51–79.
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Gray, F. (2019). Transitions, Chains and Flows. In: The Brighton School and the Birth of British Film. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-17505-4_10
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