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An early visual mass medium, the magic lantern was omnipresent in most Western societies between 1880 and 1930. The Christian Church, especially the Catholics, spiritual associations such as the Freemasons, political interest groups, and teaching institutions all made use of lectures enriched by projected images to disseminate information, convictions, and doctrines. Moreover, the lantern often featured as a concealed aid in stage spectacles. Nineteen authors analyse the effects of "the beam of light in the dark" in the context of religion, faith, and belief. Attention is paid to the wide spectrum of locations where projections took place, as well as to the lantern's impressive versatility. The lavishly illustrated chapters collected in this volume range from analyses of religious propaganda to fundraising lectures for missionary work in China, from the fight against alcoholism to the secularisation of society, and from the lantern's application in spiritualist sessions to its use in science and teaching.

Magic lantern shows --- Lantern projection --- Lantern slides --- Faith (Christianity) --- Spiritualism --- History. --- History --- Church history.

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The history of projected images at the turn of the seventeenth century reveals a changing perception of chance and order, contingency and form. In Projecting Spirits, Pasi Väliaho maps how the leading optical media of the period—the camera obscura and the magic lantern—developed in response to, and framed, the era's key intellectual dilemma of whether the world fell under God's providential care, or was subject to chance and open to speculating. As Väliaho shows, camera obscuras and magic lanterns were variously employed to give the world an intelligible and manageable design. Jesuit scholars embraced devices of projection as part of their pursuit of divine government, whilst the Royal Society fellows enlisted them in their quest for empirical knowledge as well as colonial expansion. Projections of light and shadow grew into critical metaphors in early responses to the turbulences of finance. In such instances, Väliaho argues, "projection" became an indispensable cognitive form to both assert providence, and to make sense of an economic reality that was gradually escaping from divine guidance. Drawing on a range of materials—philosophical, scientific and religious literature, visual arts, correspondence, poems, pamphlets, and illustrations—this provocative and inventive work expands our concept of the early media of projection, revealing how they spoke to early modern thinkers, and shaped a new, speculative concept of the world.

Camera obscuras --- Optical instruments --- Projectors --- History --- camera obscura. --- economy. --- finance. --- government. --- imagination. --- magic lantern. --- optical media. --- projection. --- providence. --- speculation.

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Public performances using the magic or optical lantern became a prominent part of the social fabric of the late 19th century. Drawing on a rich variety of primary sources, Screen Culture and the Social Question, 1880-1914 investigates how the magic lantern and cinematograph, used at public lectures, church services, and electoral campaigns, became agents of social change. The essays examine how social reformers and charitable organizations used the "art of projection" to raise public awareness of the living conditions of the poor and the destitute, as they argued for reform and encouraged audiences to work to better their lot and that of others.

Problèmes sociaux --- Médias en éducation --- Lanternes magiques --- Au cinéma --- Motion pictures --- Social aspects --- History --- Mass media and education --- Social problems in motion pictures --- Lantern slides --- Magic lantern slides --- Slides (Photography) --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Education and mass media --- Education --- History and criticism --- Au cinéma. --- Social problems --- Iconography --- Photography --- Film --- anno 1800-1899 --- anno 1900-1909 --- anno 1910-1919 --- Problèmes sociaux --- Médias en éducation --- Au cinéma.

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Writing on Japanese cinema has prioritized aesthetic and cultural difference, and obscured Japan's contribution to the representation of real life in cinema and related forms. Donald Richie, who was instrumental in introducing Japanese cinema to the West, even claimed that Japan did not have a true documentary tradition due to the apparent preference of Japanese audiences for stylisation over realism, a preference that originated from its theatrical tradition. However, a closer look at the history of Japanese documentary and feature film production reveals an emphasis on actuality and everyday life as a major part of Japanese film culture. That 'documentary mode' – crossing genre and medium like Peter Brooks' 'melodramatic mode' rather than limited to styles of documentary filmmaking alone – identifies rhetoric of authenticity in cinema and related media, even as that rhetoric was sometimes put in service to political and economic ends. The articles in this Special Issue, ‘Developments in the Japanese Documentary Mode’, trace important changes in documentary film schools and movements from the 1930s onwards, sometimes in relation to other media, and the efforts of some post-war filmmakers to adapt the styles and ethical commitments that underpin documentary's "impression of authenticity" to their representation of fictional worlds

ethnofiction --- Japan --- documentary --- non-fiction --- dramatization --- Minamata disease --- Tsuchimoto Noriaki --- W. Eugene Smith --- Ishimure Michiko --- ethics of representation --- The Children of Minamata are Living --- Minamata: The Victims and Their World --- authorship --- documentary film --- hibakusha --- Japanese cinema --- Mizoguchi Kenji --- semi-documentary --- Shindō Kaneto --- film theory --- documentary film theory --- postwar Japan --- post-1945 Japan --- Hani Susumu --- cinéma verité --- direct cinema --- observational documentary --- cinematography --- the culture film --- Imamura Shōhei --- History of Post-War Japan as Told by a Bar Hostess --- fiction and documentary --- history --- memory --- experience --- magic lantern --- popular history movement --- avant-garde documentary --- new Left --- Teshigahara Hiroshi --- Adachi Masao --- subjectivity --- landscapes --- folklore studies --- documentary photography --- n/a --- Shindō Kaneto --- cinéma verité --- Imamura Shōhei

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This interdisciplinary collection of essays on the social and cultural life of late imperial Russia describes the struggle of new elites to take up a "middle position" in society--between tsar and people. During this period autonomous social and cultural institutions, pluralistic political life, and a dynamic economy all seemed to be emerging: Russia was experiencing a sense of social possibility akin to that which Gorbachev wishes to reanimate in the Soviet Union. But then, as now, diversity had as its price the potential for political disorder and social dissolution. Analyzing the attempt of educated Russians to forge new identities, this book reveals the social, cultural, and regional fragmentation of the times. The contributors are Harley Balzer, John E. Bowlt, Joseph Bradley, William C. Brumfield, Edith W. Clowes, James M. Curtis, Ben Eklof, Gregory L. Freeze, Abbott Gleason, Samuel D. Kassow, Mary Louise Loe, Louise McReynolds, Sidney Monas, John O. Norman, Daniel T. Orlovsky, Thomas C. Owen, Alfred Rieber, Bernice G. Rosenthal, Christine Ruane, Charles E. Timberlake, William Wagner, and James L. West. Samuel D. Kassow has written a conclusion to the volume.

Intellectuals --- Middle class --- Intellectuels --- Classes moyennes --- History --- Histoire --- Russia --- URSS --- Russie --- Intellectual life --- Vie intellectuelle --- bourgeoisie (classe sociale) --- Élite (sciences sociales) --- vie intellectuelle --- 1917 --- Conditions sociales --- Acmeism. --- Bolshevism. --- Bulgakov, S. --- Café Pittoresque. --- Decembrists. --- Economic Discussions. --- Education Statute (1874). --- Free Economic Society. --- Free Russian Press. --- Gagarin family. --- Gilded Age, in Russia. --- Hobsbawm, E. --- Holy Synod. --- Jewish writers. --- Kantianism. --- Kornilov Affair. --- Luxemburg, R. --- Menshevism. --- Ministry of Internal Affairs. --- Moscow Legal Society. --- Peredvizhniki. --- aesthetism. --- agronomy. --- aristocracy. --- art patronage. --- autocracy. --- bureaucracy. --- business. --- cabarets. --- class struggle. --- cubo-futurism. --- dechristianization. --- division of labor. --- embourgeoisement. --- entrepreneurs. --- famine of 1891. --- gentry. --- guidebooks of Moscow. --- illegitimacy. --- industrialists. --- industrialization. --- industry. --- kupechestvo. --- liberalism. --- magic lantern show. --- merchant-entrepreneurs. --- nationalism. --- neo-Slavophilism. --- neoclassicism. --- obshchina. --- petroleum industry. --- professionalization. --- progressist movement. --- Rossīi︠a︡ --- Rossīĭskai︠a︡ Imperīi︠a︡ --- Russia (Provisional government, 1917) --- Russia (Vremennoe pravitelʹstvo, 1917) --- Russland --- Ṛusastan --- Russia (Tymchasovyĭ uri︠a︡d, 1917) --- Russian Empire --- Rosja --- Russian S.F.S.R. --- Russia (Territory under White armies, 1918-1920) --- Classe moyenne --- Petite bourgeoisie --- Bourgeoisie --- Hommes des classes moyennes --- Femmes des classes moyennes --- Classes sociales --- Élites (sciences sociales) --- Establishment --- Haute société --- Notables --- Société, Haute --- Dignitaires --- Élitisme --- Femmes du monde --- Personnel hautement qualifié --- Classes dirigeantes --- Hommes du monde --- Pouvoir communautaire --- Évergétisme --- Groupes sociaux --- Leadership --- Pouvoir (sciences sociales) --- Table des Rangs (Russie)