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"Kember, Joe"
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Folk like us: emotional movement from the screen and the platform in british life model lantern slide sets 1880-1910
The turn of the Nineteenth Century was the golden age of the magic lantern, at least in terms of its popularity across the UK, as in much of Europe and the United States. This article argues that one of the chief reasons for its success in this period was that often it both represented and was presented by individuals similar to those in many of its audiences. Focusing on life model lantern slide series/sets, which were also at their most popular during this period, the article draws on two large datasets in order to consider aspects of screen practice associated with the slides themselves and with their conditions of performance. The article argues that slides and shows were designed to foster recognition and projection in their audiences, allowing them to compare the moral lessons conveyed by many life model sets with their own everyday experiences. The article thus seeks to explain the persuasiveness of many life model slide sets, showing that a form of entertainment which sometimes appears melodramatic or naïve to modern viewers, was in fact skilfully designed to fulfil such important objectives for countless local presenters and their audiences.
Journal Article
The “Battle for Attention” in British Lantern Shows, 1880–1920
Our capacity to “pay attention”, as Jonathan Crary has compellingly shown, has been a subject of critical contention across diverse disciplines for the better part of two centuries.¹ Whether debated by educational psychologists, social theorists or media historians, the notion that we face competing centres of attention in our day to day interactions, especially with media, has become a commonplace, the discourse employed to describe this phenomenon routinely metaphorized by ideas of conflict or adversity. In a recent example, writer and journalist Madeleine Bunting has discussed on radio and online the personal and social problems engendered by what she terms
Book Chapter
The cinema of affections: the transformation of authorship in British cinema before 1907
Kember explores the relationship between early film audiences and the British filmmakers at the very beginning of the 20th century. He concludes that the construction of authorial personae was the key both to the ability of the audience to interpret the films they viewed and to the ways in which early film production and consumption was institutionalized.
Journal Article