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KINtop no.8: Film und Projektionskunst/ Cinema and the Art of Projected Images Moving pictures emerge at the end of the 19th century withimn a broad and by then well-established field of projection art. The essayscollectes in this volume explore different aspects of this lively and diverse tradition of screen practice. Mapping the immense variety of both technological developments and their cultural contexts at that time, this new issue of KINtop contributes to the ongoing reappraisal of early cinematography. This issue presents the following essays: Ine van Dooren takes a look at the cutural importance of the theme of travel in the 19th century and the way it appears in different screen media. The almost forgotten history of photographic slide projections in Germany ist retraced by Jens Ruchatz. As Deac Rossel demonstrates, the history of early cinema projection systems is not just one of failed or successful machines, when considered from a viewpoint of a social construction of technology. Ludwig Vogl-Bienek positions the Skladanowsky Brothers' Bioscop in relation to their prior experience with the projection of dissolving views. Wolfgang Fuhrmann studies the role of projection slides and cinematographic images in the context of German colonial propaganda. Discussing cinema as 'uncanny theater', William Paul reconstructs the twin inheritence of the movies: both the tradition of phantasmagoric projections and the late 19th century naturalist theater shape the way films are presented to the audience. Outside the main section Alison McMahan argues that early sound film practices should promt us to rewrite the history of silent cinema. In an English language essay Uli Jung and Stephanie Roll review a Franz Hofer retrospective in Saarbrücken. Sabine Lenk discusses recent Projects to visualise research on media histary with the help of new technologies. Stroemfeld Verlag: Basel, Frankfurt am Main 1992 ISBN 3-87877-781-7
