Une goutte d’eau, une goutte d’étoiles. Microcinématographie et avant-garde dans les années 1920 by Maria Ida Bernabei

“…Through the texts by philosophers, film makers and theorists of the time (Walter Benjamin, Germaine Dulac, Jean Epstein, Émile Vuillermoz, László Moholy-Nagy among others), this essay examines the role of microscope films in the construction of 1920s film theory, discussing several tropes and key concepts such as pure cinema, cinégraphie integrale, rhythm theory and optical “unconscious”. …”
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Un œil nouveauLe Ralenti scientifique à la construction de l’avant-garde by Maria Ida Bernabei

“…In this essay I will examine the contribution of scientific slow motion to 1920s film theory, investigating how this technique conveys an epistemological shift in the concept of revelation, from the scientific observation of the invisible to the naked eye, to the deep understanding of previously unknown aspects of reality. …”
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White Skin/ Brown Masks: The Case of "White" Actresses From Silent to Early Sound Period in Bombay by Sarah Rahman Niazi

“…My paper explores categories of gender, ethnicity, modernity and performance through the figure of the "white" actress in the early years of Indian cinema (1920-1940). Film was a lucrative site of business for intrepidly ambitious individuals in search of reinvention in Bombay. …”
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Corporeal cinema. Editorial by Ian Murphy, Gwenda Young

“…While the specific appeal of this film was undoubtedly related to Martinetti’s reputation as a performer who pushed his body to an extreme limit, a fascination with bodies—both human and nonhuman, at rest, in motion, in pain, near death—has been a preoccupation of filmmakers ever since (think back to the slaughter of an ox in Sergei Eisenstein’s Strike (1924); the slicing of an eye in Luis Buñuel and Salvador Dalí’s Un chien andalou (1929); the 1920s films of Lon Chaney; the animation of Chuck Jones). …”
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