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On the Screen
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Table of Contents

Acknowledgments
Introduction
1. Production Screens in the Long 1930s: Rear Projection and Special Effects
2. Theatrical Screens, 1926-1931: Transforming the Screen
3. Theatrical Screens, 1931-1940: Integrating the Screen
4. Extratheatrical Screens in the Long 1930s: Film and Television at Home and in Transit
Coda: Multiplicity, Immersion, and the New Screens
Notes
Bibliography
Index

About the Author

Ariel Rogers is associate professor in the Department of Radio/Television/Film at Northwestern University. She is the author of Cinematic Appeals: The Experience of New Movie Technologies (Columbia, 2013).

Reviews

There is no other book remotely like this. On the Screen is original in the material it unearths and discusses, offering an innovative history of film and technology. It strikes an easy balance between big ideas and focused analysis, addressing unmapped screen dynamics as crucial elements of cinema. -- Haidee Wasson, author of Museum Movies: The Museum of Modern Art and the Birth of Art Cinema
Offering an extensive and systematic exploration of screen practices in the 1930s, Ariel Rogers recharacterizes this seemingly solid, coherent era by analyzing its multiplicity and heterogeneity. The screen becomes a kaleidoscopic reality. -- Francesco Casetti, author of The Lumiere Galaxy: Seven Key Words for the Cinema to Come
Film theory's classic question "What is cinema?" often gets a (stereo)typical answer around the idea that movies exist when projected on standard screens in theaters. With her well-known and lauded attention to archival research, Ariel Rogers revises this received account of cinema and essentially rewrites it from the ground up. This is a rich and rewarding study that combines sharp scholarship with compelling new interpretation to change the field. -- Dana Polan, New York University
A thoroughly documented account of the broad culture of synchronicity in screen culture over the long 1930s. * Choice *

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