... to dependable authors. However, these highly inventive stories are not cast-offs but recastings finely attuned to a bespoke word-and-image forum. To keep readers interested, Scott would need to employ some new tricks – as well as the old ones – within a condensed space. His Gothic gimmicks – a magic lantern...

...Demonstrates the importance of the magic lantern to Joyce’s ‘media-cultural imaginary’ and the cinematicity of his techniques and themes. The lantern provided a major cultural and technological context giving birth to film. Despite appearing to ‘bar’ its influence, Dubliners alludes widely...

... of cinematicity, we have to dig deeper into its role in his work both before, as well as after the coming of film. cinematicity ekphrasis verbal imitation of visual modes Joyce James Bildungsroman magic lanterns mutoscope panoramas peepshows photography Plato Portrait of the Artist as a Young Man...

..., because clichéd slum imagery and sensationalist stories (of violent crime, immorality, abject poverty etc.) travel around 1890 across (old and new) media, from the stage to the cinema, from photo books to magic lantern shows. The chapter focuses thereby on the ‘documentary impulse’ (Gunning) to disclose...

... share the cinematograph’s roots in Victorian science and optical entertainment. It explicates how the book’s scope reveals and elucidates Joyce's references to optical toys, shadowgraphs, magic lanterns, panoramas, photographic analysis and film peepshows, which testify to his awareness of a moving...

...The magic lantern had been a tool for poor travelling entertainers. This little projector raised ghosts and grotesques, told stories of hardships and imagined new worlds. A lanternist could make the powerful ridiculous and demand that divine punishment intercede to restore natural justice...

... in Victorian optical entertainment and science. The book’s scope reveals and elucidates Joyce's references to optical toys, shadowgraphs, magic lanterns, panoramas, photographic analysis and film peepshows; while abundant close analysis shows how his techniques elaborated and critiqued their effects...

...’ qualities of many film directors (often most powerfully expressed in films which are not Dickens adaptations); and the relationship between silent film adaptation and the Dickens of the magic lantern show, the illustration (especially posthumous Dickens illustration), theatrical adaptation...

...This chapter, written by Joss Marsh, suggests that visual culture in the nineteenth century cannot only be characterized by its fascination with what Tom Gunning calls, in Chapter Nine, ‘technological exposure’, but also with instruments of deception and illusion such as the magic lantern. Marsh...