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The Movie Theatre Audience

  • Giovanni Fossi
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Early Film Theories in Italy, 1896-1922
This chapter is in the book Early Film Theories in Italy, 1896-1922
© 2018 Amsterdam University Press, Amsterdam

© 2018 Amsterdam University Press, Amsterdam

Chapters in this book

  1. Frontmatter 1
  2. Table of Contents 5
  3. The Throb of the Cinematograph 11
  4. Section 1
  5. Cinema and Modern Life 35
  6. Cinematography 42
  7. The Philosophy of Cinematograph 47
  8. Summertime Spectacles: The Cinema 51
  9. Why I Love the Cinema 55
  10. The Movie Theatre Audience 57
  11. The Art of Celluloid 60
  12. The Triumph of the Cinema 66
  13. The Death of the Word 75
  14. Section 2
  15. Film in Transition 83
  16. The Museum of the Fleeting Moment 91
  17. The Woman and the Cinema 95
  18. Darkness and Intelligence 98
  19. A Spectatrix is Speaking to You 102
  20. Motion Pictures in Provincial Towns 105
  21. Cinematic Psychology 111
  22. The Cinematograph Doesn’t Exist 117
  23. The Cinema: School of the Will and of Energy 123
  24. The Close-up 135
  25. The Soul of Titles 140
  26. Section 3
  27. Cinema at War 147
  28. The War, from Up Close 156
  29. That Poor Cinema... 160
  30. Families of Soldiers 164
  31. War for the Profit of Industry 168
  32. The War and Cinematograph 171
  33. Max Linder Dies in The War 173
  34. Cinema of War 176
  35. Section 4
  36. Politics, Morality, Education 183
  37. The Motion Pictures and Education 197
  38. The Intuitive Method in Religious Education 205
  39. The Cinema and Its Influence on the Education of the People 213
  40. The Cinematograph in the Schools 217
  41. Speech at the People’s Theatre 224
  42. Cinema for the Cultivation of the Intellect 237
  43. Educational Cinema 244
  44. Section 5
  45. Film, Body, Mind 255
  46. Collective Psychology 268
  47. About Some Psychological Observations Made During Film Screenings 273
  48. Concerning the Effects of Film Viewing on Neurotic Individuals 278
  49. The Ongoing Battle between Gesture and Word 286
  50. The Cinematograph in the Field of Mental Illness and Criminality: Notes 290
  51. Cinema and Juvenile Delinquency 297
  52. Section 6
  53. The Aesthetic Side 307
  54. Problems of Art: Expression and Movement in Sculpture 318
  55. Scenic Impressionism 321
  56. The Aesthetics of Cinema 325
  57. The Poetics of Cinema 329
  58. Manifesto for a Cinematic Revolution 333
  59. Theatre and the Cinema 339
  60. The Futurist Cinematography 341
  61. In the Beginning Was Sex… 346
  62. Rectangle-Film (25 x 19) 348
  63. The Proscenium Arch of My Cinema 353
  64. My Views on the Cinematograph 359
  65. Meditations in the Dark 368
  66. Section 7
  67. Theory in a Narrative Form 373
  68. Colour Film 381
  69. At the Cinema 386
  70. A Phantom Pursued 390
  71. Miopetti’s Duel 398
  72. Pamela-Films 405
  73. Feature Film 411
  74. Me, Rirì, and Love in Slippers 421
  75. A Cinematic Performance 427
  76. Life, a Glass Theatre 434
  77. The Shears’ Reflection 444
  78. Sources 450
  79. Author Biographies 455
  80. General Bibliography 490
  81. Acknowledgements 505
  82. About the Editors 507
  83. Index of Names 508
  84. Index of Concepts 513
  85. Index of Films 517
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