1901

About five years into film's existence as a publicly available invention and art form, 1901 offers up a number of exciting threads for where the medium did and did not go. Some aspects may appear familiar: a form of a "close-up," attempts at adapting "narrative," and the use of the movies as a propaganda tool. But as guests will point out, the intent and reception of such things may be alien to our modern eyes, from the idea of a moving picture "tableaux" to colonizing forces.

Film historian Ian Christie rewires Tristan’s brain a bit in this episode, as Ian draws parallels between the early film “adaptation” and the tableaux painting, both of which benefit from contemporary shared pathos. During the discussion of his five picks, among other things, he also provides insight into the Anglo-Boer War and the actuality genre’s dominance in 1901 even as trick films still draw our contemporary eyes.

Pamela Hutchinson's Silent London has been a great resource for Tristan since even before he started the written essay series that gives this podcast its name about seven years ago. Now, she joins the show to provide some context yet again, especially for how 1901 filmmakers weren't marching neatly toward narrative (they were tiptoeing toward it, dancing around it) and how some were specifically deconstructing the still-fledgling medium, through the lens of her five picks.

Grazia Ingravalle, Senior Lecturer/Associate Professor in Film at Queen Mary University of London, focuses her 1901 picks in relation to colonialism. She creatively tackles the premise of this show by talking not of the “best films” of the year, but “quite the opposite,” in her own words, to illustrate the effect of the medium at this time and beyond.

Tristan has been the grateful viewer of many an eye-popping restoration from Eye Filmmuseum in Amsterdam on YouTube. He expresses his thanks to Elif Rongen-Kaynakçi, Curator of Silent Film at Eye, before the two mostly discuss comedy films, with the broad genre nevertheless inspiring many different tangents from sexuality to the beginning of the film industry’s self-parody.

All but one of the picks from Lawrence Napper, senior lecturer in Film Studies at King’s College London, come from the huge trove of discovered Mitchell & Kenyon films. These fascinating records of everyday life in Victorian and Edwardian England and the United Kingdom lead to an array of exciting tangents, while Lawrence also uses his one fictional choice to make a resonant comparison between repeat film viewing and traditional religious ceremonies.

Propaganda, comedy, tricks; these approaches may seem to obscure truths. That is certainly their potential in film, but in this 1901 season finale, Tristan reflects on the through lines of his guests' picks and the conversations that stemmed from them.