1904

While 1904 doesn't have an iconic film like the past two seasons have each featured, that doesn't mean it doesn't have its share of worthwhile films and intriguing aspects of film history to explore. From the eve of the nickelodeon boom to expanding narrative ambitions, this season will explore both returning and new threads of the cinematic discourse of the early cinema period, from its time to now.

Film historian Steve Massa is a particular expert on silent film comedy. His five choices for 1904 certainly reflect that interest, as they feature premises and gags that can still rouse surprise, chuckles, and laughs today.

George Willeman has been the Nitrate Film Vault Leader at the Library of Congress for 41 years. Having been in love with movies as far back as he can remember, George is still constantly amazed at the discoveries found within the Library’s nitrate film collection, and his picks reflect the enthusiasm and intrigue that occur at least weekly in his role.

Dimitrios Latsis, Associate Professor in Digital and Audiovisual Preservation at the University of Alabama, has worked extensively in the fields of American visual culture, early cinema, archival studies, and digital humanities. These interests are brought into the conversation about his five eclectic picks, in addition to some “runner-ups” that paint a fuller picture of cinema in 1904.

Martin L. Johnson, film historian and Associate Professor in English and Comparative Literature at University of North Carolina at Chapel Hill, has literally written the book on local films in the United States. While most of his picks fit into that definition, he also brings comic chases and early filmic nudity into the conversation.

Film preservationist Céline Ruivo brings an eye for color and pre-cinema to her five early cinema picks for 1904. From scientific intent to fantasy, and industrialism and modernity in between, she demonstrates how an apparently unmemorable year like 1904 can still provide great insight into the art and technology of cinema at the time.

This season’s conversations about film in 1904 often turned to the “awkwardness” of finding standout titles and defining the most representative developments in the art, business, and reception of cinema. Nevertheless, this year’s five guests presented exciting threads of potential futures that, in many ways, were resolved into the narrative model one expects a few years later.