![]() ![]() The panic legend certainly became prevalent through subsequent film histories. The repeatedly reiterated anecdote that the contemporary audience felt physically threatened and therefore panicked must be relegated to the realm of historical fantasy." "Contemporary reports of panic reactions among the audience cannot be found. "The moving images projected onto the screen with the Cinematographe Lumière could hardly be mistaken for reality," writes Loiperdinger. It speeds straight at you-watch out! It seems as though it will plunge into the darkness in which you sit, turning you into a ripped sack full of lacerated flesh and splintered bones, and crushing into dust and into broken fragments this hall and this building, so full of women, wine, music and vice."Citing several such anecdote, Loiperdinger counters the myth. "Suddenly something clicks, everything vanishes and a train appears on the screen. The Russian author Maxim Gorky, in a famous essay titled "The Kingdom of Shadows," describes the effect of this historic moment: Titled "Lumière's Arrival of the Train, Cinema's Founding Myth," and written by Martin Loiperdinger, a professor of media studies at Trier University in Germany, this provocative paper challenges many long-held assumptions about this historic Lumière film.Īt issue is what Loiperdinger characterizes as the "founding myth" of cinema, the report that audiences panicked when viewing the onrushing locomotive in screenings of L'Arrivée d'un Train en Gare de la Ciotat which commenced on December 28, 1895, at the Grand Café at 14 Boulevard Les Capucines in Paris. ![]() The current issue, devoted to programming of historic films, features a cover story that will be of interest to all students of documentary history. Published twice a year, The Moving Image is a journal devoted to issues of preservation, archiving and presentation of historic motion pictures, whether on film or videotape. The Journal of the Association of Moving Image Archivists ![]()
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