Fantastic Voyages chapters 10-12

The Stars Might be Smiling: a feminist forage into a famous film by Victoria Duckett
Page 163, "As Debora L. Silverman explains ... the very emphasis on women as decorative object and decorative artist was a calculated response t the threat of female emancipation in the 1890s.  ... 'by celebrating woman as queens and artist of the interior, they ... relinquish her role as decorative object and decorative artist".
Page 164, "This is a trip to the moon where aged scientists remain aged scientists and where youthful female stars disdainfully hurry them on their way".
Page 167, "facial distortions ... to resist criminal identity" (part of mug shot ideas being twisted).
Page 169, discussion of moon face based upon de Bergerac who wrote "Journey to the Moon".
Page 173, Sleeping Venus is d'Aley; an actress with a reputation for loose morals (perhaps in Victorian porn?).
Page 174, simulated nudity in theatre discussed.

Impossible Voyages and Extraordinary Adventures in Early Science Fiction Cinema; from Robida to Melies and Marcel Fabre by Antonio Costa
Page 188, "It may be no coincidence that the 'rediscovery' of Melies occured at the height of the surrealist movement".
Page 194-5, short bio of Marcel Fabre and his film Saturnio Farandola

No One-Way Ticket to the Moon by Viva Paci
Page 203, "Melies could be compared t Norman McLaren or Charlie Chaplin; all three of the solitary autonomous innovators, capable of applying their talents to everything".
Page 208, Melies and Buzz Berkley compared as having no off screen space.
Page 210, Jean-Christophe Averty (early French tv) created work in cinema of attractions. 

Fantastic Voyages chapters 5-9

Distance Does Not Matter: Melies, le Cinema, and the Moon by Murray Pomerance
This was primarily a detailed description of the moon film.
The character Barbafouillis's name translates as "beard-in-a-triangle"
Page 92, points out that a clock is seen twice but both times, it reads four o'clock. Suggests various theories why this would be (aside from pragmatic one of the clock not being functional).

Shooting into Outer Space: reframing modern vision by Tom Gunning
Page 98, "Modern vision is mediated vision"
Pge 99, "explore the rocket ... as a vehicle of sight"
Page 107, "Reflects an era of colonization in which the exotic becomes a possession .. they bring back to earth a Selenite as captive and trophy".
Page 108, "Film history consists not only in the recovery of the past but alsoa trajectory into the future".

A Trip to the Moon as Feerie by Frank Kessler
Page 115, "feerie ... a long-standing stage tradition"
Page 116, film versions of feerie plays from Pathe' named.
Page 117, [feerie] abandoned its potential as an art form to become but a pretext for mechanical artifice"
Page 121, "apotheosis", some sort of design climax featuring extreme elements from set and costume design and the direction. In early films it was announced by intertitle and colourized.

A Trip to the Moon as an American Phenomenon by Richard Abel
Page 134, "before being electrocucuted for killing a trainer (filmed to promote direct current by Edison in 1903), an elephant named Topsy was given the task of pushing the main building three-quarters of a mile to the new site' (Coney Island)
Pge 134-135, descriptions of Long Island and touring version of Trip to the Moon cyclorama.
Page 138, Edison taking credit for Melies film.

A Trip to the Fair; or, Moon-Walking in Space by Matthew Solomon
Page 143 "Le Grand Melies", a 1953 historical drama film by George Franju about Melies.
Page 144-5, compare trip to the moon with walking between each site around a fairground.
Page 146, "barnum" a French word after P.T.Barnum
Page 154, "the film ultimately aligns itself with the excesses of traveling fairgrounds shows rather than the didactic aspirations of international expositions"

Melies trip to the moon first four chapters

First few chapters of "Fantastic Voyages of the Cinematic Imagination: Georges Melies's Trip To The Moon", edited by Matthew Solomon, 2011, States University, NY.

A Trip to the Movies by Paolo Cherchi Usai
Page 26, Melies's brother, Gaston, was sset up in NYC to make films but lost a lot of money.
Page 28, Melies loved to play the devil and used different names for his characters such as Alcofrisbas, Parafaragamus, Barbeonuillis, and Mabouloff.

Theatricality, Narrativity, and Trickality: Reevaluating the Cinema of Georges Melies by Andre Gaudreault
Page 33, "the desire to tell stories was not the only preoccupation of the early filmmakers"
Page 34, "spectators are never really fooled ... many of the filmic elements ... exist to remind viewers they are watching a film"
Page 35, Noel Burch's "institutional mode of representation", cinema as we see it today with the fourth wall always intact.
Page 36, "Melies usually only tells a story in order to embellish or tie together the presentation of his latest effects"
Page 37, "he sees narrativity as pretext rather than text, and is not determinant in his imagination"
Page 43, importance of Melies editing (primarily match/jump cuts) overlooked historically.
Page 43-44, "Human Fly" film, change camera from horizontal to vertical in match cut by moving both camera and backdrop.
Page 44, "Black Imp contains about 60 cuts within three and a half minutes"

A Trip to the Moon: a composite film by Thierry Lefebvre
Primarily discusses influences on the Trip to the Moon film.
Page 51, Cyclorama at Pan American Expo in 1901
Page 54-57, operetta influence
Page 58-59, H.G.Wells influence
Page 60, Munchausen influence

First-Footing on the Moon by Ian Christie
Page 70, as theatres and literature became increasingly multi-media, "in place of 'art for art's sake' ... a new fusion of art and technology was under way"
Page 71-72, Jules Verne compared to reality of 1960s space flights. H.G.Wells more fanciful antigravity element "cavorite", and Wells and George Bernard Shaw as supporters of eugenics.
Page 73, Wells and Jules Verne both supporters of imperialism.
Page 75, Robert W. Paul - another early trick filmmaker from England who built own studio. See film "The ? Motorist".

Jubilee Book

Read "Jubilee Book, essays on amateur film" from AEI (Association Europeenne Inedits) from 1997. It contains articles by:
Andre Huet
David Cleveland
Heather Norris Nicholson
Karen L. Ishizuka
Andre Colleu
Ole Brage
Patricia R. Zimmermann
Susan Aasman and Klaas Gert Lugtenborg
Jean-Claude Guezennec
Janet McBain
Bert Hogenkamp and Mieke Lauwers
Suzanne Capiau
Gerald Saul
Alan Burton
with introduction by Jean-Philippe Art

I have had this book since it was published with my article in it but only sampled from it and never read it cover to cover. Now I have (except for the articles in French). Much of this book anticipates the writings in the "Mining the Home Movie" book which has numerous articles by the same writers (but not me). Therefore, my notes are less extensive.

Page 41, "amateur movies ... use a borrowed visual vocabulary and reproduce stereotypes"

Page 46, "Their naivete, immediacy and reflexivity are the very qualities that provide a 'veil of poetry' over ordinary events"

Page 73, "Amateur film's exile from the world of legitimate film discourse constitues the very reason why it should be preserved. Its status as a cultural exile demonstrates its potential threat to the dominant visual order"
Page 75, "the notion of 'professional' developed to describe desirable attributes of intellectual workers and managers within the increasingly corporate economy. The professional was committed to a profession rather than to the self. He possessed reproducible skills that accrued monopoly control. He was a team player without passion".
Page 78, "amateur films lack form, structure, style and coherence ... these ruptures and fissures, as identified by French historian Michel Foucault, suggest that the text alone is insufficient."

Page 87, "Resistance is a perfect example of how memory turned into commemoration can manipulate history"
Page 98-99, Norman McLaren enters Scottish Amateur Film Festival with his student film in 1934.

Page 109, define amateur but also negative connotations of adverb "amateurish".
Page 110, "American Avant Garde turns cliches of amateur filmmaking into aesthetic virtue".
Page 113, "The typical amateur filmmaker wants to fix happiness".
Page 114, "hobby film" defined.

Page 139, "see yourself in the movies" schemes discussed again with comparison/justification for showing alongside professional films.
Last article is overall a chronicle of the co-op movement beginning in 1898 with them making various films since the beginning, created and funded film unit for worker films to create propaganda over next half century, peaking in 1930s and fading with prosperity of 1950s.  

An Arrow, Not a Target" by Scott MacKenzie

Found "An Arrow, Not a Target": Film Process and Processing at the Independent Imaging Retreat by Scott MacKenize on Google Scholar. It is a chapter of a book called "The Education of the Filmmaker in Africa, the Middle East, and the Americas" by Mette Hjort. Within this article, I am cited on page 182 from my "Fragile Harvest" program for my Phil Hoffman screening in 2011. This is published as an ebook in 2013.
MacKenzie wrote the book I've been poking through on film manifestos.
Page 175, In this chapter he quotes Roland Barthes's Camera Lucida: "The (true) realist does not take the photo as a copy of reality, but for an emanation of past reality: a magic, not an art"
Look for "Film Alchemist" Jurgen Reble, "Chemistry and Alchemy of Colours"

Remainder of "Funny Pictures"

In "Funny Pictures"
I Like To Sock Myself in the Face: Reconsidering "Vulgar Modernism" by Henry Jenkins
Page 154, "[Spike] Jones sought advice from Tex Avery and Frank Tashlin ... and published pieces in early Mad Magazine"
Page 154-155, "Vulgar Modernism" relates modernism and pop culture -- larger than life personas,  stretch bodies beyond human limits  -  reflexive gags call attention to constructed world.
Page 163-165, Basil Wolverton and sound effects
Page 170, Men display phallic energy through their ability to externalize their bodies in all directions, women are often depicted as fixed and static"
Little Annie Fannie from Playboy.
Page 171, compared to R. Crumb

Auralis Sexualis, How Cartoons Conduct Paraphilia by Philip Brophy
Primarily article on animation sound and voices as related to sexuality.
Page 175 "If cartoons were flesh, pornography would have to be reinvented"
"Compositing live actors or rotoscoping have consequently been deemed transgression .. corruption or abuse of the animation art form"
Page 177, screaming discussed.
Page 178, coyote/roadrunner "invoke collapse of postwar marriage."
Page 179-80, Tinkerbell sexuality
Page 183, Gerald McBoing Boing "metadiegetic" voice
Page 186, "if Gerald is a token of the powerlessness of the child, Magoo is a token of the omnipotence of the father".
Page 187, Magoo is ... demented dr-humping sociopath"

Art of Diddling: slapstick, science, and antimodernism in the films of Charley Bowers by Rob King.
Page 193, "Charley was a liar" (examples on page 194)
Page 194, "Lewis Mumford writes 'Between fantasy and exact knowledge ... there is an intermediate station: that of magic"
Page 196, mid to late 1920s, studios produce many shorts to run before features (economic discussion).
Page 198, "slapstick's disrepute as a comic form ... superseded by ... mechanical aspects of comic action".
Page 203-204 (carrying on prior idea) "aesthetic of fantastic machinery ... a retreat from the rationalization of modern science toward earlier, less alienated imaginings."

Tex Avery's Prison House of Animation, or Humor and Boredom in Studio Cartoons by Scott Curtis
Page 216-219, Tex Avery comedy based on mechanical nature of the bodies following Bergson's definitions of comedy.
"Page 219, "metagag" - fourth wall breaking, jokes directed at audience such as signs held up.
Page 220, moving a hole: "what makes this a gag (and not science fiction) is that there are two sets of laws that do not exist at the same time"
Page 221, "frame line reveal" not all characters see beyond the frame line.

Tish-Tash in Cartoonland by Ethan de Seife
Page 228, "the director of live action features that purportedly resemble cartoons and/or as a director of cartoons that purportedly anticipate the technique of live action filmmaking"
Page 228-9, Jean-Luc Godard write, "Tashlin's features resemble live-action cartoons"
Article goes on to rr-evaluate Frank Tashlin beyond this simplified interpretation.
Page 233-4, "on a visual level, animation is a near-totalizing mise-en-scene experience" ie: camera work is non-existent and folding into the image drawn.
Page 236, analysis of how vaudeville shows were structured and types of gags. "climax was far more important than closure".
Page 240, Brett Page; in 1915 wrote a manual on how to write for vaudeville.
Page 249-250, his work provides an uncommonly perspicuous demonstration of the continuities between animated an live-action American films"

Sounds Funny/Funny Sounds: theorizing cartoon music by Daniel Goldmark
Page 264-5, Mickey Mousing discussed.
Page 217, Simpson's Treehouse of Horror episode discussed.
Page 267-8, "Family Guy Viewer Mail #1" using stock music as satire.
Page 269, Powerpuff Girls xylophone for blinking