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• W3214364416 abstract "Reviewed by: Seeing by Electricity: The Emergence of Television, 1878–1939 by Doron Galili Christina G. Petersen (bio) Seeing by Electricity: The Emergence of Television, 1878–1939 by Doron Galili. Duke University Press. Sign, Storage, Transmission Series. 2020. 264 pages. $99.95 hardcover; $25.95 paper; also available in e-book. As the lines between television and film have become increasingly blurred in the streaming era and now even further in the age of the COVID-19 pandemic, Doron Galili's pathbreaking intermedial history of television before the broadcast era is an important entry into television, film, and new media studies. An expansion of a dissertation honored by the Society for Cinema and Media Studies in 2013, Seeing by Electricity: The Emergence of Television, 1878–1939 provides a wide-ranging study of television as moving image transmission that moves away from defining television against film in favor of exploring both media's historical instances of intermedial influences, technical amalgamations, and shared imaginaries.1 At the heart of this study is a consideration of medium specificity not as enduring ontology but rather as a continual process of emergence. As such, Galili's excavation of the history of the medium that became known as television offers a model for how to think through both the recent past and the mercurial present of moving image transmission. Seeing by Electricity takes a media archaeological approach to the prebroadcast era, uncovering early conceptualizations of television from the 1870s to late 1930s. Galili engages with the work of early television scholars, [End Page 208] including William Uricchio and Siegfried Zielinski, to break down previous contrasts between film as a medium of capturing, storing, and reanimating scenes for display and television as a medium of scanning or dissecting images for relay to a distant viewer.2 Equally important, this book explores early television's relationship to twentieth-century modernity, when political, economic, and technological changes accelerated alterations in social relations. Galili's approach thus has important implications for the present day. Indeed, the cultural imaginary of early television, which engaged the implications of visual connectedness at a distance, resonates with the current Zoom era and the rise of socially distanced video chats, happy hours, and town halls. As Galili discusses, long before the formation of commercial television networks, moving image transmission shared with early cinema the ability to foster both connection to and disconnection from disparate groups and individuals. Divided into two parts of three chapters each, Seeing by Electricity begins with television history's speculative era: the late 1870s to the mid-1920s.3 The first chapter, Ancient Affiliates: The Nineteenth-Century Origins of Cinema and Television, offers a fascinating account of how television, like film, was initially conceived in the context and as an extension of other media.4 In this case, technicians, journalists, and science fiction writers described television as a visual version of the telegraph or telephone that could also conquer the barriers of space and time to create decentralized communication networks.5 Building on Wolfgang Schivelbusch's study of the effects of railway transportation and Mary Ann Doane's discussion of cinema and modern time, Galili notes that television's affiliation with the telegraph presented utopian (and dystopian) implications. Long before Marshall McLuhan's global village, television's disintegration of distance between peoples held the potential to reduce prejudice as much as to reinforce colonial ways of thinking.6 Employing Carolyn Marvin's concept of media fantasies, this chapter mines science fiction literature by Jules Verne, Edward Bellamy, and Mark Twain to note how early television was imagined as a way for future societies to eradicate difference by reinforcing connection, equality, and uniformity through the ability to see everything, everywhere, at all times.7 Like conceptualizations of early cinema as engaging with the lived experience of modernity through its form as well as content, Seeing by Electricity argues persuasively that media fantasies of early television addressed the ambivalence of modern existence.8 [End Page 209] The next chapter, Severed Eyeballs and Prolonged Optic Nerves: Television as Modern Prosthetic Vision, excavates early television's relationship to modernity in a careful consideration of technological discourse about moving image transmission as like an eye that..." @default.
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• W3214364416 title "Seeing by Electricity: The Emergence of Television, 1878–1939 by Doron Galili" @default.
• W3214364416 doi "https://doi.org/10.1353/cj.2021.0066" @default.
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