Suchergebnisse

This essay concerns itself with perceptions of the urban sphere, with its manifestations in literature and life writing, and with the city as a place of strangeness and travel in various senses, including the ways in which it pertains to the individual
world view. Cities are places of density and internal connections, but their gates also open out and connect with other places, and increasingly other cities. Following a discussion of the Icelandic links between Copenhagen and Reykjavík, and the slow emergence of the latter as a "literary capital", the course is set for foreign cities, including Berlin and Paris in the company of Walter Benjamin, and the experience of getting lost with Franz Kafka in places that may be Prague and New York. In
attempting to answer the question whether it is possible to become intimate with cities, we have recourse to city guides, life maps, a touring theatre – and the art of losing and finding.

The article addresses the early years of film in iceland, where the goal is to deepen our knowledge of the main participants in introducing and promoting cinema in iceland at the turn of the 19th century. Two years spanning a three-year period mark the beginnings of the age of film in iceland. The former is 1901 when the Dutch filmmaker F. A. Nöggerath came to film iceland and icelanders for an English film company. The latter year is 1903, when the Norwegian, Rasmus Hallseth and the Swede David Fernander, traveled around the country to screen films for the first time in iceland. These two visits mark the emergence of cinema in iceland. iceland-ers had little prior knowledge of the new medium, which was getting to be widely known around the world, apart from the coverage of newspapers and stories of lucky icelanders who had experienced film screenings abroad. Shows using a predecessor of film, the magic lantern, were held by Sigfús Eymundsson and Þorlákur ó. Jo-hnson in the 19th century. After the introduction of films in 1903, several people put together funds to buy Hallseth's and Fernanders' equipment and began to exhibit films on their own. However, daily performances did not happen until Reykjavik Biograftheater (later ,,Gamla Bíó") was established in 1906. After several attempts by various parties to hold regular screenings in Reykjavik, one could say that cinema did not properly settle in iceland until the establishment of Nýja Bíó in 1913.