The aim of this collective volume of essays has been to combine some new contemporary analyses of two subjects of current ongoing research in the humanities: the cinema and the visual arts. The early origins of cinema involved the positioning and projection of a number of photographs in sequence by Eadweard Muybridge in Galloping Horse (1878) – to prove for a bet that all four hooves of a horse came off the ground when it ran – followed in 1889 by the development of the motion picture camera by Thomas Edison and William Dickson. The first recorded sound was a song recorded in 1860 to accompany the first ever moving picture, which was footage of a horseback rider (1878) followed by the first film ever made, which consisted of a silent film depicting four figures in a courtyard (1888). Ever since the date film was born, it has been an increasingly popular genre and cinema and filmmaking have been sources of admiration, fascination and particularly a rising trend towards critical analysis. The range and breadth of studies that exist in relation to film eras, genres, a nation's cinema, film theory or film culture is truly breathtaking. Many volumes of literary criticism have been written on the general subjects of what constitutes cinema, film theory, how to interpret a film, film narration, psychoanalysis, and many critical editions focus on a particular country's films, or a specific filmmaker, or a specific genre or era, such as censored films, silent films or early cinema.