‘Monster’ Street Organs and Audiovisual Culture in Pre-Cinematic Italy

Studies of cinema's emergence from nineteenth-century cultural forms have historically privileged its visual attributes over its sonic ones. This article redresses the balance by examining a musical device commonly associated with early film exhibition across Europe: the fairground organ, whose spectacular audiovisual appeal was exploited in public squares and fairgrounds long before the invention of cinema. Drawing on insights from the field of media archaeology, I ask whether we can locate an archaeological layer of cinematic prehistory in the fairground organ itself. In so doing, what emerges is the critical importance of Italy in the cultural history of the mechanical organ. Partly this is because the individual widely acknowledged as the ‘father of the fairground organ’, Ludovico Gavioli, was an Italian. Yet the Italianness of mechanical organs was also rooted in the stereotypical repertoire of such instruments (well-known excerpts from Italian opera), and on discursive tropes that emphasized an affinity between portative barrel organs – said to have been invented in Italy – and the itinerant operators of such instruments, often perceived to be Italian. Ultimately, I suggest that instead of treating fairground organs as the backing-track to early film exhibition, we might profitably conceive of early cinema as the latest visual enhancement to grace the exhibition of the mechanical organ.