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The magic lantern, also known by its Latin name lanterna magica, was an early type of image projector that used pictures—paintings, prints, or photographs—on transparent plates, one or more lenses, and a light source. Because a single lens inverts an image projected through it, slides were inserted upside down in the magic lantern, rendering the projected image correctly oriented.
Stop motion is an animated filmmaking technique in which objects are physically manipulated in small increments between individually photographed frames so that they will appear to exhibit independent motion or change when the series of frames is played back. Any kind of object can thus be animated, but puppets with movable joints or plasticine figures are most commonly used. Puppets, models or clay figures built around an armature are used in model animation. Stop motion with live actors is often referred to as pixilation. Stop motion of flat materials such as paper, fabrics or photographs is usually called cutout animation.
A zoetrope is a pre-film animation device that produces the illusion of motion, by displaying a sequence of drawings or photographs showing progressive phases of that motion. A zoetrope is a cylindrical variant of the phénakisticope, an apparatus suggested after the stroboscopic discs were introduced in 1833. The definitive version of the zoetrope, with replaceable film picture film strips, was introduced as a toy by Milton Bradley in 1866 and became very successful.
Puppetry is a form of theatre or performance that involves the manipulation of puppets – inanimate objects, often resembling some type of human or animal figure, that are animated or manipulated by a human called a puppeteer. Such a performance is also known as a puppet production. The script for a puppet production is called a puppet play. Puppeteers use movements from hands and arms to control devices such as rods or strings to move the body, head, limbs, and in some cases the mouth and eyes of the puppet. The puppeteer sometimes speaks in the voice of the character of the puppet, while at other times they perform to a recorded soundtrack.
3D films are motion pictures made to give an illusion of three-dimensional solidity, usually with the help of special glasses worn by viewers. They have existed in some form since 1915, but had been largely relegated to a niche in the motion picture industry because of the costly hardware and processes required to produce and display a 3D film, and the lack of a standardized format for all segments of the entertainment business. Nonetheless, 3D films were prominently featured in the 1950s in American cinema, and later experienced a worldwide resurgence in the 1980s and 1990s driven by IMAX high-end theaters and Disney-themed venues. 3D films became increasingly successful throughout the 2000s, peaking with the success of 3D presentations of Avatar in December 2009, after which 3D films again decreased in popularity. Certain directors have also taken more experimental approaches to 3D filmmaking, most notably celebrated auteur Jean-Luc Godard in his film Goodbye to Language.
A marionette is a puppet controlled from above using wires or strings depending on regional variations. A marionette's puppeteer is called a marionettist. Marionettes are operated with the puppeteer hidden or revealed to an audience by using a vertical or horizontal control bar in different forms of theatres or entertainment venues. They have also been used in films and on television. The attachment of the strings varies according to its character or purpose.
Shadow play, also known as shadow puppetry, is an ancient form of storytelling and entertainment which uses flat articulated cut-out figures which are held between a source of light and a translucent screen or scrim. The cut-out shapes of the puppets sometimes include translucent color or other types of detailing. Various effects can be achieved by moving both the puppets and the light source. A skilled puppeteer can make the figures appear to walk, dance, fight, nod and laugh.
Precursors of film are concepts and devices that have much in common with the later art and techniques of cinema.
Mangiafuoco is a fictional character who appears in Carlo Collodi's 1883 Italian book The Adventures of Pinocchio, serving as a secondary antagonist turning good.
Count Franz Graf von Pocci was a significant official in the court of King Ludwig the First of Bavaria, best known as the founding director of the Munich Marionette Theatre where he was a shadow puppeteer and wrote countless puppet plays and children's stories.
Live event support includes staging, scenery, mechanicals, sound, lighting, video, special effects, transport, packaging, communications, costume and makeup for live performance events including theater, music, dance, and opera. They all share the same goal: to convince live audience members that there is no better place that they could be at the moment. This is achieved through establishing a bond between performer and audience. Live performance events tend to use visual scenery, lighting, costume amplification and a shorter history of visual projection and sound amplification reinforcement.
The history of film technology traces the development of techniques for the recording, construction and presentation of motion pictures. When the film medium came about in the 19th century, there already was a centuries old tradition of screening moving images through shadow play and the magic lantern that were very popular with audiences in many parts of the world. Especially the magic lantern influenced much of the projection technology, exhibition practices and cultural implementation of film. Between 1825 and 1840, the relevant technologies of stroboscopic animation, photography and stereoscopy were introduced. For much of the rest of the century, many engineers and inventors tried to combine all these new technologies and the much older technique of projection to create a complete illusion or a complete documentation of reality. Colour photography was usually included in these ambitions and the introduction of the phonograph in 1877 seemed to promise the addition of synchronized sound recordings. Between 1887 and 1894, the first successful short cinematographic presentations were established. The biggest popular breakthrough of the technology came in 1895 with the first projected movies that lasted longer than 10 seconds. During the first years after this breakthrough, most motion pictures lasted about 50 seconds, lacked synchronized sound and natural colour, and were mainly exhibited as novelty attractions. In the first decades of the 20th century, movies grew much longer and the medium quickly developed into one of the most important tools of communication and entertainment. The breakthrough of synchronized sound occurred at the end of the 1920s and that of full color motion picture film in the 1930s. By the start of the 21st century, physical film stock was being replaced with digital film technologies at both ends of the production chain by digital image sensors and projectors.
For the history of animation after the development of celluloid film, see history of animation.
Events in 1876 in animation.
The Afonso Henriques Theatre, was the main theatre of Guimarães from 1853 until its replacement by the Jordão Theatre in the late 1930s.
Events in 1870 in animation.
Events in 1864 in animation.
Events in 1862 in animation.
Events in 1859 in animation.
References
- ↑ Moraes, Maria Adelaide Pereira de (December 2001). Velhas Casas de Guimarães[Old Houses of Guimarães] (in European Portuguese). Vol. II. Porto: Centro de Estudos de Geneologia, Heráldica e História da Família da Universidade Moderna do Porto. p. 815. ISBN 972-8682-11-5.
- ↑ Sousa Bastos, Antonio (1908). Diccionario do theatro portuguez (in Portuguese). Robarts - University of Toronto. Lisboa Imprensa Libanio da Silva. p. 331.
- ↑ Caldas, Antonio José Ferreira (1881). Guimarães: apontamentos para a sua historia (in Portuguese). Typ. de A. J. da Silva Teixeira. pp. 153–156. Archived from the original on 2024-07-08. Retrieved 2024-04-02.
- ↑ Czermak (1855). "Das Stereophoroskop" (in German).
- ↑ Michael Friendly (2008). "Milestones in the history of thematic cartography, statistical graphics, and data visualization".
- ↑ Thomas G.West (February 1999). "Images and reversals: James Clerk Maxwell, working in wet clay". ACM SIGGRAPH Computer Graphics. 33 (1): 15–17. doi:10.1145/563666.563671. S2CID 13968486.
- ↑ Johnson, Steven (2007). The Ghost Map: The story of London's most terrifying epidemic-- and how it changed science, cities, and the modern world. Riverhead Books.
- ↑ Snow, John (1855). On the Mode of Communication of Cholera. John Churchill.
- ↑ Meisami, J.S.; Starkey, Paul (1998). Encyclopedia of Arabic Literature, vol. 1. Routledge. pp. 54–56. ISBN 0415185718.
- ↑ Qian, A. (2012). The Maqāmah as Prosimetrum: A Comparative Investigation of its Origin, Form and Function [Unpublished doctoral dissertation]. University of Pennsylvania.
- ↑ Omri, Mohamed-Salah (2008). "Local Narrative Form and Construction of the Arabic Novel". Novel: A Forum on Fiction. 41 (2/3): 244–263. doi:10.1215/ddnov.041020244. JSTOR 40267737 – via JSTOR.
- ↑ Roxburgh, David J. (2014-01-31). "In Pursuit of Shadows: Al-Hariri's Maqāmāt". Muqarnas Online. 30 (1): 171–212. doi:10.1163/22118993-0301P0009. ISSN 0732-2992.
- ↑ Jouvanceau, Pierre (2004). The Silhouette Film. Pagine di Chiavari. trans. Kitson. Genoa: Le Mani. ISBN 88-8012-299-1.
- ↑ Salzburg Marionetten Theatre, p.11
- ↑ Bad Toelz, The History of the Bad Toelz Marionette Theatre, p. 1
- ↑ Chavannes, Édouard (1908). "Nécrologie : Le professeur Wilhelm Grube". T'oung Pao. Second Series. 9 (4): 593–595.
- ↑ "Births Dec 1855". FreeBMD . ONS . Retrieved 2024-06-21.
- ↑ Forward, Charles Walter (1898). Fifty Years of Food Reform: A History of the Vegetarian Movement in England. London; Manchester: The Ideal Publishing Union; The Vegetarian Society. p. 148.
- ↑ "PAL (Jean de Paléologue) (1860 - 1942)". Cerutti Miller Online. Retrieved 2015-04-17.
- ↑ BnF Notice d'autorité personne. Saur 2000, vol. 7, p. 533 says Paleologue died in Miami.
- ↑ Harlan, Debi; Price, Megan (2003). "Henry Underhill: Entomologist, Grocer, Antiquarian and Magic Lantern Artist". The New Magic Lantern Journal. 9 (4): 51–53.
- ↑ Wood, Juliette (2012). "Fairytales and the Magic Lantern: Henry Underhill's Lantern Slides in the Folklore Society Collection". Folklore. 123 (3): 254–263.
- ↑ Price, Megan (2008). "H. M. J. Underhill (1855–1921); Oxford Antiquarian, Artist, and 'Provision Merchant'" (PDF). Oxoniensia . Oxfordshire Architectural and Historical Society: 99–119.