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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.
Charles-Émile Reynaud was a French inventor, responsible for the praxinoscope and was responsible for the first projected animated films. His Pantomimes Lumineuses premiered on 28 October 1892 in Paris. His Théâtre Optique film system, patented in 1888, is also notable as the first known instance of film perforations being used. The performances predated Auguste and Louis Lumière's first paid public screening of the cinematographe on 26 December 1895, often seen as the birth of cinema.
The praxinoscope was an animation device, the successor to the zoetrope. It was invented in France in 1877 by Charles-Émile Reynaud. Like the zoetrope, it used a strip of pictures placed around the inner surface of a spinning cylinder. The praxinoscope improved on the zoetrope by replacing its narrow viewing slits with an inner circle of mirrors, placed so that the reflections of the pictures appeared more or less stationary in position as the wheel turned. Someone looking in the mirrors would therefore see a rapid succession of images producing the illusion of motion, with a brighter and less distorted picture than the zoetrope offered.
Chronophotography is a photographic technique from the Victorian era which captures a number of phases of movements. The best known chronophotography works were mostly intended for the scientific study of locomotion, to discover practical information for animal handlers and/or as reference material for artists. Although many results were not intended to be exhibited as moving pictures, there is much overlap with the more or less simultaneous quest to register and exhibit photographic motion pictures.
The Sabatier effect, also known as pseudo-solarization and erroneously referred to as the Sabattier effect, is a phenomenon in photography in which the image recorded on a negative or on a photographic print is wholly or partially reversed in tone. Dark areas appear light or light areas appear dark. Solarization and pseudo-solarization are quite distinct effects. Over time, the "pseudo" has been dropped in many photographic darkroom circles and discussions, but the effect that is meant is the Sabattier effect and not the solarization by extreme overexposure.
The megalethoscope is a larger version (mega-) of the alethoscope, which it largely superseded, and both are instruments for viewing single photographs with a lens to enlarge and to create some illusion of three-dimensionality. They were used to view photographic albumen prints that were coloured, perforated and mounted on a curved frame. Night effects were achieved when viewing pictures in transmitted light from a fitted oil or kerosine lamp and a daytime version of the same scene was seen when lit by the reflected light from two side mirrors. They are sophisticated versions of the peep show, and were designed by Carlo Ponti of Venice before 1862. Lke the similar graphoscope which descends from the eighteenth century zograscope predating photography, these devices were, and are, often confused with the stereoscope which was of a different design and effect. Improvements to the megalethoscope over the alethoscope, mainly the addition of a compound lens, are detailed in The Practical Mechanic's Journal of 1867.
Precursors of film are concepts and devices that have much in common with the later art and techniques of cinema.
The Théâtre Optique is an animated moving picture system invented by Émile Reynaud and patented in 1888. From 28 October 1892 to March 1900 Reynaud gave over 12,800 shows to a total of over 500,000 visitors at the Musée Grévin in Paris. His Pantomimes Lumineuses series of animated films include Pauvre Pierrot and Autour d'une cabine. Reynaud's Théâtre Optique predated Auguste and Louis Lumière's first commercial, public screening of the cinematograph on 28 December 1895, which has long been seen as the birth of film.
Owen Graystone Bird (1862–1943) was a British professional photographer, active during the late nineteenth and early twentieth centuries. Some sources give his first name as William instead of Owen, however, all sources agree on the prominent use of Graystone. The cause of confusion about the correct form of Bird's full name is unclear, but it does not seem to be a case of multiple photographers using the names "Graystone" and "Bird" in combination, contemporaneously.
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.
Barrier-grid animation or picket-fence animation is an animation effect created by moving a striped transparent overlay across an interlaced image. The barrier-grid technique originated in the late 1890s, overlapping with the development of parallax stereography (Relièphographie) for 3D autostereograms. The technique has also been used for color-changing pictures, but to a much lesser extent.
For the history of animation after the development of celluloid film, see history of animation.
The Santos Passos Church, officially called Igreja de Nossa Senhora da Consolação e dos Santos Passos and sometimes referred to as Igreja de São Gualter, is an 18th-century Portuguese baroque Catholic church located at the Campo da Feira in Guimarães, Portugal.
Events in 1882 in animation.
Events in 1877 in animation.
Events in 1876 in animation.
Events in 1873 in animation.
Events in 1870 in animation.
References
- ↑ Zone, Ray (2014-02-03). Stereoscopic Cinema and the Origins of 3-D Film, 1838-1952. University Press of Kentucky. ISBN 978-0-8131-4589-1.
- ↑ Herbert, Stephen (1998). Industry, Liberty, and a Vision: Wordsworth Donisthorpe's Kinesigraph. The Projection Box. ISBN 978-0-9523941-3-6.
- ↑ Mannoni, Laurent The Great Art of Light and Shadow (2000 translation by Crangle)
- ↑ "Bulletin de la Société française de photographie | Société française de photographie". Gallica. 1862. Retrieved 2020-04-25.
- ↑ "Igreja e oratórios de Nossa Senhora da Consolação / Igreja de São Gualter". www.monumentos.gov.pt (in European Portuguese). Archived from the original on 23 February 2024. Retrieved 26 February 2024.
- ↑ Ferrão, Bernardo; Ferrão Afonso, José. "Edificações do Centro Histórico e Sua Envolvente Com Interesse Patrimonial (Fichas)" (PDF). cm-guimaraes.pt. pp. 68, 69. Archived from the original on 10 January 2024. Retrieved 19 March 2024.
- ↑ 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.
- ↑ "Biographie".
- ↑ Myrent 1989.
- ↑ "Medals and Honourable Mentions Awarded by the International Juries: With a ..." Her Majesty's Commissioners. 10 April 1862 – via Internet Archive.
- ↑ Zone, Ray (3 February 2014). Stereoscopic Cinema and the Origins of 3-D Film, 1838-1952. University Press of Kentucky. ISBN 9780813145891 – via Google Books.
- ↑ Hunt, Robert (1862). Handbook to the industrial department of the International exhibition, 1862.
- ↑ "Chambers's Encyclopaedia: A Dictionary of Universal Knowledge for the People". W. and R. Chambers. April 10, 1868 – via Google Books.
- ↑ Guo, Li (2020). Arabic Shadow Theatre 1300-1900: A Handbook. Brill. p. 18. ISBN 978-90-04-43615-2 . Retrieved 18 January 2021.
- ↑ Charles C. Torrey, review of Festschrift Georg Jacob by Theodor Menzel and The Macdonald Presentation Volume, Journal of the American Oriental Society, 54 (1934), 89–91 (p. 89), DOI: 10.2307/594329
- ↑ Jouvanceau, Pierre (2004). The Silhouette Film. Pagine di Chiavari. trans. Kitson. Genoa: Le Mani. ISBN 88-8012-299-1.
- ↑ Bath Chronicle and Weekly Gazette 23 October 1943, page 11
- ↑ Magic Lantern World (14 April 2009). "Graystone Bird: Victorian Photographer" . Retrieved 26 April 2018– via YouTube.