The magic lantern, also known by its Latin name laterna magica, is 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.
A camera obscura is a darkened room with a small hole or lens at one side through which an image is projected onto a wall or table opposite the hole.
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 phenakistiscope was the first widespread animation device that created a fluent illusion of motion. Dubbed Fantascope and Stroboscopische Scheiben by its inventors, it has been known under many other names until the French product name Phénakisticope became common. The phenakistiscope is regarded as one of the first forms of moving media entertainment that paved the way for the future motion picture and film industry. Similar to a GIF animation, it can only show a short continuous loop.
Phantasmagoria, alternatively fantasmagorie and/or fantasmagoria was a form of horror theatre that used one or more magic lanterns to project frightening images, such as skeletons, demons, and ghosts, onto walls, smoke, or semi-transparent screens, typically using rear projection to keep the lantern out of sight. Mobile or portable projectors were used, allowing the projected image to move and change size on the screen, and multiple projecting devices allowed for quick switching of different images. In many shows, the use of spooky decoration, total darkness, (auto-)suggestive verbal presentation, and sound effects were also key elements. Some shows added a variety of sensory stimulation, including smells and electric shocks. Such elements as required fasting, fatigue, and drugs have been mentioned as methods of making sure spectators would be more convinced of what they saw. The shows started under the guise of actual séances in Germany in the late 18th century and gained popularity through most of Europe throughout the 19th century.
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.
Johann Zahn was the seventeenth-century German author of Oculus Artificialis Teledioptricus Sive Telescopium. This work contains many descriptions and diagrams, illustrations and sketches of both the camera obscura and magic lantern, along with various other lanterns, slides, projection types, peepshow boxes, microscopes, telescopes, reflectors, and lenses. As a student of light, Zahn is considered the most prolific writer and illustrator of the camera obscura.
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.
Leonard Lipton was an American author, filmmaker, lyricist and inventor. At age 19, Lipton wrote the poem that became the basis for the lyrics to the song "Puff, the Magic Dragon". He went on to write books on independent filmmaking and become a pioneer in the field of projected three-dimensional imagery. His technology is used to show 3D films on more than 30,000 theater screens worldwide. In 2021, he published The Cinema in Flux, an 800-page illustrated book on the history of cinema technology.
Carlo Ponti was a Swiss-born optician and photographer active in Venice from about 1848.
The National Museum of Cinema located in Turin, Italy, is a motion picture museum fitted out inside the Mole Antonelliana tower. It is operated by the Maria Adriana Prolo Foundation, and the core of its collection is the result of the work of the historian and collector Maria Adriana Prolo. It was housed in the Palazzo Chiablese.
A projector or image projector is an optical device that projects an image onto a surface, commonly a projection screen. Most projectors create an image by shining a light through a small transparent lens, but some newer types of projectors can project the image directly, by using lasers. A virtual retinal display, or retinal projector, is a projector that projects an image directly on the retina instead of using an external projection screen.
The Cinema Museum - Tomàs Mallol Collection is a museum dedicated to the world of film and moving images.
John Arthur Roebuck Rudge was a British scientific instrument maker and inventor, who lived in Bath, noted for his contributions to the development of moving pictures. He collaborated with William Friese-Greene and, around 1880, he invented a device known as the Biophantic Lantern. This rotated seven square slides around a circular lamp housing, using a movement similar to the Maltese Cross, later found in many film projectors. The light was obscured between images via a pair of ground glass shutters. The only surviving sequence - likely the only one ever made - shows Rudge taking off his own head and putting it under his arm. The trick was carried out by Friese-Greene playing the body. This lantern and the slides are now to be found in the Cinémathèque Française.
A Terrible Night is an 1896 French silent comedy film by Georges Méliès. It was released by Méliès's Star Film Company and is numbered 26 in its catalogues, where it is listed with the descriptive subtitle scène comique.
Henry Langdon Childe (1781–1874) was an English showman, known as a developer of the magic lantern and dissolving views, a precursor of the dissolve in cinematic technique. While the priority question on the technical innovations Childe used is still debated, he established the use of double and triple lanterns for special theatrical effects, to the extent that the equipment involved became generally available through suppliers to other professionals. By the 1840s the "dissolving view", rooted in Gothic horror, had become a staple of illustrated talks with restrained animations.
La Lanterne magique, sold in the United States as The Magic Lantern and in Britain as The Magic Lantern, or the Bioscope in the Toy Shop, is a 1903 French short silent film by Georges Méliès. It was sold by Méliès's Star Film Company and is numbered 520–524 in its catalogues.
