Media | 1950 | Sound | B/W
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Origins of film.
U.S.A. navy battleships cross left to right in medium shot, bit shaky. Theodore Roosevelt at hustings. He watches march past. The Vanderbilt motor car race in 1903. Cars race down and around bends. Art on cave walls, bison. Stone relief on temple walls. Greek friezes of dancing and horses in motion. Sketch of Leonardo da Vinci. Mona Lisa. Camera Obscura, engravings demonstrating its use. Impression of Arabian astronomer al Hussain. Giovanni della Porta, engraving of his work with camera obscura. Kircher, German scientist and his theatre of mirrors, his book title page 'Ars Magna Lucis et Umbre' 1640, he explains magic lanterns. Christian Hoegan, 1656, magic lantern to project to many people. Engraving of Peter Mark Roget, famed for Roget's Thesaurus read a paper to the Royal Society of London on 24th December 1824 on the persistence of vision. Dr. John Ergon Paris who invented the Thaumatrope. Mr Plateau saw that a deformed image looked normal when viewed through a disc. He then invented the phenakistiscope, the disc of images on a stick. Man sits at bench of an attic workshop and paints zoetrope strips. He looks through slots at the moving action. The praxinoscope, refinement with central mirrors. Baron Von Uchatius, a German, devised a magic lantern with spinning disc, therefore the first projected moving picture but not photographic. Daguerre, engraving of him, invented recording a picture by chemical action. Fox Talbot, a photograph of him, develops the negative and print. Langenheims brothers, a photo of them, made positive prints on glass for projection. So by 1870, man had persistence of vision, apparatus and transparent photographs.
Mr. Stanford commissioned Edward Muybridge, stills of both of them, to discover whether horses feet leave the ground in gallop. Still of series of cameras being set up. Still of 24 numbered cameras. Drawing of threads and horse. The Muybridge projector was the zoopraxiscope, a still of it. Series of "moving" images of the horse cantering. Muybridge shows his experiment to Marey. Still portrait of Marey and still of his idea for a photographic "gun" to capture movement. A still of Edison and his studio. A phonograph. A still of Edison in a laboratory surrounded by hundreds of glass tubes and bottles, looking very much the mad scientist or inventor. Still of Edison with his phonograph and projector to match sound and pictures. Edison's strips of photographs on a cylinder. Celluloid with light sensitive emulsion. Edison perforates his film. Edison's perforator demonstrated. Much experimentation until nitrate cellulose was bought from George Eastman who was using it in his still cameras. Film of Eastman and Edison. Edison's strip Kinetograph working. It works as camera and as a projector. The frame is horizontal along the film. Edison's Kineto graphic theatre, the Black Maria, several stills and a scale model. It had moveable roof panels. Two men dance together while a man plays the violin into a horn. These films were used in the Kinetoscope. Continuous loops in a wooden or metal cabinet. Still of man in bowler hat using one with head set for the sound. Edison copyrights his films at the library of congress, Washington. Paper copies. Paper rolls for copyright. 1896 shown at the music halls of New York. Projectors of Mr. Jenkings, Mr. Levinson, and the Chicago Co. The Lumiere cinematographe camera. Mutograph camera and viewer. Clip book principle projector, film of Pope Leo XIII in Rome, Italy (very faded). Newsreel of U.S.A. troops landing in Cuba, a line of soldiers fire rifles at unseen enemy in trees. The marines of the U.S.S. Brooklyn March by. 1897 military training film, troops fire artillery gun at a house. The gatling gun. U.S.A.'s first submarine SS Holland 1903, it rises out of the waves and men stand on top of it. Recap of extracts shown.
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