Covers: Movement in two dimensions.

First published in 2004. This set of 3 volumes collects together for the first time rare and scattered material on the history of pre-cinema. It includes articles on stereoscopic photography; the use of kaleidoscopes; optical illusions; theatre design; magic lanterns and mirrors; shadow theatre, and much more. The articles are taken from sources such as The Magazine of Science, The Art Journal, The British Journal of Photography, Scientific American, American Journal of Science and Arts, and The Mirror. Volume 2 includes the areas of Peepshows, panoramas and dioramas; Mirror projection, shadows, magic lanterns; and Various optical devices and effects.

First published in 2004. This set of 3 volumes collects together for the first time rare and scattered material on the history of pre-cinema. It includes articles on stereoscopic photography; the use of kaleidoscopes; optical illusions; theatre design; magic lanterns and mirrors; shadow theatre, and much more. The articles are taken from sources such as The Magazine of Science, The Art Journal, The British Journal of Photography, Scientific American, American Journal of Science and Arts, and The Mirror. Volume 1 includes the areas of Camera Obscura to Chronophotography and Optical Toys and Devices Magic Mirrors.

First published in 2004. This set of 3 volumes collects together for the first time rare and scattered material on the history of pre-cinema. It includes articles on stereoscopic photography; the use of kaleidoscopes; optical illusions; theatre design; magic lanterns and mirrors; shadow theatre, and much more. The articles are taken from sources such as The Magazine of Science, The Art Journal, The British Journal of Photography, Scientific American, American Journal of Science and Arts, and The Mirror. Volume 3 includes the area of Movement in Two Dimensions- a study of the animated and projected pictures which preceded the invention of cinematography.

A History of Pre-Cinema Volume 1 (and volumes 2 and 3) cover the optical devices used for entertainment and instruction that proliferated before the introduction of cinema. Volume 1 is divided into the following sections: The camera obscura; Photography; Stereoscopy; Moving photographs; Chronophotography; Optical, philosophical toys.

A History of Pre-Cinema Volume 2 (and volumes 1 and 3) cover the optical devices used for entertainment and instruction that proliferated before the introduction of cinema. Volume 2 is divided into the following sections: Peepshows; The Panorama; The Diorama; Magic Mirrors; Shadowplay; Magic Lanterns; Pepper's Ghost; Recreative Science; Various Optical Devices.

This book provides a short and concise overview of the vastly complex history of the origins of cinema. From the very first zoetropes and magic lanterns, to the first motion capture film cameras. Covering the key individuals involved in the creation of cinema, such as, Albertus Magnus, Eadweard Muybridge, Louis Le Prince and the Lumiere Brothers. Any film fan or anyone with an interest in the history of cinema should find this book both interesting and useful.

"This book provides essential documentation of all known Edison films made between 1890 and 1900. Thomas Edison and his associates at the Edison Laboratory in West Orange, New Jersey, invented the first system of commercial motion pictures." "Making the historical framework predominant while retaining traditional cataloging features, Edison Motion Pictures, 18901900 is of value to a wide range of scholars interested in American life at the turn of the century - those working in performance studies, film and media studies, cultural history, ethnic studies, and social and political history. Documentary filmmakers, film programmers, archivists, and librarians can also benefit from using this catalog." "Edison films from the end of the nineteenth century offer a unique visual record of American entertainment and popular culture - moving images that become much more interesting and useful when they can be examined in conjunction with pertinent documentation." "Scholars concerned with portrayals of war, depictions of the American presidency, and many other topics in the nation's political history will find much useful information."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Film emerged in pre-Revolutionary Russia to become the 'most important of all arts' for the new Bolshevik regime and its propaganda machine. This text is a complete history from the beginning of film onwards and presents an engaging narrative of both the industry and its key films in the context of Russia's social and political history.

In The Image in Early Cinema, the contributors examine intersections between early cinematic form, technology, theory, practice, and broader modes of visual culture. They argue that early cinema emerged within a visual culture composed of a variety of traditions in art, science, education, and image making. Even as methods of motion picture production and distribution materialized, they drew from and challenged practices and conventions in other mediums. This rich visual culture produced a complicated, overlapping network of image-making traditions, innovations, and borrowing among painting, tableaux vivants, photography, and other pictorial and projection practices. Using a variety of concepts and theories, the contributors explore these crisscrossing traditions and work against an essentialist notion of media to conceptualize the dynamic interrelationship between images and their context.