{"id":7736,"date":"2024-03-08T17:09:55","date_gmt":"2024-03-08T17:09:55","guid":{"rendered":"https:\/\/williamcromar.com\/newmediawiki\/?p=7736"},"modified":"2025-08-05T21:39:27","modified_gmt":"2025-08-05T21:39:27","slug":"chapter-16-metaphors-to-cinema","status":"publish","type":"post","link":"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/","title":{"rendered":"CHAPTER 16 | Metaphors to Cinema"},"content":{"rendered":"\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div id=\"ez-toc-container\" class=\"ez-toc-v2_0_82_2 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<div class=\"ez-toc-title\" style=\"cursor:inherit\">Contents<\/div>\n<label for=\"ez-toc-cssicon-toggle-item-69f0b9dad15f1\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"ez-toc-cssicon\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-69f0b9dad15f1\"  aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Introduction\" >Introduction<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Challenge_to_a_status_quo%E2%80%A6_or_a_return_to_integration\" >Challenge to a status quo&#8230; or a return to integration?<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#The_persistence_of_persistence-of-vision\" >The persistence of persistence-of-vision<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Flipbook_and_thaumatrope\" >Flipbook and thaumatrope<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Phenakistiscope_and_zoetrope\" >Phenakistiscope and zoetrope<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Projection_and_the_magic_lantern\" >Projection and the magic lantern<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Building_on_the_camera\" >Building on the camera<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#The_Paleolithic_pinhole\" >The Paleolithic pinhole<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#The_camera_obscura\" >The camera obscura<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Fixing_the_image\" >Fixing the image<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Stopping_motion%E2%80%A6\" >Stopping motion\u2026<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-12\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#%E2%80%A6_And_starting_it\" >\u2026 And starting it<\/a><\/li><\/ul><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-13\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#The_birth_of_a_medium\" >The birth of a medium<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-14\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Continuity_editing_and_the_active_point_of_view\" >Continuity editing and the active point of view<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-15\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#In_black_and_white%E2%80%A6\" >In black and white&#8230;<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-16\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#%E2%80%A6_And_in_living_color\" >&#8230; And in living color<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-17\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Animation\" >Animation<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-18\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Winsor_McCay_and_beyond\" >Winsor McCay and beyond<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-19\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Experimental_animation\" >Experimental animation<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-20\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Comic_effect\" >Comic effect<\/a><\/li><\/ul><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-21\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Art_films\" >Art films<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-22\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Rise_of_the_avant-garde\" >Rise of the avant-garde<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-23\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Video_art\" >Video art<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-24\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Video_artists\" >Video artists<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-25\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Installation\" >Installation<\/a><\/li><\/ul><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-26\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Sound_and_vision\" >Sound and vision<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-27\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#%E2%80%9CSilent%E2%80%9D_film\" >\u201cSilent\u201d film<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-28\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Talkies\" >Talkies<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-29\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Films_for_Music_for_Films\" >Films for Music for Films<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-30\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#The_future_is_the_past\" >The future is the past<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-31\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Found_sound\" >Found sound<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-32\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#The_language_of_cinema\" >The language of cinema<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-33\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Shooting\" >Shooting<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-34\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Editing\" >Editing<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-35\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Transitions\" >Transitions<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-36\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#Sound\" >Sound<\/a><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"has-text-align-right has-small-font-size\"><em>25-minute read, but video content doubles engagement<\/em><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter\"><img loading=\"lazy\" decoding=\"async\" width=\"694\" height=\"694\" data-attachment-id=\"30\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/nmw\/paralleluniverses_01\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png\" data-orig-size=\"694,694\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"parallelUniverses_01\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png\" src=\"https:\/\/i0.wp.com\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png?resize=694%2C694&amp;ssl=1\" alt=\"\" class=\"wp-image-30\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png 694w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01-300x300.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01-150x150.png 150w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01-100x100.png 100w\" sizes=\"auto, (max-width: 694px) 100vw, 694px\" \/><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Introduction\"><\/span>Introduction<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/yrO2Qc1KyZc?si=-FVBvnMWx0UTkzs3\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p>The fine arts have &#8220;traditionally&#8221; been divided into painting, sculpture, and architecture. But these classifications are the exception in the long span of history. After the development of easel painting in the Renaissance, the&nbsp;L\u2018Ecole des Beaux-Arts&nbsp;(School of Fine Arts) in France codified these categories as a curriculum structure. These have persisted in the West ever since. But given that the impulse to create art is as&nbsp;old as humanity, the painting-sculpture-architecture model is a 500-year &#8220;blip&#8221; on a potentially 300,000-year-old radar screen.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Challenge_to_a_status_quo%E2%80%A6_or_a_return_to_integration\"><\/span>Challenge to a status quo&#8230; or a return to integration?<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>&#8220;Modern&#8221; art expressions that challenged the Beaux-Arts status quo include such things as installation and performance art, cinema, and now &#8220;new media.&#8221; These means of expression can be termed immersive art environments because they often involve sight&nbsp;<em>and<\/em>&nbsp;sound&nbsp;<em>or<\/em>&nbsp;touch  \u2014 in any event, more than one of the senses.<\/p>\n\n\n\n<p>But these expressions constitute a cyclical return to the first modes of expression in art! At the fundamental level, what is the real difference between the cave paintings at <a href=\"https:\/\/archeologie.culture.gouv.fr\/lascaux\/en\/lascaux-cave-virtual-visit\" target=\"_blank\" rel=\"noreferrer noopener\">Lascaux<\/a> and an installation by <a href=\"http:\/\/www.borofsky.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">Jonathan Borofsky<\/a>? The only difference may be that the &#8220;cave&#8221; Borofsky painted is built by humans.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"720\" height=\"472\" data-attachment-id=\"7801\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/lascaux_painting\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Lascaux_painting.webp\" data-orig-size=\"720,472\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Lascaux_painting\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Lascaux_painting.webp\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Lascaux_painting.webp\" alt=\"\" class=\"wp-image-7801\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Lascaux_painting.webp 720w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Lascaux_painting-300x197.webp 300w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\" \/><figcaption class=\"wp-element-caption\"><em>Lascaux Cave, <a href=\"https:\/\/smarthistory.org\/hall-of-bulls-lascaux\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Hall of the Bulls<\/strong><\/a>,&nbsp;circa 20,000 BCE<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"681\" height=\"1024\" data-attachment-id=\"7802\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/borofsky-rabbit\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/borofsky-rabbit.png\" data-orig-size=\"1058,1590\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"borofsky-rabbit\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/borofsky-rabbit-681x1024.png\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/borofsky-rabbit-681x1024.png\" alt=\"\" class=\"wp-image-7802\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/borofsky-rabbit-681x1024.png 681w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/borofsky-rabbit-200x300.png 200w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/borofsky-rabbit-768x1154.png 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/borofsky-rabbit-1022x1536.png 1022w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/borofsky-rabbit-300x451.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/borofsky-rabbit.png 1058w\" sizes=\"auto, (max-width: 681px) 100vw, 681px\" \/><figcaption class=\"wp-element-caption\"><em>Jonathan Borofsky, <a href=\"https:\/\/collection.themodern.org\/objects\/771\/selfportrait-with-big-ears-learning-to-be-free;jsessionid=04075FCBCB9817957C117C81C48969B1\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Self Portrait with Big Ears<\/strong><\/a>,&nbsp;1980<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p>Here, we will explore one of these challenges to the not-so-longstanding Beaux-Arts tradition. &#8220;New media&#8221; and its use of the moving image finds historical roots in cinema. Cinema, in turn, develops out of photography. Photography, in turn, comes from \u2014 well, as we will see, from the standpoint of basic human proclivities, there is nothing &#8220;new&#8221; in &#8220;new media.&#8221; We are still telling our stories to prevail against the darkness. We&#8217;ve simply replaced the flicker of the campfire with that of the camera, the projector, or the monitor.<\/p>\n\n\n\n<p>While time permits us only to highlight some critical concepts and developments along this historical path, an encyclopedic reference, the <a href=\"http:\/\/www.precinemahistory.net\/index.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>History of the Discovery of Cinema<\/strong><\/a> website by Paul Burns, provides a more comprehensive list of the scientific and artistic developments leading to the creation of motion pictures.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_persistence_of_persistence-of-vision\"><\/span>The persistence of persistence-of-vision<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em>[Cinema] is the fixing of reality, the essence of time, a way of preserving time which allow to roll and unroll it forever. No other form of art can do that. Therefore, cinema is a mosaic made of time.<\/em><\/p>\n<cite>\u2014 Andrei Tarkovsky <sup><a href=\"#footnote_1_7736\" id=\"identifier_1_7736\" class=\"footnote-link footnote-identifier-link\" title=\"Bielawski, Jan and Trondsen, Trond S. &quot;Andrei Tarkovsky Talks About... .&quot; nostalghia.com: an Andrei Tarkovsky Information Site. 2001-2005. http:\/\/people.ucalgary.ca\/~tstronds\/nostalghia.com\/TheTopics\/AT_For_Dummies.html\">1<\/a><\/sup><\/cite><\/blockquote>\n\n\n\n<p>Why do we perceive movement <em>as<\/em> movement? More precisely, why do we perceive a series of static images, changing slightly from one another and projected at our eyes in very rapid succession, as containing the illusion of motion? The traditional theory taught in schools of film is known as&nbsp;<strong>persistence of vision<\/strong>, a phenomenon whereby a retinal afterimage is retained for a fraction of a second and blended with what is occurring right now. The theory is useful but was debunked by one of the founders of <a href=\"http:\/\/gestalttheory.net\/\" target=\"_blank\" rel=\"noreferrer noopener\">Gestalt psychology<\/a>, <a href=\"http:\/\/en.wikipedia.org\/wiki\/Max_Wertheimer\" target=\"_blank\" rel=\"noreferrer noopener\">Max Wertheimer<\/a>, in 1912.&nbsp;Authors of the <em>MediaCollege<\/em> site suggests &#8220;it is thought that the illusion of continuous motion is caused by unrelated phenomena such as<em>&nbsp;beta movement<\/em>&nbsp;(the brain assuming movement between two static images when shown in quick succession).&#8221; <sup><a href=\"#footnote_2_7736\" id=\"identifier_2_7736\" class=\"footnote-link footnote-identifier-link\" title=\"https:\/\/www.mediacollege.com\/glossary\/p\/persistence-of-vision.html\">2<\/a><\/sup>&nbsp; Visit Rod Munday&#8217;s <a href=\"http:\/\/visual-memory.co.uk\/daniel\/Modules\/FM21820\/visper08.html\" target=\"_blank\" rel=\"noreferrer noopener\">The Moving Image<\/a> for a comprehensive web lecture on the topic.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"340\" height=\"98\" data-attachment-id=\"7803\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/beta_movement\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/beta_movement.gif\" data-orig-size=\"340,98\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"beta_movement\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/beta_movement.gif\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/beta_movement.gif\" alt=\"\" class=\"wp-image-7803\"\/><\/figure>\n<\/div>\n\n\n<p>Even though it has been proven a myth, persistence of vision&nbsp;<em>persists<\/em>&nbsp;in otherwise respectable cinematic theory. Why? Rod Munday quotes some critics who blame sloppy scholarship. This author prefers the explanation that, as a&nbsp;<em>metaphor<\/em>, the idea of&nbsp;<em>persistence<\/em>&nbsp;relating to&nbsp;<em>vision<\/em>&nbsp;remains potent and useful to a motion picture artist. In any event, the phenomenon of apparent motion, whatever the cause, existed long before the movies came along.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Flipbook_and_thaumatrope\"><\/span>Flipbook and thaumatrope<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>Small, hand-held, and user-controlled (<em>interactive?<\/em>), these devices came to popularity in the early 19th century. The&nbsp;<strong>flipbook<\/strong>, comprehensively illustrated at <a href=\"http:\/\/www.flipbook.info\/\" target=\"_blank\" rel=\"noreferrer noopener\">flipbook.info<\/a>, uses beta movement to imply motion, while the <a href=\"https:\/\/en.wikipedia.org\/wiki\/Thaumatrope\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>thaumatrope<\/strong><\/a> creates the illusion of combining two images into one.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" data-attachment-id=\"7805\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/1280px-daumenkino_kol\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1280px-Daumenkino_kol.jpg\" data-orig-size=\"1280,960\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"1280px-Daumenkino_kol\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1280px-Daumenkino_kol-1024x768.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1280px-Daumenkino_kol-1024x768.jpg\" alt=\"\" class=\"wp-image-7805\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1280px-Daumenkino_kol-1024x768.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1280px-Daumenkino_kol-300x225.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1280px-Daumenkino_kol-768x576.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1280px-Daumenkino_kol.jpg 1280w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em><a href=\"https:\/\/en.m.wikipedia.org\/wiki\/File:Daumenkino_kol.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">Flipbook<\/a> in action<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"389\" data-attachment-id=\"7806\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/ghows-nb-ac337125-2e98-404d-9311-726f562263ab-9c442b6f\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ghows-NB-ac337125-2e98-404d-9311-726f562263ab-9c442b6f.webp\" data-orig-size=\"600,389\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"ghows-NB-ac337125-2e98-404d-9311-726f562263ab-9c442b6f\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ghows-NB-ac337125-2e98-404d-9311-726f562263ab-9c442b6f.webp\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ghows-NB-ac337125-2e98-404d-9311-726f562263ab-9c442b6f.webp\" alt=\"\" class=\"wp-image-7806\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ghows-NB-ac337125-2e98-404d-9311-726f562263ab-9c442b6f.webp 600w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/ghows-NB-ac337125-2e98-404d-9311-726f562263ab-9c442b6f-300x195.webp 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\"><em>Postcard illustration of a <a href=\"https:\/\/culturedecanted.com\/2014\/08\/27\/semiotics-of-the-birdcage\/\">thaumatrope<\/a>. Below is what one sees when used.<\/em><\/figcaption><\/figure>\n<\/div>\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"140\" height=\"140\" data-attachment-id=\"7807\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/flimg-flickr\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/flimg.flickr.gif\" data-orig-size=\"140,140\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"flimg.flickr\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/flimg.flickr.gif\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/flimg.flickr.gif\" alt=\"\" class=\"wp-image-7807\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/flimg.flickr.gif 140w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/flimg.flickr-100x100.gif 100w\" sizes=\"auto, (max-width: 140px) 100vw, 140px\" \/><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p><a href=\"http:\/\/www.randommotion.com\/index.html\" target=\"_blank\" rel=\"noreferrer noopener\">Random Motion<\/a>&nbsp;by Ruth Hayes has some smart examples of&nbsp;flipbooks&nbsp;and&nbsp;<a href=\"http:\/\/www.randommotion.com\/html\/thauma.html\" target=\"_blank\" rel=\"noreferrer noopener\">thaumatropes<\/a>.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Phenakistiscope_and_zoetrope\"><\/span>Phenakistiscope and zoetrope<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>Slightly more complex, but building on the same phenomenon, the <a href=\"https:\/\/en.wikipedia.org\/wiki\/Phenakistiscope\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>phenakistiscope<\/strong><\/a> by <a href=\"https:\/\/en.wikipedia.org\/wiki\/Joseph_Plateau\" target=\"_blank\" rel=\"noreferrer noopener\">Joseph Plateau<\/a> was a rotating disc that created the illusion of motion. It also went by the names <strong>stroboscope<\/strong> and <strong>zoopraxiscope<\/strong>.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"768\" data-attachment-id=\"7809\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/stroboscope-of-joseph-plateau-phenakistoscope\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/phenakistoscope-768x768-1.jpg\" data-orig-size=\"768,768\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Juulijs - stock.adobe.com&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;Stroboscope of Joseph Plateau (phenakistoscope)&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Stroboscope of Joseph Plateau (phenakistoscope)\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/phenakistoscope-768x768-1.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/phenakistoscope-768x768-1.jpg\" alt=\"\" class=\"wp-image-7809\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/phenakistoscope-768x768-1.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/phenakistoscope-768x768-1-300x300.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/phenakistoscope-768x768-1-150x150.jpg 150w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/phenakistoscope-768x768-1-100x100.jpg 100w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><figcaption class=\"wp-element-caption\"><em>Phenakistiscope<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"683\" height=\"1024\" data-attachment-id=\"7810\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/zootrope-or-daedalum-strobe-machin-created-in-1824-by-george-ho\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/zoetrope-687x1030-1.jpg\" data-orig-size=\"687,1030\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;10&quot;,&quot;credit&quot;:&quot;Emilio Ereza - stock.adobe.com&quot;,&quot;camera&quot;:&quot;Canon EOS 600D&quot;,&quot;caption&quot;:&quot;Zootrope or daedalum. Strobe machin created in 1824 by George Horner. When turning, give the ilusion of movement. Antique illustration. 1883.&quot;,&quot;created_timestamp&quot;:&quot;1581166547&quot;,&quot;copyright&quot;:&quot;E. Ereza&quot;,&quot;focal_length&quot;:&quot;60&quot;,&quot;iso&quot;:&quot;200&quot;,&quot;shutter_speed&quot;:&quot;0.00625&quot;,&quot;title&quot;:&quot;Zootrope or daedalum. Strobe machin created in 1824 by George Ho&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Zootrope or daedalum. Strobe machin created in 1824 by George Ho\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Zootrope or daedalum. Strobe machin created in 1824 by George Horner. When turning, give the ilusion of movement. Antique illustration. 1883.&lt;\/p&gt;\n\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/zoetrope-687x1030-1-683x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/zoetrope-687x1030-1-683x1024.jpg\" alt=\"\" class=\"wp-image-7810\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/zoetrope-687x1030-1-683x1024.jpg 683w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/zoetrope-687x1030-1-200x300.jpg 200w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/zoetrope-687x1030-1-300x450.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/zoetrope-687x1030-1.jpg 687w\" sizes=\"auto, (max-width: 683px) 100vw, 683px\" \/><figcaption class=\"wp-element-caption\"><em>Zoetrope<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p>The <a href=\"https:\/\/en.wikipedia.org\/wiki\/Zoetrope\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>zoetrope<\/strong><\/a> turned the disc into a drum, and a variant, the <a href=\"https:\/\/en.wikipedia.org\/wiki\/Praxinoscope\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>praxinoscope<\/strong><\/a>, replaced slits with mirrors.&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/William_George_Horner\" target=\"_blank\" rel=\"noreferrer noopener\">William George Horner<\/a> is credited with the invention of the zoetrope, but Wikipedia claims the &#8220;earliest elementary zoetrope was created in China around 180 AD by the inventor Ting Huan.&#8221; <sup><a href=\"#footnote_3_7736\" id=\"identifier_3_7736\" class=\"footnote-link footnote-identifier-link\" title=\"&quot;Zoetrope.&quot; Wikipedia. 2010.&nbsp;http:\/\/en.wikipedia.org\/wiki\/Zoetrope\">3<\/a><\/sup><\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"400\" height=\"400\" data-attachment-id=\"7813\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/phenakistoscope-optimize\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Phenakistoscope-optimize.gif\" data-orig-size=\"400,400\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Phenakistoscope-optimize\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Phenakistoscope-optimize.gif\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Phenakistoscope-optimize.gif\" alt=\"\" class=\"wp-image-7813\"\/><figcaption class=\"wp-element-caption\"><em>Phenakistiscope <a href=\"https:\/\/en.m.wikipedia.org\/wiki\/File:Phenakistoscope_3g07692a.gif\" target=\"_blank\" rel=\"noreferrer noopener\">in motion<\/a><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"384\" data-attachment-id=\"7814\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/horse-zoetrope-optimize\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/horse-zoetrope-optimize.gif\" data-orig-size=\"512,384\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"horse-zoetrope-optimize\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/horse-zoetrope-optimize.gif\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/horse-zoetrope-optimize.gif\" alt=\"\" class=\"wp-image-7814\"\/><figcaption class=\"wp-element-caption\"><em>Zoetrope in action at <a href=\"https:\/\/www.youtube.com\/watch?v=RDtQm-Qlmao&amp;ab_channel=dagda16\" target=\"_blank\" rel=\"noreferrer noopener\">Camera Obscura and World of Illusions, Edinburgh, Scotland<\/a><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p>In an interesting mash-up of old and new, digital artists are creating 3D zoetropes printed from digital models. An early example of this popular form, from 2006, is seen below.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/EiYNqPThZBY?si=rAU12TR527n1Kf3w\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Analogue Art Map,&nbsp;<strong>3D Zoetrope<\/strong>, 2006<\/em><\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Projection_and_the_magic_lantern\"><\/span>Projection and the magic lantern<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>The earliest idea for projection was doubtless a simple casting of hand shadows on a cave wall by the flickering fire. Imitating animals and people, a story could be told, and even sophisticated philosophical constructs could be illustrated.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"819\" height=\"1024\" data-attachment-id=\"7817\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/il_1588xn-370652060_fa88\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/il_1588xN.370652060_fa88.jpeg\" data-orig-size=\"1588,1985\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"il_1588xN.370652060_fa88\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/il_1588xN.370652060_fa88-819x1024.jpeg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/il_1588xN.370652060_fa88-819x1024.jpeg\" alt=\"\" class=\"wp-image-7817\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/il_1588xN.370652060_fa88-819x1024.jpeg 819w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/il_1588xN.370652060_fa88-240x300.jpeg 240w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/il_1588xN.370652060_fa88-768x960.jpeg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/il_1588xN.370652060_fa88-1229x1536.jpeg 1229w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/il_1588xN.370652060_fa88-300x375.jpeg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/il_1588xN.370652060_fa88.jpeg 1588w\" sizes=\"auto, (max-width: 819px) 100vw, 819px\" \/><figcaption class=\"wp-element-caption\"><em>Illustration from a manual for creating <\/em><a href=\"https:\/\/blog.dma.org\/2016\/02\/02\/groundhog-day-shadow-play\/shadow-puppets-lyla-blu-by-gillian\/\" target=\"_blank\" rel=\"noreferrer noopener\"><em>hand shadow<\/em>s<\/a><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/69F7GhASOdM?si=VwRo6QwWFV3xvwgR\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Ramsey and Grigsby&#8217;s claymation illustration for Plato&#8217;s&nbsp;<strong>Allegory of the Cave<\/strong>, an inspiration for the film&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/The_Matrix\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>The Matrix<\/strong><\/a><\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"807\" data-attachment-id=\"7819\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/inleyding_tot_de_hooge_schoole_de_schilderkonst_introduction_to_the_noble_school_of_painting_1991-21-1\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/inleyding_tot_de_hooge_schoole_de_schilderkonst_introduction_to_the_noble_school_of_painting_1991.21.1-scaled.jpg\" data-orig-size=\"2560,2017\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"inleyding_tot_de_hooge_schoole_de_schilderkonst_introduction_to_the_noble_school_of_painting_1991.21.1\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/inleyding_tot_de_hooge_schoole_de_schilderkonst_introduction_to_the_noble_school_of_painting_1991.21.1-1024x807.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/inleyding_tot_de_hooge_schoole_de_schilderkonst_introduction_to_the_noble_school_of_painting_1991.21.1-1024x807.jpg\" alt=\"\" class=\"wp-image-7819\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/inleyding_tot_de_hooge_schoole_de_schilderkonst_introduction_to_the_noble_school_of_painting_1991.21.1-1024x807.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/inleyding_tot_de_hooge_schoole_de_schilderkonst_introduction_to_the_noble_school_of_painting_1991.21.1-300x236.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/inleyding_tot_de_hooge_schoole_de_schilderkonst_introduction_to_the_noble_school_of_painting_1991.21.1-768x605.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/inleyding_tot_de_hooge_schoole_de_schilderkonst_introduction_to_the_noble_school_of_painting_1991.21.1-1536x1210.jpg 1536w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em><strong>Fig 11<\/strong>&nbsp;Samuel Van Hoogstraten,&nbsp;<strong><a href=\"http:\/\/inleyding_tot_de_hooge_schoole_de_schilderkonst_(introduction_to_the_noble_school_of_painting)_1991.21.1.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">The Shadow Dance<\/a><\/strong>, 1675. This etching inspired Rafael Lozano-Hemmer&#8217;s&nbsp;<strong><a href=\"https:\/\/www.lozano-hemmer.com\/body_movies.php\" target=\"_blank\" rel=\"noreferrer noopener\">Body Movies<\/a><\/strong>, 2001.<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"762\" data-attachment-id=\"7820\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/screenshot-2024-03-09-at-9-19-25-am\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Screenshot-2024-03-09-at-9.19.25\u202fAM.png\" data-orig-size=\"1942,1446\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Screenshot-2024-03-09-at-9.19.25\u202fAM\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Screenshot-2024-03-09-at-9.19.25\u202fAM-1024x762.png\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Screenshot-2024-03-09-at-9.19.25\u202fAM-1024x762.png\" alt=\"\" class=\"wp-image-7820\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Screenshot-2024-03-09-at-9.19.25\u202fAM-1024x762.png 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Screenshot-2024-03-09-at-9.19.25\u202fAM-300x223.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Screenshot-2024-03-09-at-9.19.25\u202fAM-768x572.png 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Screenshot-2024-03-09-at-9.19.25\u202fAM-1536x1144.png 1536w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Screenshot-2024-03-09-at-9.19.25\u202fAM.png 1942w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Laurie Anderson,&nbsp;<strong>O Superman (For Massenet)<\/strong>, 1981. Eerie in the context of post-911,&nbsp;<a href=\"http:\/\/www.youtube.com\/watch?v=Vkfpi2H8tOE&amp;feature=related\" target=\"_blank\" rel=\"noreferrer noopener\">the video and performance<\/a>&nbsp;feature variations on hand shadows.<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p>Theatrical performances changing the scale of a human figure have used shadow castings for hundreds of years. The simple moving silhouette gives inspiration to the <a href=\"http:\/\/en.wikipedia.org\/wiki\/Magic_lantern\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>magic lantern<\/strong><\/a>. A precursor to the slide projector, it was a popular Victorian entertainment; some sources claim it made an appearance as early as 1650.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1024\" data-attachment-id=\"7822\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/luise-aubert-magic-lantern-la-lecon-de-choses-415404_1600x-copy\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/luise-aubert-magic-lantern-la-lecon-de-choses-415404_1600x-copy.jpg\" data-orig-size=\"1250,1250\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"luise-aubert-magic-lantern-la-lecon-de-choses-415404_1600x-copy\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/luise-aubert-magic-lantern-la-lecon-de-choses-415404_1600x-copy-1024x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/luise-aubert-magic-lantern-la-lecon-de-choses-415404_1600x-copy-1024x1024.jpg\" alt=\"\" class=\"wp-image-7822\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/luise-aubert-magic-lantern-la-lecon-de-choses-415404_1600x-copy-1024x1024.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/luise-aubert-magic-lantern-la-lecon-de-choses-415404_1600x-copy-300x300.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/luise-aubert-magic-lantern-la-lecon-de-choses-415404_1600x-copy-150x150.jpg 150w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/luise-aubert-magic-lantern-la-lecon-de-choses-415404_1600x-copy-768x768.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/luise-aubert-magic-lantern-la-lecon-de-choses-415404_1600x-copy-100x100.jpg 100w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/luise-aubert-magic-lantern-la-lecon-de-choses-415404_1600x-copy.jpg 1250w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em><a href=\"https:\/\/coelncameras.com\/products\/luise-aubert-magic-lantern-la-lecon-de-choses-olc-99\" target=\"_blank\" rel=\"noreferrer noopener\">French magic lantern<\/a><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"546\" data-attachment-id=\"7823\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/lot\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/lot.jpg\" data-orig-size=\"1920,1023\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"lot\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/lot-1024x546.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/lot-1024x546.jpg\" alt=\"\" class=\"wp-image-7823\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/lot-1024x546.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/lot-300x160.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/lot-768x409.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/lot-1536x818.jpg 1536w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/lot.jpg 1920w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>A <a href=\"https:\/\/drouot.com\/en\/l\/20235999-lote-con-una-variedad-de-125-diapositivas-de-linterna-magica\" target=\"_blank\" rel=\"noreferrer noopener\">magic lantern slide<\/a> with a movable lever. Slides contained machinery to create motion within the image. This represents a unique instance of&nbsp;<strong>actual<\/strong>&nbsp;versus&nbsp;<strong>apparent<\/strong>&nbsp;motion in the gadgets we&#8217;re studying.<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p><a href=\"https:\/\/www.magiclantern.org.uk\/\" target=\"_blank\" rel=\"noreferrer noopener\">The Magic Lantern Society<\/a> is keeping interest in this proto-cinematic technology alive today.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/g26K1E1Tsdg?si=TUgxZUjQ3EmFCtbs\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Building_on_the_camera\"><\/span>Building on the camera<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Most of the beta movement techniques described above involved elaborate drawing or complicated viewing interaction \u2014 peering through slits or winding string. Paralleling the exploration of beta movement was the development of the camera and a means of fixing a still image permanently to a surface. The camera has a surprisingly ancient development out of a simple physical phenomenon.<\/p>\n\n\n\n<p>All cameras, even today&#8217;s digital devices, depend on the physics of light interacting with an opening in a particular and peculiar way. This action is sometimes known as the&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/Pinhole_camera\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>pinhole<\/strong><\/a> or&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/Camera_obscura\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>camera obscura<\/strong><\/a> effect. This effect occurs when a small hole happens or is created in the wall of an otherwise completely darkened room. If the ratios of room size and hole are correct, a stunning phenomenon occurs. The outside world appears inverted and in motion, as diagrammed in the drawing by Reinerus Gemma-Frisius, believed to be the <a href=\"http:\/\/precinemahistory.net\/1400.htm\" target=\"_blank\" rel=\"noreferrer noopener\">first drawing describing the phenomenon<\/a>.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"819\" height=\"1024\" data-attachment-id=\"7826\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/pinhole\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/pinhole.png\" data-orig-size=\"1252,1566\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"pinhole\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/pinhole-819x1024.png\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/pinhole-819x1024.png\" alt=\"\" class=\"wp-image-7826\" style=\"width:416px;height:auto\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/pinhole-819x1024.png 819w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/pinhole-240x300.png 240w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/pinhole-768x961.png 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/pinhole-1228x1536.png 1228w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/pinhole-300x375.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/pinhole.png 1252w\" sizes=\"auto, (max-width: 819px) 100vw, 819px\" \/><figcaption class=\"wp-element-caption\"><em>Abelardo Morell,&nbsp;<strong><a href=\"http:\/\/www.abelardomorell.net\/project\/camera-obscura\/\" target=\"_blank\" rel=\"noreferrer noopener\">Camera Obscura: View of Landscape Outside Florence Looking East Toward Where Galileo Died in Exile<\/a><\/strong>, 2009<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"526\" data-attachment-id=\"7827\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/fw-bbaigrie\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/fw-bbaigrie.webp\" data-orig-size=\"1242,638\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"fw-bbaigrie\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/fw-bbaigrie-1024x526.webp\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/fw-bbaigrie-1024x526.webp\" alt=\"\" class=\"wp-image-7827\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/fw-bbaigrie-1024x526.webp 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/fw-bbaigrie-300x154.webp 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/fw-bbaigrie-768x395.webp 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/fw-bbaigrie.webp 1242w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Reinerus Gemma-Frisius,&nbsp;<strong><a href=\"https:\/\/www.researchgate.net\/figure\/Earliest-published-illustration-of-a-camera-obscura-depicting-the-solar-eclipse-he_fig1_242558835\" target=\"_blank\" rel=\"noreferrer noopener\">Diagram of the Pinhole Effect in a Camera Obscura<\/a><\/strong>, 1544<strong>.<\/strong>&nbsp;Left is right and up is down in images produced this way.<br><\/em><br><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Paleolithic_pinhole\"><\/span>The Paleolithic pinhole<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>Although experimentation with the pinhole effect was prevalent during the era following the Renaissance, artist Matt Gatton makes a reasonable intuitive leap in his theory concerning the observation and use of the effect as early as the <a href=\"https:\/\/web.archive.org\/web\/20140720040634\/http:\/\/www.paleo-camera.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">Paleolithic Era<\/a>. His <strong>Paleo-Camera theory<\/strong>, while difficult to prove, is well hypothesized in supporting materials on his website.<\/p>\n\n\n\n<p>Gatton&#8217;s Paleo-Camera was a happy accident of physics meeting survival and provided the prehistoric tent-dweller with &#8220;magic&#8221; upside-down moving images of the outside world. One reason why Gatton believes the rock carvings he shows contain multiple lines and overlaps is that these are a record of the animals in motion beyond the crude camera-obscura tent. These carvings were an attempt to record, or fix, the image, and could therefore, according to Gatton&#8217;s theory, be photographic in ambition.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"486\" data-attachment-id=\"7829\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/paleo-pinhole\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/paleo-pinhole.jpg\" data-orig-size=\"600,486\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"paleo-pinhole\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/paleo-pinhole.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/paleo-pinhole.jpg\" alt=\"\" class=\"wp-image-7829\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/paleo-pinhole.jpg 600w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/paleo-pinhole-300x243.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\"><em>In support of Matt Gatton&#8217;s Paleo-Camera theory, this sketch of a carving from the Paleolithic Era suggests photographic multiple-exposure imagery<\/em>&#8230;<\/figcaption><\/figure>\n<\/div>\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"621\" height=\"1024\" data-attachment-id=\"7830\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/duchamp_-_nude_descending_a_staircase\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Duchamp_-_Nude_Descending_a_Staircase.jpg\" data-orig-size=\"1242,2048\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Graydonw&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Duchamp_-_Nude_Descending_a_Staircase\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Duchamp_-_Nude_Descending_a_Staircase-621x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Duchamp_-_Nude_Descending_a_Staircase-621x1024.jpg\" alt=\"\" class=\"wp-image-7830\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Duchamp_-_Nude_Descending_a_Staircase-621x1024.jpg 621w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Duchamp_-_Nude_Descending_a_Staircase-182x300.jpg 182w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Duchamp_-_Nude_Descending_a_Staircase-768x1266.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Duchamp_-_Nude_Descending_a_Staircase-932x1536.jpg 932w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Duchamp_-_Nude_Descending_a_Staircase-300x495.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Duchamp_-_Nude_Descending_a_Staircase.jpg 1242w\" sizes=\"auto, (max-width: 621px) 100vw, 621px\" \/><figcaption class=\"wp-element-caption\"><em>&#8230; such as Marcel Duchamp depicted with&nbsp;<strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Nude_Descending_a_Staircase,_No._2\">Nude Descending a Staircase No. 2<\/a><\/strong> &#8230;<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"767\" height=\"1024\" data-attachment-id=\"7831\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/duchamp_staircase\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_staircase.png\" data-orig-size=\"1328,1774\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"duchamp_staircase\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_staircase-767x1024.png\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_staircase-767x1024.png\" alt=\"\" class=\"wp-image-7831\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_staircase-767x1024.png 767w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_staircase-225x300.png 225w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_staircase-768x1026.png 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_staircase-1150x1536.png 1150w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_staircase-300x401.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_staircase.png 1328w\" sizes=\"auto, (max-width: 767px) 100vw, 767px\" \/><figcaption class=\"wp-element-caption\"><em>&#8230; and in which Duchamp himself was caught, during a <a href=\"https:\/\/www.artnet.com\/artists\/eliot-elisofon\/artworks-for-sale\" target=\"_blank\" rel=\"noreferrer noopener\">real photographic multiple exposure<\/a> in 1952 by Eliot Elisofon.<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_camera_obscura\"><\/span>The camera obscura<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>The&nbsp;<strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Camera_obscura\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>camera obscura<\/strong><\/a><\/strong>&nbsp;(a Latin phrase meaning &#8220;room of darkness&#8221; or &#8220;dark room&#8221;) was refined with the addition of lenses and screens, to the degree that it became small enough to be portable. According to <a href=\"http:\/\/en.wikipedia.org\/wiki\/Hockney-Falco_thesis\" target=\"_blank\" rel=\"noreferrer noopener\">artist David Hockney, physicist Charles Falco<\/a>, and historian <a href=\"http:\/\/www.vermeerscamera.co.uk\/home.htm\" target=\"_blank\" rel=\"noreferrer noopener\">Philip Steadman<\/a>, artists like <a href=\"http:\/\/en.wikipedia.org\/wiki\/Johannes_Vermeer\" target=\"_blank\" rel=\"noreferrer noopener\">Jan Vermeer<\/a> began using tools like the camera obscura to refine their depiction of realistic scenes.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"672\" data-attachment-id=\"7833\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/camobs\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/camobs.jpg\" data-orig-size=\"1947,1277\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"camobs\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/camobs-1024x672.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/camobs-1024x672.jpg\" alt=\"\" class=\"wp-image-7833\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/camobs-1024x672.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/camobs-300x197.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/camobs-768x504.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/camobs-1536x1007.jpg 1536w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/camobs.jpg 1947w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Johannes Zahn, <strong><a href=\"https:\/\/www.meisterdrucke.us\/fine-art-prints\/English-School\/415881\/The-reflex-box-camera-obscura-by-Johann-Zahn%2C-1685%2C-from-The-History-of-the-Camera-Obscura-.html\" target=\"_blank\" rel=\"noreferrer noopener\">Reflex Camera Obscura<\/a><\/strong>,&nbsp;1685<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"884\" data-attachment-id=\"7668\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-15-metaphors-to-photography\/1186px-jan_vermeer_van_delft_-_the_glass_of_wine_-_google_art_project\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1186px-Jan_Vermeer_van_Delft_-_The_Glass_of_Wine_-_Google_Art_Project.jpg\" data-orig-size=\"1186,1024\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"1186px-Jan_Vermeer_van_Delft_-_The_Glass_of_Wine_-_Google_Art_Project\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1186px-Jan_Vermeer_van_Delft_-_The_Glass_of_Wine_-_Google_Art_Project-1024x884.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1186px-Jan_Vermeer_van_Delft_-_The_Glass_of_Wine_-_Google_Art_Project-1024x884.jpg\" alt=\"\" class=\"wp-image-7668\" style=\"width:416px;height:auto\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1186px-Jan_Vermeer_van_Delft_-_The_Glass_of_Wine_-_Google_Art_Project-1024x884.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1186px-Jan_Vermeer_van_Delft_-_The_Glass_of_Wine_-_Google_Art_Project-300x259.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1186px-Jan_Vermeer_van_Delft_-_The_Glass_of_Wine_-_Google_Art_Project-768x663.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1186px-Jan_Vermeer_van_Delft_-_The_Glass_of_Wine_-_Google_Art_Project.jpg 1186w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Jan Vermeer,&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Wine_Glass\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>The Glass of Wine<\/strong><\/a>, circa 1658-60<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"714\" height=\"1024\" data-attachment-id=\"7835\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/5-figure3-1\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/5-Figure3-1.png\" data-orig-size=\"870,1248\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"5-Figure3-1\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/5-Figure3-1-714x1024.png\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/5-Figure3-1-714x1024.png\" alt=\"\" class=\"wp-image-7835\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/5-Figure3-1-714x1024.png 714w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/5-Figure3-1-209x300.png 209w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/5-Figure3-1-768x1102.png 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/5-Figure3-1-300x430.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/5-Figure3-1.png 870w\" sizes=\"auto, (max-width: 714px) 100vw, 714px\" \/><figcaption class=\"wp-element-caption\"><em>Philip Steadman, <strong><a href=\"https:\/\/www.vermeerscamera.co.uk\/home.htm\" target=\"_blank\" rel=\"noreferrer noopener\">Diagram of Vermeer&#8217;s booth camera obscura in his studio<\/a><\/strong>,&nbsp;2001<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"885\" height=\"1024\" data-attachment-id=\"7836\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/winec1000\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wineC1000.jpg\" data-orig-size=\"1000,1157\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"wineC1000\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wineC1000-885x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wineC1000-885x1024.jpg\" alt=\"\" class=\"wp-image-7836\" style=\"width:416px;height:auto\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wineC1000-885x1024.jpg 885w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wineC1000-259x300.jpg 259w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wineC1000-768x889.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wineC1000-300x347.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wineC1000.jpg 1000w\" sizes=\"auto, (max-width: 885px) 100vw, 885px\" \/><figcaption class=\"wp-element-caption\"><em>Philip Steadman, <strong><a href=\"https:\/\/www.vermeerscamera.co.uk\/home.htm\" target=\"_blank\" rel=\"noreferrer noopener\">Bird&#8217;s eye view of Vermeer&#8217;s studio set for painting The Glass of Wine<\/a><\/strong>,&nbsp;2001<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p>In the case of Vermeer, the use of the camera obscura began to change the way he saw light, whether he used a portable version or the booth style hypothesized by Steadman. Natural limitations of optical devices produce such distortions as <a href=\"http:\/\/en.wikipedia.org\/wiki\/Circle_of_confusion\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>circles of confusion<\/strong><\/a>, which create diffused, soft-focused highlights. Vermeer seems to have adapted these phenomena in his rendition of highlights, as described in the video from the National Gallery of Art.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/5SpaJtCv1hI?si=iyNTIAWciNqu97Gf\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Fixing_the_image\"><\/span>Fixing the image<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>The lush nature of realism in work like Vermeer&#8217;s suggests some artists were conceptually comfortable with a non-mechanical way of using the camera obscura, but other artists and inventors had been seeking a way to automatically capture the images found therein since its development. Along with the photochemical expert&nbsp;Joseph Nic\u00e9phore Ni\u00e9pce, it was&nbsp;Louis Daguerre&nbsp;who found the camera design breakthrough for a viable means to create the photographic process that bears his name: the <a href=\"http:\/\/en.wikipedia.org\/wiki\/Daguerreotype\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>daguerreotype<\/strong><\/a>, officially announced in 1839. Exposure times of over ten minutes did not allow for the capture of objects in motion, however.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"712\" data-attachment-id=\"7839\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/view_from_the_window_at_le_gras_joseph_nicephore_niepce\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/View_from_the_Window_at_Le_Gras_Joseph_Nicephore_Niepce.webp\" data-orig-size=\"1200,834\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"View_from_the_Window_at_Le_Gras_Joseph_Nicephore_Niepce\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/View_from_the_Window_at_Le_Gras_Joseph_Nicephore_Niepce-1024x712.webp\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/View_from_the_Window_at_Le_Gras_Joseph_Nicephore_Niepce-1024x712.webp\" alt=\"\" class=\"wp-image-7839\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/View_from_the_Window_at_Le_Gras_Joseph_Nicephore_Niepce-1024x712.webp 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/View_from_the_Window_at_Le_Gras_Joseph_Nicephore_Niepce-300x209.webp 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/View_from_the_Window_at_Le_Gras_Joseph_Nicephore_Niepce-768x534.webp 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/View_from_the_Window_at_Le_Gras_Joseph_Nicephore_Niepce.webp 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Joseph Nic\u00e9phore Ni\u00e9pce,&nbsp;<strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/View_from_the_Window_at_Le_Gras\" target=\"_blank\" rel=\"noreferrer noopener\">View from the Window at Le Gras<\/a><\/strong>,&nbsp;1826, regarded as the world&#8217;s first permanent photograph of the outdoors. His process took&nbsp;hours of exposure time, making it impractical in most instances.<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"736\" data-attachment-id=\"7840\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/boulevard_du_temple_by_daguerre_0\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Boulevard_du_Temple_by_Daguerre_0.jpg\" data-orig-size=\"1190,855\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Boulevard_du_Temple_by_Daguerre_0\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Boulevard_du_Temple_by_Daguerre_0-1024x736.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Boulevard_du_Temple_by_Daguerre_0-1024x736.jpg\" alt=\"\" class=\"wp-image-7840\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Boulevard_du_Temple_by_Daguerre_0-1024x736.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Boulevard_du_Temple_by_Daguerre_0-300x216.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Boulevard_du_Temple_by_Daguerre_0-768x552.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Boulevard_du_Temple_by_Daguerre_0.jpg 1190w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Louis Daguerre,&nbsp;<strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Boulevard_du_Temple_(photograph)\" target=\"_blank\" rel=\"noreferrer noopener\">Boulevard du Temple<\/a><\/strong>, 1838. Even the &#8220;faster&#8221; exposure time wasn&#8217;t fast enough to capture people on this busy street in Paris, except for the motionless man and shoe-shine vendor at lower left \u2014 the first humans to be caught in a photograph.<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Stopping_motion%E2%80%A6\"><\/span>Stopping motion\u2026<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>With the discovery of faster photochemical processes, shooting a photograph in a fraction of a second became possible. This opened the door to chronophotography, the Victorian precursor to true cinematography. \u00c9tienne-Jules Marey and Eadweard Muybridge developed techniques for creating frame-by-frame documentation of motion, typically of animals or people. Their techniques informed the kind of <a href=\"http:\/\/en.wikipedia.org\/wiki\/Stop_motion\"><strong>stop-motion<\/strong><\/a> techniques that are still used in animation today, despite the dominance of computer animation.<\/p>\n\n\n\n<p>Marey&#8217;s device gives new meaning to &#8220;shooting&#8221; photographs! At 12 frames per second, it would record these instances on the same piece of film, creating images that later inspire artists like the Italian Futurists to explore motion in painting.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"508\" data-attachment-id=\"7843\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/marey_-_birds\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Marey_-_birds.jpg\" data-orig-size=\"1024,508\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Marey_-_birds\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Marey_-_birds.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Marey_-_birds.jpg\" alt=\"\" class=\"wp-image-7843\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Marey_-_birds.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Marey_-_birds-300x149.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Marey_-_birds-768x381.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>\u00c9tienne-Jules Marey,&nbsp;<strong><a href=\"https:\/\/en.m.wikipedia.org\/wiki\/File:Marey_-_birds.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">Flying Pelican<\/a><\/strong>, 1882<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"456\" data-attachment-id=\"7842\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/fusil_de_marey_p1040353\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Fusil_de_Marey_p1040353.jpg\" data-orig-size=\"1280,570\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Fusil_de_Marey_p1040353\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Fusil_de_Marey_p1040353-1024x456.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Fusil_de_Marey_p1040353-1024x456.jpg\" alt=\"\" class=\"wp-image-7842\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Fusil_de_Marey_p1040353-1024x456.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Fusil_de_Marey_p1040353-300x134.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Fusil_de_Marey_p1040353-768x342.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Fusil_de_Marey_p1040353.jpg 1280w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Marey&#8217;s <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Fusil_de_Marey_p1040353.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">gun-like device<\/a> for shooting multiple frames per second<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"847\" data-attachment-id=\"7845\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/1306px-giacomo_balla_1912_dynamism_of_a_dog_on_a_leash_oil_on_canvas_89-8_x_109-8_cm_albright-knox_art_gallery\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1306px-Giacomo_Balla_1912_Dynamism_of_a_Dog_on_a_Leash_oil_on_canvas_89.8_x_109.8_cm_Albright-Knox_Art_Gallery.jpg\" data-orig-size=\"1306,1080\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"1306px-Giacomo_Balla_1912_Dynamism_of_a_Dog_on_a_Leash_oil_on_canvas_89.8_x_109.8_cm_Albright-Knox_Art_Gallery\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1306px-Giacomo_Balla_1912_Dynamism_of_a_Dog_on_a_Leash_oil_on_canvas_89.8_x_109.8_cm_Albright-Knox_Art_Gallery-1024x847.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1306px-Giacomo_Balla_1912_Dynamism_of_a_Dog_on_a_Leash_oil_on_canvas_89.8_x_109.8_cm_Albright-Knox_Art_Gallery-1024x847.jpg\" alt=\"\" class=\"wp-image-7845\" style=\"width:840px;height:auto\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1306px-Giacomo_Balla_1912_Dynamism_of_a_Dog_on_a_Leash_oil_on_canvas_89.8_x_109.8_cm_Albright-Knox_Art_Gallery-1024x847.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1306px-Giacomo_Balla_1912_Dynamism_of_a_Dog_on_a_Leash_oil_on_canvas_89.8_x_109.8_cm_Albright-Knox_Art_Gallery-300x248.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1306px-Giacomo_Balla_1912_Dynamism_of_a_Dog_on_a_Leash_oil_on_canvas_89.8_x_109.8_cm_Albright-Knox_Art_Gallery-768x635.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1306px-Giacomo_Balla_1912_Dynamism_of_a_Dog_on_a_Leash_oil_on_canvas_89.8_x_109.8_cm_Albright-Knox_Art_Gallery.jpg 1306w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Giacomo Balla,&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Dynamism_of_a_Dog_on_a_Leash\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Dynamism of a Dog on a Leash<\/strong><\/a>, 1912<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p><a href=\"http:\/\/en.wikipedia.org\/wiki\/Eadweard_Muybridge\" target=\"_blank\" rel=\"noreferrer noopener\">Eadweard Muybridge<\/a> extended Marey&#8217;s explorations by recording images on separate pieces of film. Setting up an elaborate battery of cameras, trip wires, and other means of controlling exposure, Muybridge proves that a horse leaves the ground under full gallop in 1873. He later expands on this exploration at the University of Pennsylvania and develops moving pictures in his <a href=\"http:\/\/en.wikipedia.org\/wiki\/Zoopraxiscope\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>zoopraxiscope<\/strong><\/a>. The recording of single images provides the breakthrough necessary for&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/Cinematography\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>cinematography<\/strong><\/a>.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"635\" data-attachment-id=\"7846\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/the_horse_in_motion\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/The_Horse_in_Motion.jpg\" data-orig-size=\"1536,952\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"The_Horse_in_Motion\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/The_Horse_in_Motion-1024x635.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/The_Horse_in_Motion-1024x635.jpg\" alt=\"\" class=\"wp-image-7846\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/The_Horse_in_Motion-1024x635.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/The_Horse_in_Motion-300x186.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/The_Horse_in_Motion-768x476.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/The_Horse_in_Motion.jpg 1536w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Eadweard Muybridge,&nbsp;<strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Horse_in_Motion\" target=\"_blank\" rel=\"noreferrer noopener\">The Horse in Motion<\/a><\/strong>, 1878<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"padding:80% 0 0 0;position:relative;\"><iframe src=\"https:\/\/player.vimeo.com\/video\/6226599?h=9d3b625de1&#038;portrait=0\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe><\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"%E2%80%A6_And_starting_it\"><\/span>\u2026 And starting it<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>While it&#8217;s beyond the scope of this document to provide a comprehensive <a href=\"http:\/\/en.wikipedia.org\/wiki\/History_of_film\" target=\"_blank\" rel=\"noreferrer noopener\">history of cinema<\/a>, some key concepts and precedents are worth highlighting here.<\/p>\n\n\n\n<p>The earliest surviving &#8220;film&#8221; is the <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Roundhay_Garden_Scene\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Roundhay Garden Scene<\/strong><\/a>,&nbsp;<\/em>a technical demonstration by&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/Louis_Le_Prince\" target=\"_blank\" rel=\"noreferrer noopener\">Louis Le Prince<\/a>. It runs at 12 frames per second, about half the rate of the modern cinematography standard.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"384\" height=\"288\" data-attachment-id=\"7848\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/roundhay_garden_scene-ezgif-com-optimize\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Roundhay_Garden_Scene-ezgif.com-optimize.gif\" data-orig-size=\"384,288\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Roundhay_Garden_Scene-ezgif.com-optimize\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Roundhay_Garden_Scene-ezgif.com-optimize.gif\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Roundhay_Garden_Scene-ezgif.com-optimize.gif\" alt=\"\" class=\"wp-image-7848\"\/><figcaption class=\"wp-element-caption\"><em>Louis Le Prince,&nbsp;<strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Roundhay_Garden_Scene\">Roundhay Garden Scene<\/a><\/strong>,&nbsp;1888<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"424\" data-attachment-id=\"7849\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/fred_ott_sneeze_1894\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Fred_Ott_sneeze_1894.gif\" data-orig-size=\"600,424\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Fred_Ott_sneeze_1894\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Fred_Ott_sneeze_1894.gif\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Fred_Ott_sneeze_1894.gif\" alt=\"\" class=\"wp-image-7849\"\/><figcaption class=\"wp-element-caption\"><em>William K. L. Dickson, <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Fred_Ott%27s_Sneeze\" target=\"_blank\" rel=\"noreferrer noopener\">Fred Ott&#8217;s Sneeze<\/a><\/strong>, 1894<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p><a href=\"http:\/\/en.wikipedia.org\/wiki\/Kinetoscope\" target=\"_blank\" rel=\"noreferrer noopener\">Thomas Edison<\/a> and his company provided us with the second U.S. copyrighted film, <strong>Fred Ott&#8217;s Sneeze<\/strong>, though it is now in the public domain.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_birth_of_a_medium\"><\/span>The birth of a medium<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>Motion pictures like Le Prince&#8217;s and Edison&#8217;s remained little more than a technical curiosity until they found their voice with&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/D._W._Griffith\" target=\"_blank\" rel=\"noreferrer noopener\">D. W. Griffith<\/a>. If Le Prince and Edison&nbsp;gave motion pictures an alphabet, Griffith gave them something to say.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Continuity_editing_and_the_active_point_of_view\"><\/span>Continuity editing and the active point of view<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Griffith&#8217;s seminal work of 1915,&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/Birth_of_a_nation\" target=\"_blank\" rel=\"noreferrer noopener\"><em><strong>The Birth of a Nation<\/strong><\/em><\/a> chronicles the rise of the Ku Klux Klan and is regrettably tainted with a celebration of <a href=\"https:\/\/en.wikipedia.org\/wiki\/Lost_Cause_of_the_Confederacy\" target=\"_blank\" rel=\"noreferrer noopener\">Lost Cause<\/a> racism that makes it offensive for a modern audience to appreciate. However, the basic vocabulary of film pioneered in&nbsp;<em>Nation<\/em> \u2014 long shots, pans, close-ups, fades \u2014 is further refined in the follow-up film&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/Intolerance_%28film%29\" target=\"_blank\" rel=\"noreferrer noopener\"><em><strong>Intolerance<\/strong><\/em><\/a>. Though Griffith did not frame the film as an apology to critics of <em>Nation<\/em>, it is a somewhat more thematically accessible four-part cinematic exploration of humanity&#8217;s proclivity toward that particular vice.<\/p>\n\n\n\n<p>We are so familiar with film&#8217;s vocabulary of <a href=\"http:\/\/en.wikipedia.org\/wiki\/Continuity_editing\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>continuity editing<\/strong><\/a>, that it&#8217;s hard to imagine a movie where the camera acts like it&#8217;s sitting in the audience of a play. But that was the norm until Griffith turned the camera loose. Try to view the clip here with the eyes of a person born in 1890 and the wow factor is easier to appreciate.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/jGHtgarbglQ?si=26Stz-PaBlJyDVnc\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>D. W. Griffith, sequence of the fall of Babylon in&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=jGHtgarbglQ&amp;ab_channel=cinemasequence\" target=\"_blank\" rel=\"noreferrer noopener\">Intolerance<\/a><\/strong>, 1916<\/em><\/p>\n\n\n\n<p>The vocabulary created by Griffith was extended by the Russian master <a href=\"http:\/\/en.wikipedia.org\/wiki\/Sergei_Eisenstein\" target=\"_blank\" rel=\"noreferrer noopener\">Sergei Eisenstein<\/a>. He used fades and cuts among close-ups and long shots to create a concept of <a href=\"http:\/\/en.wikipedia.org\/wiki\/Soviet_montage_theory\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>montage<\/strong><\/a>, the opposite of continuity editing. The emotional effects of montage are still startling in the &#8220;<a href=\"http:\/\/en.wikipedia.org\/wiki\/Potemkin_Stairs\" target=\"_blank\" rel=\"noreferrer noopener\">Odessa Steps<\/a>&#8221; sequence from <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/The_Battleship_Potemkin\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>The Battleship Potemkin<\/strong><\/a><\/em>, one of the most influential films of all time.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/Ps-v-kZzfec?si=phOp4sBLutVV4SyR\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Sergei Eisenstein, &#8220;Odessa Steps&#8221; montage from&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=Ps-v-kZzfec&amp;rco=1&amp;ab_channel=ThibaultCabanas\" target=\"_blank\" rel=\"noreferrer noopener\">The Battleship Potemkin<\/a><\/strong>, 1925<\/em><\/p>\n\n\n\n<p><em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Metropolis_%28film%29\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Metropolis<\/strong><\/a><\/em>, by <a href=\"http:\/\/en.wikipedia.org\/wiki\/German_Expressionism\" target=\"_blank\" rel=\"noreferrer noopener\">German Expressionist<\/a> director <a href=\"http:\/\/en.wikipedia.org\/wiki\/Fritz_Lang\" target=\"_blank\" rel=\"noreferrer noopener\">Fritz Lang<\/a>, has been recently restored. The dystopian grandfather to such films as <a href=\"http:\/\/en.wikipedia.org\/wiki\/Blade_runner\" target=\"_blank\" rel=\"noreferrer noopener\"><em><strong>Blade Runner<\/strong><\/em><\/a> and <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/The_Matrix\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>The Matrix<\/strong><\/a><\/em>, Lang&#8217;s masterpiece developed many special effects that became standard up until the development of <a href=\"http:\/\/en.wikipedia.org\/wiki\/Computer-generated_imagery\" target=\"_blank\" rel=\"noreferrer noopener\">computer-generated imagery<\/a>.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/7j8Ba9rWhUg?si=5czNayHgdZrrd_wO\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Trailer for the restoration version of Fritz Lang&#8217;s&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=7j8Ba9rWhUg&amp;ab_channel=Humanoidity\" target=\"_blank\" rel=\"noreferrer noopener\">Metropolis<\/a><\/strong>, 1927<\/em><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"In_black_and_white%E2%80%A6\"><\/span>In black and white&#8230;<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Considered by <a href=\"https:\/\/en.wikipedia.org\/wiki\/List_of_films_considered_the_best\" target=\"_blank\" rel=\"noreferrer noopener\">many critics<\/a> as the greatest film of all time, <a href=\"http:\/\/en.wikipedia.org\/wiki\/Citizen_Kane\" target=\"_blank\" rel=\"noreferrer noopener\"><em><strong>Citizen Kane<\/strong><\/em><\/a> by <a href=\"http:\/\/en.wikipedia.org\/wiki\/Orson_Welles\" target=\"_blank\" rel=\"noreferrer noopener\">Orson Welles<\/a> innovates in the use of <a href=\"http:\/\/en.wikipedia.org\/wiki\/Citizen_Kane#Filmmaking_innovations\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>deep-focus<\/strong> <strong>cinematography<\/strong><\/a>. It also pioneered&nbsp;the narrative devices of <a href=\"http:\/\/en.wikipedia.org\/wiki\/Citizen_Kane#Filmmaking_innovations\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>extended flashbacks<\/strong><\/a> and <a href=\"http:\/\/en.wikipedia.org\/wiki\/Citizen_Kane#Filmmaking_innovations\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>multiple narrators<\/strong><\/a>, creating a non-linear story. It is also notable for the way Welles, in the title role, appears to age sixty years using makeup.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/IGUYOQUzrKU?si=8_ceKNbSCZaejmut\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>American Film Institute analysis of Orson Welles&#8217;&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=IGUYOQUzrKU&amp;ab_channel=Tgunn115\" target=\"_blank\" rel=\"noreferrer noopener\">Citizen Kane<\/a><\/strong>, 1941<\/em><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"%E2%80%A6_And_in_living_color\"><\/span>&#8230; And in living color<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Many are surprised to learn that color film was an innovation that occurred during the Silent Era.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/J_RTnd3Smy8?si=36yDIRV3cXzD8Bf-\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><strong><em><a href=\"https:\/\/www.youtube.com\/watch?v=J_RTnd3Smy8&amp;ab_channel=Kodak\" target=\"_blank\" rel=\"noreferrer noopener\">Kodak 1922 Kodachrome Film Test<\/a><\/em><\/strong><a href=\"https:\/\/www.youtube.com\/@Kodak\"><\/a><\/p>\n\n\n\n<p>Although not the first film to use <a href=\"http:\/\/en.wikipedia.org\/wiki\/Color_film_%28motion_picture%29\" target=\"_blank\" rel=\"noreferrer noopener\">color<\/a>, <a href=\"http:\/\/en.wikipedia.org\/wiki\/Victor_Fleming\" target=\"_blank\" rel=\"noreferrer noopener\">Victor Fleming<\/a>&#8216;s <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/The_Wizard_of_Oz_%281939_film%29\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>The Wizard of Oz<\/strong><\/a><\/em> is notable for the use of color to advance the narrative. In <a href=\"http:\/\/en.wikipedia.org\/wiki\/Frank_Baum\" target=\"_blank\" rel=\"noreferrer noopener\">L. Frank Baum<\/a>&#8216;s book <em><a href=\"http:\/\/books.google.com\/books?id=qbV65PabTEYC&amp;printsec=frontcover&amp;dq=wizard+of+oz&amp;source=bl&amp;ots=lTWCCO3fB5&amp;sig=cQlSmphYp3hUCyEkPgITNwCvVoA&amp;hl=en&amp;ei=1_HiS_PdAsH-8Ab-2ImgDw&amp;sa=X&amp;oi=book_result&amp;ct=result&amp;resnum=15&amp;ved=0CFEQ6AEwDg#v=onepage&amp;q&amp;f=false\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>The Wonderful Wizard of Oz<\/strong><\/a><\/em>, Dorothy Gale&#8217;s home in Kansas is described as follows:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em>When Dorothy stood in the doorway and looked around, she could see nothing but the great gray prairie on every side&#8230;. Even the grass was not green, for the sun had burned the tops of the long blades until they were the same gray color to be seen everywhere<\/em>.<\/p>\n<cite>\u2014 L. Frank Baum  <sup><a href=\"#footnote_4_7736\" id=\"identifier_4_7736\" class=\"footnote-link footnote-identifier-link\" title=\"Baum, L. Frank. The Wonderful Wizard of Oz. George M. Hill, 1899. p. 12\">4<\/a><\/sup><\/cite><\/blockquote>\n\n\n\n<p>Fleming uses a monochrome sepia-tone film for all the scenes in Kansas, while all the Oz sequences are in <a href=\"http:\/\/en.wikipedia.org\/wiki\/Technicolor\" target=\"_blank\" rel=\"noreferrer noopener\">Technicolor<\/a>. This creates the contrast that Baum imagines in the book. The <a href=\"http:\/\/en.wikipedia.org\/wiki\/The_Wizard_of_Oz_%281939_film%29#Post-production\" target=\"_blank\" rel=\"noreferrer noopener\">trick<\/a> for making the transition involved nothing more elaborate than making everything inside the house sepia, including paint and fabric. A body double for actress Judy Garland wears a sepia version of Dorothy&#8217;s costume. When she opens the door, and as the camera dollies out, Garland appears to have transformed, walking out the door in her full-color costume.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/x6D8PAGelN8?si=152CAyBa-uFvyekp\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Victor Fleming,&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=x6D8PAGelN8&amp;ab_channel=BenjaminPortman\" target=\"_blank\" rel=\"noreferrer noopener\">The Wizard of Oz<\/a><\/strong>, 1939. Still one of the best <a href=\"https:\/\/en.wikipedia.org\/wiki\/Practical_effect\" target=\"_blank\" rel=\"noreferrer noopener\">practical effects<\/a> in cinema history.<\/em><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Animation\"><\/span>Animation<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Some of the high points of animation history are mentioned below, but certainly not all of them. Visit Wikipedia&#8217;s&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/History_of_animation\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>History of Animation<\/strong><\/a> article&nbsp;if you want to explore the topic more deeply. CGI is purposely being left out here as a topic for another article.<\/p>\n\n\n\n<p>The earliest surviving fully animated film, by <a href=\"http:\/\/en.wikipedia.org\/wiki\/J._Stuart_Blackton\" target=\"_blank\" rel=\"noreferrer noopener\">J. Stuart Blackton<\/a>, combines two basic kinds of animation  \u2014 <a href=\"http:\/\/en.wikipedia.org\/wiki\/Stop_motion\" target=\"_blank\" rel=\"noreferrer noopener\">stop-motion<\/a> with <a href=\"http:\/\/en.wikipedia.org\/wiki\/History_of_animation#Traditional_animation\" target=\"_blank\" rel=\"noreferrer noopener\">traditional hand drawing<\/a>&nbsp;as the artist draws and erases <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Humorous_Phases_of_Funny_Faces\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Humorous Phases of Funny Faces<\/strong><\/a><\/em> on a chalkboard. We sometimes inadvertently see Blackton in flash frames where he didn&#8217;t get out of the way in time.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/wGh6maN4l2I?si=H9D4sSmnI7YD2wEw\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>J. Stuart Blackton,&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=wGh6maN4l2I&amp;ab_channel=LibraryofCongress\" target=\"_blank\" rel=\"noreferrer noopener\">Humorous Phases of Funny Faces<\/a><\/strong>, 1906<\/em><\/p>\n\n\n\n<p>The chalkboard look in <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Fantasmagorie_%281908_film%29\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Fantasmagorie<\/strong><\/a><\/em> by <a href=\"http:\/\/en.wikipedia.org\/wiki\/%C3%89mile_Cohl\" target=\"_blank\" rel=\"noreferrer noopener\">\u00c9mile Cohl<\/a> is a reversal film process that renders black lines on white paper as negative \u2014 as a deliberate homage to Blackton&#8217;s blackboard. It is the first animation using individual hand drawings \u2014 all 700 of them!<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/aEAObel8yIE?si=3I4FZRHnXPqxP6C1\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>\u00c9mile Cohl,&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=aEAObel8yIE&amp;ab_channel=classiccartoon\" target=\"_blank\" rel=\"noreferrer noopener\">Fantasmagorie<\/a><\/strong>, 1908<\/em><\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Winsor_McCay_and_beyond\"><\/span>Winsor McCay and beyond<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>Genuine artistry is brought to animation by <a href=\"http:\/\/en.wikipedia.org\/wiki\/Winsor_McCay\" target=\"_blank\" rel=\"noreferrer noopener\">Winsor McCay<\/a>. His ground-breaking <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Gertie_the_Dinosaur\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Gertie the Dinosaur<\/strong><\/a><\/em> not only has a genuine feel of anatomic structure, but a genuine personality to go with it. It&#8217;s the first animation to use the concepts of <a href=\"http:\/\/en.wikipedia.org\/wiki\/Key_frame\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>keyframes<\/strong><\/a> and <a href=\"http:\/\/en.wikipedia.org\/wiki\/Tweening\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>tweens<\/strong><\/a>, a vocabulary familiar to digital animation software users.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/-_c15oS5i5I?si=AaAoOhZFQTsvSM2A\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Winsor McCay,&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=-_c15oS5i5I&amp;ab_channel=CamilaHamdan_Edu\" target=\"_blank\" rel=\"noreferrer noopener\">Gertie the Dinosaur<\/a><\/strong>, 1914<\/em><\/p>\n\n\n\n<p>Inspired by McCay&#8217;s artistry, animators like <a href=\"http:\/\/en.wikipedia.org\/wiki\/Walt_Disney\" target=\"_blank\" rel=\"noreferrer noopener\">Walt Disney<\/a> developed real stories, with characters who had real emotions. Although not the first <a href=\"http:\/\/en.wikipedia.org\/wiki\/Mickey_Mouse\" target=\"_blank\" rel=\"noreferrer noopener\">Mickey Mouse<\/a> feature, <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Steamboat_Willie\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Steamboat Willie<\/strong><\/a><\/em> was the first Disney animated film with a post-production, synchronized soundtrack. No other animated film had matched its quality of sound-image synchrony up to that time. In the feature, you might notice that Mickey, as the title character, is much more devious and cruel than the Mickey we encounter as the more sanitized and familiar icon of <a href=\"http:\/\/en.wikipedia.org\/wiki\/The_Walt_Disney_Company\" target=\"_blank\" rel=\"noreferrer noopener\">the Walt Disney Company<\/a>.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/hmzO--ox7X0?si=SrOCGHn0WYp1wgGv\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Walt Disney and Ub Iwerks,&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=BBgghnQF6E4&amp;ab_channel=WaltDisneyAnimationStudios\" target=\"_blank\" rel=\"noreferrer noopener\">Steamboat Willie<\/a><\/strong>, 1928<\/em><\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Experimental_animation\"><\/span>Experimental animation<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p><a href=\"http:\/\/en.wikipedia.org\/wiki\/Norman_McLaren\" target=\"_blank\" rel=\"noreferrer noopener\">Norman McLaren<\/a> experimented wildly with all kinds of animation techniques in association with the innovative <a href=\"http:\/\/en.wikipedia.org\/wiki\/National_Film_Board_of_Canada\" target=\"_blank\" rel=\"noreferrer noopener\">National Film Board of Canada<\/a>. Stop-motion and&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/Pixilation\" target=\"_blank\" rel=\"noreferrer noopener\">pixilation<\/a>&nbsp;such as the levitation scenes from his Academy-Award-winning antiwar parable&nbsp;<em><a href=\"http:\/\/www.nfb.ca\/film\/Neighbours_Voisins\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Neighbours<\/strong><\/a><\/em> fed his work. Puppetry did as well. However, some of the most intense and labor-intensive experiments involve McLaren drawing directly on 35mm film. Amazingly, he discovered how to animate without the use of a camera this way.&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/Len_Lye\" target=\"_blank\" rel=\"noreferrer noopener\">Len Lye<\/a>, a contemporary, also drew on film by, among other things, scratching it.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/TgJ-yOhpYIM?si=wYcSZt0y46V7Qlir\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Norman McLaren,&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=TgJ-yOhpYIM&amp;ab_channel=spraynasal\" target=\"_blank\" rel=\"noreferrer noopener\">Boogie Doodle<\/a><\/strong>, 1948<\/em><\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Comic_effect\"><\/span>Comic effect<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p><a href=\"http:\/\/en.wikipedia.org\/wiki\/Terry_Gilliam\" target=\"_blank\" rel=\"noreferrer noopener\">Terry Gilliam<\/a> is a director with a unique visual sensibility known for feature films like <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/12_Monkeys\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Twelve Monkeys<\/strong><\/a><\/em>. He got his start as an animator who joined the famous British comic troupe <a href=\"http:\/\/en.wikipedia.org\/wiki\/Monty_Python\" target=\"_blank\" rel=\"noreferrer noopener\">Monty Python<\/a>. With them, he produced a signature style of animation that has influenced a generation of animators from Trey Parker and Matt Stone (<a href=\"http:\/\/en.wikipedia.org\/wiki\/South_park\" target=\"_blank\" rel=\"noreferrer noopener\"><em><strong>South Park<\/strong><\/em><\/a>) to Evan and Gregg Spiridellis (<a href=\"http:\/\/en.wikipedia.org\/wiki\/Jib_jab\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>JibJab Media<\/strong><\/a>, below). He uses a tactile collage-montage technique that presages the use of bitmap images in Flash animation.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/5SLG-4cetz8?si=8dsATosnPAiTmERe\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Terry Gilliam&#8217;s American Defense Toothpaste Animated Ad&nbsp;for&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=5SLG-4cetz8&amp;ab_channel=jazpertube\" target=\"_blank\" rel=\"noreferrer noopener\">Monty Python&#8217;s Flying Circus<\/a><\/strong>, circa 1971<\/em><\/p>\n\n\n\n<p>The Spiridellis brothers, known as <a href=\"http:\/\/en.wikipedia.org\/wiki\/Jib_jab\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>JibJab<\/strong><\/a>, achieved instant, viral fame when their Flash animation parody of <a href=\"http:\/\/en.wikipedia.org\/wiki\/Woody_Guthrie\" target=\"_blank\" rel=\"noreferrer noopener\">Woodie Guthrie<\/a>&#8216;s folk tune <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/This_Land_Is_Your_Land\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>This Land is Your Land<\/strong><\/a><\/em> landed in cyberspace in 2004. <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/JibJab#.22This_Land.22\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>This Land<\/strong><\/a><\/em> was such a popular video it crashed JibJab&#8217;s server after the first day. Like all good parody, it takes no prisoners, lampooning <a href=\"http:\/\/en.wikipedia.org\/wiki\/George_W._Bush\" target=\"_blank\" rel=\"noreferrer noopener\">George W. Bush<\/a> and <a href=\"http:\/\/en.wikipedia.org\/wiki\/John_Kerry\" target=\"_blank\" rel=\"noreferrer noopener\">John Kerry<\/a> with a bipartisan relish that remained a hallmark of their work throughout.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/z8Q-sRdV7SY?si=SxbxNZ2HqQhmfuCl\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>JibJab,&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=z8Q-sRdV7SY&amp;ab_channel=JibJab\" target=\"_blank\" rel=\"noreferrer noopener\">This Land<\/a><\/strong>, 2004<br><\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Art_films\"><\/span>Art films<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>Since the birth of cinema, artists have been creating moving images. Many of the aforementioned works could easily be grafted into this segment. Unfortunately because of the need for brevity, there are only a few highlights below.<\/p>\n\n\n\n<p><a href=\"http:\/\/en.wikipedia.org\/wiki\/Fernand_L%C3%A9ger\" target=\"_blank\" rel=\"noreferrer noopener\">Fernand L\u00e9ger<\/a>, with <a href=\"http:\/\/en.wikipedia.org\/wiki\/Dudley_Murphy\" target=\"_blank\" rel=\"noreferrer noopener\">Dudley Murphy<\/a> and the musical composer <a href=\"http:\/\/en.wikipedia.org\/wiki\/George_Antheil\" target=\"_blank\" rel=\"noreferrer noopener\">George Antheil<\/a>, had a grand vision for a film titled <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Ballet_M%C3%A9canique\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Ballet M\u00e9canique<\/strong><\/a>.&nbsp;<\/em>This vision was not fully realized because the score and film ran at different durations. However, the project created several interesting offshoots. An abridged score and the film were later combined by Paul Lehrman in 2000, which can be heard in the clip.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/9SgsqmQJAq0?si=LWKMOMBMgEYhW7gA\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Fernand L\u00e9ger and Dudley Murphy,&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=9SgsqmQJAq0&amp;ab_channel=Andy-80\" target=\"_blank\" rel=\"noreferrer noopener\">Ballet M\u00e9canique<\/a><\/strong>, 1924<\/em><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Rise_of_the_avant-garde\"><\/span>Rise of the avant-garde<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p><a href=\"https:\/\/web.archive.org\/web\/20080709233520\/http:\/\/www.understandingduchamp.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">Marcel Duchamp<\/a> keeps showing up everywhere, so the film medium should be no different. He was interested in the possibilities of motion since the time of his <a href=\"http:\/\/en.wikipedia.org\/wiki\/Nude_Descending_a_Staircase,_No._2\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Nude Descending a Staircase No. 2<\/strong><\/a>. His classic, anagrammatically titled <a href=\"https:\/\/web.archive.org\/web\/20110707154306\/http:\/\/www.aqualoop.com\/aqua_sound\/delia\/Duchamp.html\" target=\"_blank\" rel=\"noreferrer noopener\"><em><strong>An\u00e9mic Cin\u00e9ma<\/strong><\/em><\/a> juxtaposes images of his <a href=\"http:\/\/www.aqualoop.com\/aqua_sound\/delia\/Duchamp.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Rotoreliefs<\/strong><\/a> with spiraling, nonsense puns in French. The version here includes a modern soundtrack by <a href=\"https:\/\/asajournal.lt\/articles\/on-the-enduring-mythic-legacy-of-twentytwentyone\/\" target=\"_blank\" rel=\"noreferrer noopener\">Laptop Quartet Twentytwentyone<\/a>. Don&#8217;t look for narrative: this is Dada at its finest.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/w8z6oUpqQ1g?si=j02_FTrXhKpyuWIh\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Marcel Duchamp,&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=w8z6oUpqQ1g&amp;t=88s&amp;ab_channel=ArturasBum%C5%A1teinas\" target=\"_blank\" rel=\"noreferrer noopener\">An\u00e9mic Cin\u00e9ma<\/a><\/strong>, 1926<\/em><\/p>\n\n\n\n<p>Artist and filmmaker <a href=\"http:\/\/en.wikipedia.org\/wiki\/Hans_Richter_%28artist%29\" target=\"_blank\" rel=\"noreferrer noopener\">Hans Richter<\/a> creates a Surrealist-Dada mash-up with <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Dreams_That_Money_Can_Buy\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Dreams That Money Can Buy<\/strong><\/a><\/em>. It includes segments by a who&#8217;s who of the avant-garde: Max Ernst, Fernand Leger, Man Ray, Marcel Duchamp, Alexander Calder, and himself. The disparate segments are bound by a diegesis in which the protagonist sets up a business in a room with a very complicated lease. This is such a crazy interesting work, the clip below is the full feature on <a href=\"http:\/\/www.archive.org\/\" target=\"_blank\" rel=\"noreferrer noopener\">Internet Archive<\/a>. Feel free to come back to it when you have some time to spend.<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/archive.org\/embed\/dreams-that-money-can-buy\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Hans Richter,&nbsp;<strong><a href=\"https:\/\/archive.org\/details\/dreams-that-money-can-buy\" target=\"_blank\" rel=\"noreferrer noopener\">Dreams That Money Can Buy<\/a><\/strong>, 1947<\/em><\/p>\n\n\n\n<p><a href=\"https:\/\/web.archive.org\/web\/20140722215632\/http:\/\/snoreandguzzle.com\/?p=149\" target=\"_blank\" rel=\"noreferrer noopener\">Straddling the border between artist and designer<\/a>, husband-and-wife collaborators <a href=\"http:\/\/www.eamesoffice.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">Charles and Ray Eames<\/a> produced many&nbsp;film shorts. Their seminal documentary, <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Powers_of_Ten\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Powers of Ten<\/strong><\/a><\/em>, makes macrocosmic-microcosmic leaps of scale perception based on orders of magnitude. The film became one of the <a href=\"https:\/\/web.archive.org\/web\/20131225215411\/http:\/\/www.realityprime.com\/blog\/2006\/07\/notes-on-the-origin-of-google-earth\/\" target=\"_blank\" rel=\"noreferrer noopener\">primary inspirations<\/a> for <a href=\"http:\/\/earth.google.com\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Google Earth<\/strong><\/a> and the <a href=\"http:\/\/www.nytimes.com\/2006\/10\/08\/magazine\/08games.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>long zoom<\/strong><\/a> effect common in today&#8217;s films and games.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/0fKBhvDjuy0?si=JK7JXA3jxRMZyjrt\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Charles + Ray Eames,&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=0fKBhvDjuy0&amp;ab_channel=EamesOffice\">Powers of Ten<\/a><\/strong>, 1968, reissued 1977<\/em><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Video_art\"><\/span>Video art<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Video_artists\"><\/span>Video artists<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>Considered by art historians to be the first true &#8220;video artist,&#8221; <a href=\"http:\/\/en.wikipedia.org\/wiki\/Nam_June_Paik\" target=\"_blank\" rel=\"noreferrer noopener\">Nam June Paik<\/a> engages in ironic cultural criticism through his work. <a href=\"http:\/\/www.medienkunstnetz.de\/works\/global-grove\/\" target=\"_blank\" rel=\"noreferrer noopener\"><em><strong>Global Groove<\/strong><\/em><\/a> starts with a voiceover claiming &#8220;[t]his is a glimpse of a video landscape of tomorrow when you will be able to switch on any TV station on the earth and TV guides will be as fat as the Manhattan telephone book.&#8221; A devotee of media theoretician <a href=\"http:\/\/www.marshallmcluhan.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">Marshall McLuhan<\/a>, Paik could have been talking about streaming and YouTube. However, when the piece was created in 1973, there were 3 networks and no cable, never mind the Internet. No <a href=\"http:\/\/www.adobe.com\/products\/aftereffects\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>AfterEffects<\/strong><\/a> here!<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/InLcRXfd3NI?si=npLlpOaMk1TSTKeN\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Nam June Paik and John Godfrey,&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=InLcRXfd3NI&amp;ab_channel=AgentinTeigtasche\" target=\"_blank\" rel=\"noreferrer noopener\">Global Groove<\/a><\/strong>, 1973<\/em><\/p>\n\n\n\n<p>Since 1976, <a href=\"http:\/\/en.wikipedia.org\/wiki\/Bill_Viola\" target=\"_blank\" rel=\"noreferrer noopener\">Bill Viola<\/a> has been exploring extreme states of human emotion, often disassociated with any cause for the display. A student of history and mysticism, his tableaus often map onto classical and medieval art compositions. The power of his work doesn&#8217;t emerge from the complex use of computer technology. On the contrary, he uses long shots with ultra-<a href=\"http:\/\/en.wikipedia.org\/wiki\/Slow_motion\" target=\"_blank\" rel=\"noreferrer noopener\">slow-motion<\/a> cameras to heighten the state of emotion.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/IEVZ1gN4fB8?si=E3v93jwqmzH6kSdj\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Bill Viola,&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=IEVZ1gN4fB8&amp;ab_channel=snakeBISHOP\" target=\"_blank\" rel=\"noreferrer noopener\">Silent Mountain<\/a><\/strong>, 2001<\/em><\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Installation\"><\/span>Installation<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>Like a bizarre <a href=\"http:\/\/www.rubegoldberg.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">Rube Goldberg<\/a> scenario, <em><a href=\"http:\/\/icarusfilms.com\/cat97\/t-z\/the_way_.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>The Way Things Go<\/strong><\/a><\/em> by Swiss duo <a href=\"http:\/\/en.wikipedia.org\/wiki\/Peter_Fischli_and_David_Weiss\" target=\"_blank\" rel=\"noreferrer noopener\">Peter Fischli and David Weiss<\/a> documents a thirty-minute chain reaction of everyday objects cast in very non-everyday situations. The work is part sculpture and part performance. Thus, the film becomes much more than a simple record of events. Filmed in real-time with a hand-held camera, we get caught up in the drama of a lit fuse or waiting for a ladder to slide down a ramp.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/GXrRC3pfLnE?si=iJQqucili1YjXgD2\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Fischli + Weiss, excerpt from&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=GXrRC3pfLnE&amp;ab_channel=IcarusFilms\" target=\"_blank\" rel=\"noreferrer noopener\">The Way Things Go (Der Lauf der Dinge)<\/a><\/strong>, 1987<\/em><\/p>\n\n\n\n<p><a href=\"http:\/\/en.wikipedia.org\/wiki\/Matthew_Barney\" target=\"_blank\" rel=\"noreferrer noopener\">Matthew Barney&#8217;s<\/a> <em><a href=\"http:\/\/www.cremaster.net\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>The Cremaster Cycle<\/strong><\/a><\/em> is a kind of parallel universe, where the familiar is strange and the strange is familiar. Not only five films, but also sculptural installations, photographs, drawings, a book, and a website document this metaphorical exploration of creation. Barney maps the work on two biological phenomena: the process of fetal <a href=\"http:\/\/en.wikipedia.org\/wiki\/Sexual_differentiation\" target=\"_blank\" rel=\"noreferrer noopener\">gender differentiation<\/a> and the function of the male <a href=\"http:\/\/en.wikipedia.org\/wiki\/Cremaster_muscle\" target=\"_blank\" rel=\"noreferrer noopener\">cremaster muscle<\/a>.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/BTwt31GXOOw?si=h0pTtwqTzA09TWAA\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Matthew Barney, Trailer for&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=BTwt31GXOOw&amp;ab_channel=ubak\" target=\"_blank\" rel=\"noreferrer noopener\">The Cremaster Cycle<\/a><\/strong>, 1994-2002<br><\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Sound_and_vision\"><\/span>Sound and vision<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/yiLllxsOuRk?si=OvzENNGt_DrTT5Ak\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>1894-5&nbsp;<a href=\"https:\/\/www.youtube.com\/watch?v=yiLllxsOuRk&amp;ab_channel=Everythinghasitsfirsttime\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>The Dickson Experimental Sound Film<\/strong><\/a>. A test for Edison&#8217;s &#8220;Kinetophone&#8221; project, the first&nbsp;attempt  in history to record synchronized moving image and&nbsp;sound. The experiment failed, but 105 years later Oscar-winner Walter Murch digitized the audio and video and complete it.<\/em><\/p>\n\n\n\n<p>Concurrent with the technical search for recording images was the quest for recording sound. In 2008, historians at <a href=\"http:\/\/www.firstsounds.org\/\" target=\"_blank\" rel=\"noreferrer noopener\">First Sounds<\/a> announced an amazing discovery: the earliest known recording of a human voice occurred on April 9, 1860, almost a generation before <a href=\"http:\/\/en.wikipedia.org\/wiki\/Phonograph\" target=\"_blank\" rel=\"noreferrer noopener\">Edison&#8217;s phonograph<\/a>. Here you can read about their process of discovering the phonautograms of <a href=\"http:\/\/en.wikipedia.org\/wiki\/%C3%89douard-L%C3%A9on_Scott_de_Martinville\" target=\"_blank\" rel=\"noreferrer noopener\">\u00c9douard-L\u00e9on Scott de Martinville<\/a>, whose voice we presumably can hear in <a href=\"http:\/\/newmediaabington.pbworks.com\/f\/1860-Scott-Au-Clair-de-la-Lune-05-09.mp3\">this audio clip<\/a>, one hundred and fifty years later. <\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1860-Scott-Au-Clair-de-la-Lune-05-09.mp3\"><\/audio><\/figure>\n\n\n\n<p><em><a href=\"http:\/\/en.wikipedia.org\/wiki\/%C3%89douard-L%C3%A9on_Scott_de_Martinville\" target=\"_blank\" rel=\"noreferrer noopener\">\u00c9douard-L\u00e9on Scott de Martinville<\/a>, first recorded sound of a human voice, 1860<\/em><\/p>\n\n\n\n<p>Not to take anything away from Thomas Edison, though, as he was instrumental in not only refining the recording and playing of sounds but also moving pictures as well.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"%E2%80%9CSilent%E2%80%9D_film\"><\/span>\u201cSilent\u201d film<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>For the first thirty years of cinema history, there was no practical way of synchronizing sound and image. Thus the period from about 1895 to the mid-twenties has become known as the&nbsp;<strong>Silent Era<\/strong>. This is a misnomer, as rarely were the films shown in complete silence. Live musicians, orchestras, organs, live sound effects artists, and other ways of creating sound in real-time were more than common.<\/p>\n\n\n\n<p>Typical of the grand scale for &#8220;blockbusters&#8221; of the time, <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Napol%C3%A9on_%281927_film%29\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Napol\u00e9on<\/strong><\/a><\/em> by <a href=\"http:\/\/en.wikipedia.org\/wiki\/Abel_Gance\" target=\"_blank\" rel=\"noreferrer noopener\">Abel Gance<\/a> was intended to be shown accompanied by a full orchestra creating the soundtrack. The film was restored with a new score by <a href=\"http:\/\/en.wikipedia.org\/wiki\/Carmine_Coppola\" target=\"_blank\" rel=\"noreferrer noopener\">Carmine Coppola<\/a>, premiering at Radio City Music Hall in 1981, and here shown in a trailer for a 2016 restoration.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/6504eRh5h6M?si=KpVeP7b7-opqgEoC\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Abel Gance,&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=6504eRh5h6M&amp;ab_channel=BFI\" target=\"_blank\" rel=\"noreferrer noopener\">Napol\u00e9on<\/a><\/strong>, 1927, restored 1979-80, and again in 2016<\/em><\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>As sound became part of cinema, sound effects experts known as <a href=\"http:\/\/en.wikipedia.org\/wiki\/Foley_artist\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>foley artists<\/strong><\/a> arose. They would thump a watermelon to emulate a punch sound or flap a piece of sheet metal to suggest thunder, synchronizing their efforts with the action on screen.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"682\" height=\"1023\" data-attachment-id=\"7862\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/foley_room_at_the_sound_design_campus\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Foley_Room_at_the_Sound_Design_Campus.jpg\" data-orig-size=\"682,1023\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Cherry Yuet&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;2011 Vancouver Film School&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Foley_Room_at_the_Sound_Design_Campus\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Foley_Room_at_the_Sound_Design_Campus.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Foley_Room_at_the_Sound_Design_Campus.jpg\" alt=\"\" class=\"wp-image-7862\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Foley_Room_at_the_Sound_Design_Campus.jpg 682w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Foley_Room_at_the_Sound_Design_Campus-200x300.jpg 200w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Foley_Room_at_the_Sound_Design_Campus-300x450.jpg 300w\" sizes=\"auto, (max-width: 682px) 100vw, 682px\" \/><figcaption class=\"wp-element-caption\"><em><a href=\"https:\/\/en.wikipedia.org\/wiki\/File:Foley_Room_at_the_Sound_Design_Campus.jpg\" target=\"_blank\" rel=\"noreferrer noopener\">A foley recording room<\/a><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Talkies\"><\/span>Talkies<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>The first feature-length film with synchronized dialogue elements was <a href=\"http:\/\/en.wikipedia.org\/wiki\/The_Jazz_Singer_%281927_film%29\" target=\"_blank\" rel=\"noreferrer noopener\"><em><strong>The Jazz Singer<\/strong><\/em><\/a> in 1927. By 1930, the &#8220;talkies&#8221; had pretty much taken over Hollywood. Most of the improvements over the coming decades were chiefly technical, allowing sound to play the supporting role necessary to carry the visual narrative. Sound itself doesn&#8217;t become the star until much later. However, the addition of sound does give rise in the 30s, 40s, and 50s to the golden age of <a href=\"http:\/\/en.wikipedia.org\/wiki\/Musical_film\" target=\"_blank\" rel=\"noreferrer noopener\">musicals<\/a>.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/22NQuPrwbHA?si=SCgNxeleodxGgSYw\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Alan Crosland, <strong><a href=\"https:\/\/www.youtube.com\/watch?v=22NQuPrwbHA&amp;ab_channel=WarnerBros.Entertainment\" target=\"_blank\" rel=\"noreferrer noopener\">The Jazz Singer<\/a><\/strong>, 1927. &#8220;You ain&#8217;t heard nothin&#8217; yet&#8230;&#8221;<\/em><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Films_for_Music_for_Films\"><\/span>Films for <em>Music for Films<\/em><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>In the 1980&#8217;s a new phenomenon began with the experimental documentary film <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Koyanaskatsi\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Koyaanisqatsi<\/strong><\/a><\/em>. Director <a href=\"http:\/\/en.wikipedia.org\/wiki\/Godfrey_Reggio\" target=\"_blank\" rel=\"noreferrer noopener\">Godfrey Reggio<\/a> avoids dialog in place of an intimate relationship between the slow-motion and time-lapse film techniques of <a href=\"http:\/\/en.wikipedia.org\/wiki\/Ron_Fricke\" target=\"_blank\" rel=\"noreferrer noopener\">Ron Fricke<\/a> and the mesmerizing minimalist musical score by <a href=\"http:\/\/en.wikipedia.org\/wiki\/Philip_Glass\" target=\"_blank\" rel=\"noreferrer noopener\">Philip Glass<\/a>. The musical score became so popular that the <a href=\"http:\/\/en.wikipedia.org\/wiki\/Philip_Glass_Ensemble\" target=\"_blank\" rel=\"noreferrer noopener\">Philip Glass Ensemble<\/a> toured the world, creating the music in front of the movie, replacing the recorded film score with a live performance much in the manner of early silent film presentation.  Below is a snippet. MGM Digital Media has posted the entire film here, and it&#8217;s worth a watch (despite the ads).<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/-uAiHSlUUIc?si=Uh7iVRH5vguSyZ0T\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Godfrey Reggio,&nbsp;<\/em><strong><em><a href=\"https:\/\/www.youtube.com\/watch?v=-uAiHSlUUIc&amp;ab_channel=TimeCodeWeb\" target=\"_blank\" rel=\"noreferrer noopener\">Koyaanisqatsi<\/a><\/em><\/strong><em>, 1982<\/em><\/p>\n\n\n\n<p>Another minimalist, <a href=\"http:\/\/en.wikipedia.org\/wiki\/Brian_Eno\" target=\"_blank\" rel=\"noreferrer noopener\">Brian Eno<\/a>, concocted a trio of albums as a <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Music_for_Films\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Music for Films<\/strong><\/a><\/em> series in the late 70s and early 80s. These classics of the ambient music genre are soundtracks to films that don&#8217;t exist. Yet, they have informed so much film music since their release it&#8217;s difficult to not hear them as actual soundtracks. And, some of the tracks eventually did make it into some films, after all.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/lSwXT25T0eg?si=Va30qCqqfTfA4yQN\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Brian Eno, <\/em><strong><em><a href=\"https:\/\/www.youtube.com\/watch?v=lSwXT25T0eg&amp;list=OLAK5uy_m3Joc1YzZ5mX9b6up71y3WJ40zBoErgVg&amp;index=15&amp;ab_channel=BrianEno-Topic\" target=\"_blank\" rel=\"noreferrer noopener\">Task Force<\/a><\/em><\/strong><em>, track from <strong>Music for Films<\/strong><\/em><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_future_is_the_past\"><\/span>The future is the past<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>A trend of the past decade has been the revisiting of old art films by young musicians. Reclaiming a lost territory, Eno-inspired groups like <strong>Laptop Quartet Twentytwentyone<\/strong> compose for Duchamp, Eggeling, Richter, and other avant-garde filmmakers. This makes the older work fresh for a new audience. Found sound combines with real-time samples from acoustic instruments in a way that honors the content without losing a contemporary edge.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/-Kejh3Xw7JM?si=RBoGKOfdLfZxG5HZ\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Viking Eggeling,&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/watch?v=-Kejh3Xw7JM&amp;t=7s&amp;ab_channel=ArturasBum%C5%A1teinas\" target=\"_blank\" rel=\"noreferrer noopener\">Symphonie Diagonale<\/a><\/strong>, 1924. with sound performance by LQ2021, 2008<\/em><\/p>\n\n\n\n<p>Another group that creates new sounds for old silent films is&nbsp;<strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Alloy_Orchestra\" target=\"_blank\" rel=\"noreferrer noopener\">Alloy Orchestra<\/a><\/strong>. Roger Miller (of&nbsp;Mission of Burma&nbsp;fame), Terry Donahue, and Ken Winokur are three musicians, but they sound like 15 in this adaptation of <a href=\"http:\/\/en.wikipedia.org\/wiki\/Dziga_Vertov\" target=\"_blank\" rel=\"noreferrer noopener\">Dziga Vertov&#8217;s<\/a> <a href=\"http:\/\/en.wikipedia.org\/wiki\/Man_with_the_Movie_Camera\" target=\"_blank\" rel=\"noreferrer noopener\"><em><strong>Man With a Movie Camera<\/strong><\/em><\/a>. With soundtracks for <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Nosferatu\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Nosferatu<\/strong><\/a><\/em> and <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Metropolis_%28film%29\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Metropolis<\/strong><\/a><\/em>, Alloy has even inspired some modern filmmakers to&nbsp;<a href=\"https:\/\/newenglandfilm.com\/magazine\/2002\/06\/fantasy-world\" target=\"_blank\" rel=\"noreferrer noopener\">make silent movies today<\/a>.<\/p>\n\n\n\n<div style=\"padding:75% 0 0 0;position:relative;\"><iframe src=\"https:\/\/player.vimeo.com\/video\/97610849?h=218d98ba8a&#038;portrait=0\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe><\/div>\n\n\n\n<p><em>Dziga Vertov,&nbsp;<strong><a href=\"https:\/\/vimeo.com\/97610849\" target=\"_blank\" rel=\"noreferrer noopener\">Man With a Movie Camera<\/a><\/strong>, 1929, with soundscape by Alloy Orchestra, 1995<\/em><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Found_sound\"><\/span>Found sound<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Let&#8217;s face the fact that it&#8217;s hard to <strong>do it all<\/strong>. It&#8217;s tempting to snatch a bit of sound and hope no one notices that you&#8217;ve stolen a copyrighted work \u2014 but remember the opportunities in sharing and licensing. Fortunately, there are places where sound is free. So as long as you play along with terms of use, you&#8217;ll soon have a pretty impressive library of sound to glean from.<\/p>\n\n\n\n<p>Sites like <a href=\"http:\/\/findsounds.com\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>FindSounds<\/strong><\/a>, a kind of search engine for audio clips, allow you to collect an impressive array of snippets to create sound collages and samplings from, all either public domain or Creative Commons licensed. Sites like these often stipulate to credit the original site as the source of your sound.<\/p>\n\n\n\n<p>Some artists are now providing free services for independent, non-commercial, or student filmmakers. <a href=\"http:\/\/en.wikipedia.org\/wiki\/Moby\" target=\"_blank\" rel=\"noreferrer noopener\">Moby<\/a>, no stranger to film scoring himself, has donated part of his website to a project called <a href=\"http:\/\/www.mobygratis.com\/film-music.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>mobygratis.com<\/strong><\/a>. There you can set up an account and request the rights to use tracks under a license that restricts your use to the film project proposed.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_language_of_cinema\"><\/span>The language of cinema<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>Image-making is a language. It has an alphabet (bits of light, shadow, or color), words (groupings of light, shadow, or color we can recognize), and grammar (rules for organizing those groupings), all of which generate semiotic meaning or compositional relationships. As a way of communicating, image-making can be understood around the globe \u2014 perhaps even around the rest of the universe, which is why <em>pictures rather than words<\/em> are used to communicate on the <a href=\"http:\/\/voyager.jpl.nasa.gov\/spacecraft\/goldenrec.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Voyager Golden Record<\/strong><\/a>!<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"733\" height=\"386\" data-attachment-id=\"7865\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/record-diagram\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/record-diagram.jpg\" data-orig-size=\"733,386\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"record-diagram\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/record-diagram.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/record-diagram.jpg\" alt=\"\" class=\"wp-image-7865\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/record-diagram.jpg 733w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/record-diagram-300x158.jpg 300w\" sizes=\"auto, (max-width: 733px) 100vw, 733px\" \/><\/figure>\n\n\n\n<p>Moving pictures linked with sound create the special case of image-making language we call <em>film<\/em> or <em>cinema<\/em>. If you come to this course having started as a painter, you might think you know enough about the language of image-making that your movie-making efforts will translate easily. But it&#8217;s a bit like knowing Italian and believing that will help you speak Spanish. True, they are both derived from Latin. But each has enough uniqueness that it becomes important to learn the language you intend to use.<\/p>\n\n\n\n<p>For a take on what to do with the language of film, visit <a href=\"https:\/\/writingstudio.co.za\/the-language-of-film-a-visual-guide\/\"><strong>The Writing Studio<\/strong> website<\/a>.<\/p>\n\n\n\n<p>And for a take on what <strong><em>not<\/em><\/strong> to do, visit <a href=\"https:\/\/web.archive.org\/web\/20150206061209\/http:\/\/www.filmmaker.com\/DUMPS\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>D.U.M.P.S.<\/strong><\/a> and heed the warnings!<\/p>\n\n\n\n<p>For our purposes here, let&#8217;s break the process down into three related, overlapping, intertwining actions:<strong> shooting<\/strong>, <strong>editing<\/strong>, and <strong>sound<\/strong>. As we do, we&#8217;ll be using film jargon. Use the <a href=\"http:\/\/newmediaabington.pbworks.com\/The+Language+of+Film+-+Glossary\">Glossary<\/a> to help you with these terms.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Shooting\"><\/span>Shooting<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Whether you choose abstraction or traditional narrative, the universe depicted in your film is known as the <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Diegesis\" target=\"_blank\" rel=\"noreferrer noopener\">diegesis<\/a><\/strong>. This consists of two related but very different things:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>The <strong>Mise-en-sc\u00e8ne<\/strong> is<strong> <\/strong>a French term meaning &#8220;formatting the scene&#8221; or &#8220;staging.&#8221; In a traditional, live-action narrative, it includes how you use actors, sets, props, costumes, lighting, sound, and location. In an abstract animation, visual elements and principles \u2014 line, shape, color, balance, rhythm, and so on \u2014 become your mise-en-sc\u00e8ne.<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>The <strong>Mise-en-shot<\/strong>, French for &#8220;formatting the shot&#8221; or &#8220;shooting.&#8221; This involves the translation of your mise-en-sc\u00e8ne into <strong>shots<\/strong>, individual instances where the camera is recording action in the mise-en-sc\u00e8ne. <\/li>\n<\/ul>\n\n\n\n<p>Shots start with a visual vocabulary based on the placement and movement of the camera, duration of the shot, depth of focus, and scale of shot. The varieties of shots \u2014 <strong>long shot<\/strong>,&nbsp;<strong>medium shot<\/strong>,&nbsp;<strong>close-up<\/strong> \u2014 all contribute to the nature of the movement in the picture.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/ICcE72RwEyc?si=KaAtJTkw6k49Jxme\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p>As an active time-and-motion media, action is at the center of every shot, even relatively calm scenes. We break this down into:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Primary action<\/strong>: the movement of actors or elements in the visual field.&nbsp;<\/li>\n\n\n\n<li><strong>Secondary action<\/strong>: the movement of the camera itself). <\/li>\n\n\n\n<li><strong>Tertiary action<\/strong>: the motion created by editing between cuts.<\/li>\n<\/ul>\n\n\n\n<div style=\"padding:56.25% 0 0 0;position:relative;\"><iframe src=\"https:\/\/player.vimeo.com\/video\/410208537?h=d7aaf913bd&#038;portrait=0\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe><\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Editing\"><\/span>Editing<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>When you&#8217;re done recording action, you&#8217;re barely half done. Taking individual shots and putting them all together into an organic, coherent temporal composition is the art of editing. This is where you&#8217;ll be spending quality time with Premier. The quality of your editing, like the quality of your shooting, can make or break your project. In other words, it&#8217;s hard for a good editing job to make anything out of bad shooting. And it&#8217;s easy for a bad edit to destroy good shooting. The nature of your film will broadly determine your editing style as either:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Continuity_editing\" target=\"_blank\" rel=\"noreferrer noopener\">Continuity editing<\/a><\/strong> is a sense of continuous, sequential action in a logical space-time continuum. Most Hollywood films favor this style as less demanding on an audience. Since the audience is largely unaware of the editing in this style, it is sometimes referred to as&nbsp;<strong>transparency editing<\/strong>.<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Montage_(filmmaking)\" target=\"_blank\" rel=\"noreferrer noopener\">Montage<\/a><\/strong> creates action that develops in a non-linear fashion. This invites the audience to create connections between what may appear to be unrelated shots. This kind of editing is sometimes referred to as  <strong>framed editing<\/strong>. It continually reminds the audience that the film is an artificial construct. Flashbacks, flash-forwards, jump cuts, cutting to black or fading to white, and sudden starting and stopping of sound or action are typical hallmarks of this style of editing.<\/li>\n<\/ul>\n\n\n\n<p>Some filmmakers favor one or the other. Others feel free to pitch back and forth between them, even within one film.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/FVR8zz8ci2k?si=bsyelOTsk8tQV09I\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Transitions\"><\/span>Transitions<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>When editing, you are stringing pearls, placing one shot next to another in a deliberate sequence. The link between the shots is known as a&nbsp;transition. The most elementary transition is the&nbsp;cut, a simple straight splice from one piece of action to another. A&nbsp;fade&nbsp;brings the action to a stop slowly and gradually by transitioning to a neutral visual field, usually black or white. A&nbsp;dissolve&nbsp;or&nbsp;cross-fade&nbsp;is similar to a fade but transitions gradually from one shot to another. A&nbsp;wipe&nbsp;suggests a shot pushing or pulling another shot out of the way. In the digital age, new transitions \u2014 3D swoops, pixilated dissolves, and the like \u2014 are available through software.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/TKXBAaQB03U?si=8JjLIlv0uqnyDYMc\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Sound\"><\/span>Sound<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>The next time you see a film, don&#8217;t watch it.&nbsp;<em>Listen<\/em>&nbsp;to it. Sound is a vital part of the filmic language and can fundamentally change the meaning of the action. Sound can be <strong>diegetic<\/strong>: the voices of the characters in the world of the film, for example. It can also be <strong>non-diegetic<\/strong>: a voice-over or a full orchestral soundtrack doesn&#8217;t exist in the world of the film. It can also switch \u2014 a pop-tune overdub soundtrack can feel non-diegetic until a character unexpectedly switches off a radio.<\/p>\n\n\n\n<p>Sound comes from a variety of sources: <strong>dialog<\/strong>, <strong>sound effects,<\/strong>&nbsp;and <strong>music<\/strong>. Human voices or sound effects can be <strong>synchronous<\/strong> (exactly matching the action in the film) or <strong>asynchronous<\/strong> (not matching the action, or occurring outside of the visual field).<\/p>\n<ol class=\"footnotes\"><li id=\"footnote_1_7736\" class=\"footnote\">Bielawski, Jan and Trondsen, Trond S. &#8220;Andrei Tarkovsky Talks About&#8230; .&#8221; nostalghia.com: an Andrei Tarkovsky Information Site. 2001-2005. <a href=\"https:\/\/web.archive.org\/web\/20170217224553\/http:\/\/people.ucalgary.ca\/~tstronds\/nostalghia.com\/TheTopics\/AT_For_Dummies.html\">http:\/\/people.ucalgary.ca\/~tstronds\/nostalghia.com\/TheTopics\/AT_For_Dummies.html<\/a><span class=\"footnote-back-link-wrapper\">[<a href=\"#identifier_1_7736\" class=\"footnote-link footnote-back-link\">&#8617;<\/a>]<\/span><\/li><li id=\"footnote_2_7736\" class=\"footnote\"><a href=\"https:\/\/www.mediacollege.com\/glossary\/p\/persistence-of-vision.html\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/www.mediacollege.com\/glossary\/p\/persistence-of-vision.html<\/a><span class=\"footnote-back-link-wrapper\">[<a href=\"#identifier_2_7736\" class=\"footnote-link footnote-back-link\">&#8617;<\/a>]<\/span><\/li><li id=\"footnote_3_7736\" class=\"footnote\">&#8220;Zoetrope.&#8221; Wikipedia. 2010.&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/Zoetrope\">http:\/\/en.wikipedia.org\/wiki\/Zoetrope<\/a><span class=\"footnote-back-link-wrapper\">[<a href=\"#identifier_3_7736\" class=\"footnote-link footnote-back-link\">&#8617;<\/a>]<\/span><\/li><li id=\"footnote_4_7736\" class=\"footnote\">Baum, L. Frank. The Wonderful Wizard of Oz. George M. Hill, 1899. p. 12<span class=\"footnote-back-link-wrapper\">[<a href=\"#identifier_4_7736\" class=\"footnote-link footnote-back-link\">&#8617;<\/a>]<\/span><\/li><\/ol>","protected":false},"excerpt":{"rendered":"<p>25-minute read, but video content doubles engagement Introduction The fine arts have &#8220;traditionally&#8221; been divided into painting, sculpture, and architecture. But these classifications are the exception in the long span of history. After the development of easel painting in the Renaissance, the&nbsp;L\u2018Ecole des Beaux-Arts&nbsp;(School of Fine Arts) in France codified these categories as a curriculum&#8230; <a href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/\">read more &raquo;<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_eb_attr":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[8],"tags":[],"class_list":["post-7736","post","type-post","status-publish","format-standard","hentry","category-paralleluniverses"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>CHAPTER 16 | Metaphors to Cinema - newMediaWiki<\/title>\n<meta name=\"description\" content=\"Chapter 16 Metaphors to Cinema: Projection &amp; camera technologies preceding the history of cinema, a medium with its own visual language.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"CHAPTER 16 | Metaphors to Cinema - newMediaWiki\" \/>\n<meta property=\"og:description\" content=\"Chapter 16 Metaphors to Cinema: Projection &amp; camera technologies preceding the history of cinema, a medium with its own visual language.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/\" \/>\n<meta property=\"og:site_name\" content=\"newMediaWiki\" \/>\n<meta property=\"article:published_time\" content=\"2024-03-08T17:09:55+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-08-05T21:39:27+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png\" \/>\n\t<meta property=\"og:image:width\" content=\"694\" \/>\n\t<meta property=\"og:image:height\" content=\"694\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"williamCromar\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"williamCromar\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"33 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/chapter-16-metaphors-to-cinema\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/chapter-16-metaphors-to-cinema\\\/\"},\"author\":{\"name\":\"williamCromar\",\"@id\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/#\\\/schema\\\/person\\\/680114553d8ae86ba751ea5e0ea983e3\"},\"headline\":\"CHAPTER 16 | Metaphors to Cinema\",\"datePublished\":\"2024-03-08T17:09:55+00:00\",\"dateModified\":\"2025-08-05T21:39:27+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/chapter-16-metaphors-to-cinema\\\/\"},\"wordCount\":6094,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/#\\\/schema\\\/person\\\/680114553d8ae86ba751ea5e0ea983e3\"},\"image\":{\"@id\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/chapter-16-metaphors-to-cinema\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/i0.wp.com\\\/williamcromar.com\\\/newmediawiki\\\/wp-content\\\/uploads\\\/2023\\\/07\\\/parallelUniverses_01.png?resize=694%2C694&amp;ssl=1\",\"articleSection\":[\"parallelUniverses\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/chapter-16-metaphors-to-cinema\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/chapter-16-metaphors-to-cinema\\\/\",\"url\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/chapter-16-metaphors-to-cinema\\\/\",\"name\":\"CHAPTER 16 | Metaphors to Cinema - newMediaWiki\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/chapter-16-metaphors-to-cinema\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/chapter-16-metaphors-to-cinema\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/i0.wp.com\\\/williamcromar.com\\\/newmediawiki\\\/wp-content\\\/uploads\\\/2023\\\/07\\\/parallelUniverses_01.png?resize=694%2C694&amp;ssl=1\",\"datePublished\":\"2024-03-08T17:09:55+00:00\",\"dateModified\":\"2025-08-05T21:39:27+00:00\",\"description\":\"Chapter 16 Metaphors to Cinema: Projection & camera technologies preceding the history of cinema, a medium with its own visual language.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/chapter-16-metaphors-to-cinema\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/chapter-16-metaphors-to-cinema\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/chapter-16-metaphors-to-cinema\\\/#primaryimage\",\"url\":\"https:\\\/\\\/i0.wp.com\\\/williamcromar.com\\\/newmediawiki\\\/wp-content\\\/uploads\\\/2023\\\/07\\\/parallelUniverses_01.png?resize=694%2C694&amp;ssl=1\",\"contentUrl\":\"https:\\\/\\\/i0.wp.com\\\/williamcromar.com\\\/newmediawiki\\\/wp-content\\\/uploads\\\/2023\\\/07\\\/parallelUniverses_01.png?resize=694%2C694&amp;ssl=1\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/chapter-16-metaphors-to-cinema\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"CHAPTER 16 | Metaphors to Cinema\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/#website\",\"url\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/\",\"name\":\"newMediaWiki\",\"description\":\"because all media are new\",\"publisher\":{\"@id\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/#\\\/schema\\\/person\\\/680114553d8ae86ba751ea5e0ea983e3\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":[\"Person\",\"Organization\"],\"@id\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/#\\\/schema\\\/person\\\/680114553d8ae86ba751ea5e0ea983e3\",\"name\":\"williamCromar\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/i0.wp.com\\\/williamcromar.com\\\/newmediawiki\\\/wp-content\\\/uploads\\\/2023\\\/07\\\/2015_newmedia_logo.png?fit=1754%2C1754&ssl=1\",\"url\":\"https:\\\/\\\/i0.wp.com\\\/williamcromar.com\\\/newmediawiki\\\/wp-content\\\/uploads\\\/2023\\\/07\\\/2015_newmedia_logo.png?fit=1754%2C1754&ssl=1\",\"contentUrl\":\"https:\\\/\\\/i0.wp.com\\\/williamcromar.com\\\/newmediawiki\\\/wp-content\\\/uploads\\\/2023\\\/07\\\/2015_newmedia_logo.png?fit=1754%2C1754&ssl=1\",\"width\":1754,\"height\":1754,\"caption\":\"williamCromar\"},\"logo\":{\"@id\":\"https:\\\/\\\/i0.wp.com\\\/williamcromar.com\\\/newmediawiki\\\/wp-content\\\/uploads\\\/2023\\\/07\\\/2015_newmedia_logo.png?fit=1754%2C1754&ssl=1\"},\"url\":\"https:\\\/\\\/williamcromar.com\\\/newmediawiki\\\/author\\\/williamcromar\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"CHAPTER 16 | Metaphors to Cinema - newMediaWiki","description":"Chapter 16 Metaphors to Cinema: Projection & camera technologies preceding the history of cinema, a medium with its own visual language.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/","og_locale":"en_US","og_type":"article","og_title":"CHAPTER 16 | Metaphors to Cinema - newMediaWiki","og_description":"Chapter 16 Metaphors to Cinema: Projection & camera technologies preceding the history of cinema, a medium with its own visual language.","og_url":"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/","og_site_name":"newMediaWiki","article_published_time":"2024-03-08T17:09:55+00:00","article_modified_time":"2025-08-05T21:39:27+00:00","og_image":[{"width":694,"height":694,"url":"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png","type":"image\/png"}],"author":"williamCromar","twitter_card":"summary_large_image","twitter_misc":{"Written by":"williamCromar","Est. reading time":"33 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#article","isPartOf":{"@id":"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/"},"author":{"name":"williamCromar","@id":"https:\/\/williamcromar.com\/newmediawiki\/#\/schema\/person\/680114553d8ae86ba751ea5e0ea983e3"},"headline":"CHAPTER 16 | Metaphors to Cinema","datePublished":"2024-03-08T17:09:55+00:00","dateModified":"2025-08-05T21:39:27+00:00","mainEntityOfPage":{"@id":"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/"},"wordCount":6094,"commentCount":0,"publisher":{"@id":"https:\/\/williamcromar.com\/newmediawiki\/#\/schema\/person\/680114553d8ae86ba751ea5e0ea983e3"},"image":{"@id":"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png?resize=694%2C694&amp;ssl=1","articleSection":["parallelUniverses"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/","url":"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/","name":"CHAPTER 16 | Metaphors to Cinema - newMediaWiki","isPartOf":{"@id":"https:\/\/williamcromar.com\/newmediawiki\/#website"},"primaryImageOfPage":{"@id":"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#primaryimage"},"image":{"@id":"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png?resize=694%2C694&amp;ssl=1","datePublished":"2024-03-08T17:09:55+00:00","dateModified":"2025-08-05T21:39:27+00:00","description":"Chapter 16 Metaphors to Cinema: Projection & camera technologies preceding the history of cinema, a medium with its own visual language.","breadcrumb":{"@id":"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#primaryimage","url":"https:\/\/i0.wp.com\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png?resize=694%2C694&amp;ssl=1","contentUrl":"https:\/\/i0.wp.com\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png?resize=694%2C694&amp;ssl=1"},{"@type":"BreadcrumbList","@id":"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/williamcromar.com\/newmediawiki\/"},{"@type":"ListItem","position":2,"name":"CHAPTER 16 | Metaphors to Cinema"}]},{"@type":"WebSite","@id":"https:\/\/williamcromar.com\/newmediawiki\/#website","url":"https:\/\/williamcromar.com\/newmediawiki\/","name":"newMediaWiki","description":"because all media are new","publisher":{"@id":"https:\/\/williamcromar.com\/newmediawiki\/#\/schema\/person\/680114553d8ae86ba751ea5e0ea983e3"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/williamcromar.com\/newmediawiki\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":["Person","Organization"],"@id":"https:\/\/williamcromar.com\/newmediawiki\/#\/schema\/person\/680114553d8ae86ba751ea5e0ea983e3","name":"williamCromar","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/i0.wp.com\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/2015_newmedia_logo.png?fit=1754%2C1754&ssl=1","url":"https:\/\/i0.wp.com\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/2015_newmedia_logo.png?fit=1754%2C1754&ssl=1","contentUrl":"https:\/\/i0.wp.com\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/2015_newmedia_logo.png?fit=1754%2C1754&ssl=1","width":1754,"height":1754,"caption":"williamCromar"},"logo":{"@id":"https:\/\/i0.wp.com\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/2015_newmedia_logo.png?fit=1754%2C1754&ssl=1"},"url":"https:\/\/williamcromar.com\/newmediawiki\/author\/williamcromar\/"}]}},"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/williamcromar.com\/newmediawiki\/wp-json\/wp\/v2\/posts\/7736","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/williamcromar.com\/newmediawiki\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/williamcromar.com\/newmediawiki\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/williamcromar.com\/newmediawiki\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/williamcromar.com\/newmediawiki\/wp-json\/wp\/v2\/comments?post=7736"}],"version-history":[{"count":20,"href":"https:\/\/williamcromar.com\/newmediawiki\/wp-json\/wp\/v2\/posts\/7736\/revisions"}],"predecessor-version":[{"id":9259,"href":"https:\/\/williamcromar.com\/newmediawiki\/wp-json\/wp\/v2\/posts\/7736\/revisions\/9259"}],"wp:attachment":[{"href":"https:\/\/williamcromar.com\/newmediawiki\/wp-json\/wp\/v2\/media?parent=7736"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/williamcromar.com\/newmediawiki\/wp-json\/wp\/v2\/categories?post=7736"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/williamcromar.com\/newmediawiki\/wp-json\/wp\/v2\/tags?post=7736"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}