INTERNATIONAL JOURNAL ON STEREO & IMMERSIVE MEDIA Vol 2, Issue n.º1 INTERNATIONAL JOURNAL ON STEREO & IMMERSIVE MEDIA Abstract The drawing in Figure 1 was included in a 1950s brochure The idea that photography had the potential to reproduce the THE INVENTION OF In the mid-twentieth-century, it was widely be- promoting a projection system for stereoscopic cinema that world as we see it can be described as an integral-image uto- lieved that innovations in photographing move- offered a three-dimensional image without the use of special pia: an idealised conception of the photographic image sus- THE MYTH OF TOTAL ment, colour, and depth would one day afford glasses. Although simplistic in many respects, this illustra- tained by the sentiment that innovations in the transcription complete mastery of the simulation of visual tion evokes the salient characteristics of the photographic of the action of light were tending towards a complete simu- PHOTOGRAPHY perception. This collective representation of image of the future, as envisioned at the time: a picture that lation of everyday perception – even though the most recent purpose and of progress in photography was was animated – signified in the drawing by a projected image technologies, like the one advertised in Figure 1, didn’t yet al- eloquently expressed as the “myth of total cine- and a bumblebee; in colour – conveyed with a bright chro- low seamlessly immersive representation. In the mid–twen- KIM TIMBY ma” by André Bazin (1946), who argued that the matic palette; in three dimensions – represented by the use tieth century, inventors and the general public alike assumed École du Louvre, Paris longing for “integral realism” had always marked of perspective; and, of course, accompanied by sound – also that technological progress in photography was leading in this
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