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History of the East London Line
HISTORY OF THE EAST LONDON LINE – FROM BRUNEL’S THAMES TUNNEL TO THE LONDON OVERGROUND by Oliver Green A report of the LURS meeting at All Souls Club House on 11 October 2011 Oliver worked at the London Transport Museum for many years and was one of the team who set up the Covent Garden museum in 1980. He left in 1989 to continue his museum career in Colchester, Poole and Buckinghamshire before returning to LTM in 2001 to work on its recent major refurbishment and redisplay in the role of Head Curator. He retired from this post in 2009 but has been granted an honorary Research Fellowship and continues to assist the museum in various projects. He is currently working with LTM colleagues on a new history of the Underground which will be published by Penguin in October 2012 as part of LU’s 150th anniversary celebrations for the opening of the Met [Bishops Road to Farringdon Street 10 January 1863.] The early 1800s saw various schemes to tunnel under the River Thames, including one begun in 1807 by Richard Trevithick which was abandoned two years later when the workings were flooded. This was started at Rotherhithe, close to the site later chosen by Marc Isambard Brunel for his Thames Tunnel. In 1818, inspired by the boring technique of shipworms he had studied while working at Chatham Dockyard, Brunel patented a revolutionary method of digging through soft ground using a rectangular shield. His giant iron shield was divided into 12 independently moveable protective frames, each large enough for a miner to work in. -
Optical Machines, Pr
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA UMI800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS Copyrighted materials in this document have not been filmed at the request of the author. They are available for consultation at the author’s university library. -
Uncovering the Underground's Role in the Formation of Modern London, 1855-1945
University of Kentucky UKnowledge Theses and Dissertations--History History 2016 Minding the Gap: Uncovering the Underground's Role in the Formation of Modern London, 1855-1945 Danielle K. Dodson University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.339 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Dodson, Danielle K., "Minding the Gap: Uncovering the Underground's Role in the Formation of Modern London, 1855-1945" (2016). Theses and Dissertations--History. 40. https://uknowledge.uky.edu/history_etds/40 This Doctoral Dissertation is brought to you for free and open access by the History at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--History by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Elements of Screenology: Toward an Archaeology of the Screen 2006
Repositorium für die Medienwissenschaft Erkki Huhtamo Elements of screenology: Toward an Archaeology of the Screen 2006 https://doi.org/10.25969/mediarep/1958 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Huhtamo, Erkki: Elements of screenology: Toward an Archaeology of the Screen. In: Navigationen - Zeitschrift für Medien- und Kulturwissenschaften, Jg. 6 (2006), Nr. 2, S. 31–64. DOI: https://doi.org/10.25969/mediarep/1958. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an. -
Brunel's Dream
Global Foresights | Global Trends and Hitachi’s Involvement Brunel’s Dream Kenji Kato Industrial Policy Division, Achieving Comfortable Mobility Government and External Relations Group, Hitachi, Ltd. The design of Paddington Station’s glass roof was infl u- Renowned Engineer Isambard enced by the Crystal Palace building erected as the venue for Kingdom Brunel London’s fi rst Great Exhibition held in 1851. Brunel was also involved in the planning for Crystal Palace, serving on the The resigned sigh that passed my lips on arriving at Heathrow building committee of the Great Exhibition, and acclaimed Airport was prompted by the long queues at immigration. the resulting structure of glass and iron. Being the gateway to London, a city known as a melting pot Rather than pursuing effi ciency in isolation, Brunel’s of races, the arrivals processing area was jammed with travel- approach to constructing the Great Western Railway was to ers from all corners of the world; from Europe of course, but make the railway lines as fl at as possible so that passengers also from the Middle East, Africa, Asia, and North and South could enjoy a pleasant journey while taking in Britain’s won- America. What is normally a one-hour wait can stretch to derful rural scenery. He employed a variety of techniques to two or more hours if you are unfortunate enough to catch a overcome the constraints of the terrain, constructing bridges, busy time of overlapping fl ight arrivals. While this only adds cuttings, and tunnels to achieve this purpose. to the weariness of a long journey, the prospect of comfort Rain, Steam and Speed – The Great Western Railway, a famous awaits you on the other side. -
The Crystal Palace
The Crystal Palace The Crystal Palace was a cast-iron and plate-glass structure originally The Crystal Palace built in Hyde Park, London, to house the Great Exhibition of 1851. More than 14,000 exhibitors from around the world gathered in its 990,000-square-foot (92,000 m2) exhibition space to display examples of technology developed in the Industrial Revolution. Designed by Joseph Paxton, the Great Exhibition building was 1,851 feet (564 m) long, with an interior height of 128 feet (39 m).[1] The invention of the cast plate glass method in 1848 made possible the production of large sheets of cheap but strong glass, and its use in the Crystal Palace created a structure with the greatest area of glass ever seen in a building and astonished visitors with its clear walls and ceilings that did not require interior lights. It has been suggested that the name of the building resulted from a The Crystal Palace at Sydenham (1854) piece penned by the playwright Douglas Jerrold, who in July 1850 General information wrote in the satirical magazine Punch about the forthcoming Great Status Destroyed Exhibition, referring to a "palace of very crystal".[2] Type Exhibition palace After the exhibition, it was decided to relocate the Palace to an area of Architectural style Victorian South London known as Penge Common. It was rebuilt at the top of Town or city London Penge Peak next to Sydenham Hill, an affluent suburb of large villas. It stood there from 1854 until its destruction by fire in 1936. The nearby Country United Kingdom residential area was renamed Crystal Palace after the famous landmark Coordinates 51.4226°N 0.0756°W including the park that surrounds the site, home of the Crystal Palace Destroyed 30 November 1936 National Sports Centre, which had previously been a football stadium Cost £2 million that hosted the FA Cup Final between 1895 and 1914. -
The Crystal Palace and Great Exhibition of 1851
Gale Primary Sources Start at the source. The Crystal Palace and Great Exhibition of 1851 Ed King British Library Various source media, British Library Newpapers EMPOWER™ RESEARCH The Crystal Palace evokes a response from almost exhibition of 1849 was visited by 100,000 people.2 As the everyone that you meet. Its fame is part of our culture. introduction to the catalogue of the 1846 exhibition The origin of the Crystal Palace lay in a decision made explained: in 1849 by Albert, the Prince Consort, together with a small group of friends and advisers, to hold an international exhibition in 1851 of the industry of all 'We are persuaded that if artistic manufactures are not appreciated, it is because they are not widely enough known. We believe that when nations. This exhibition came to have the title of: 'Great works of high merit, of British origin, are brought forward, they will Exhibition of the Works of Industry of all Nations', be fully appreciated and thoroughly enjoyed. ... this exhibition when normally shortened to 'Great Exhibition'. 3 thrown ... open to all will tend to improve the public taste.' There had been exhibitions prior to the Great Exhibition. This declaration of intent has a prophetic ring about it, These had occurred in Britain and also in France and when we consider what eventually happened in 1851. Germany.1 The spirit of competition fostered by the trade of mass-produced goods between nations created, to some extent, a need to exhibit goods. This, The Crystal Palace in Hyde Park in turn, promoted the sale of goods. -
Moving Pictures: the History of Early Cinema by Brian Manley
Discovery Guides Moving Pictures: The History of Early Cinema By Brian Manley Introduction The history of film cannot be credited to one individual as an oversimplification of any his- tory often tries to do. Each inventor added to the progress of other inventors, culminating in progress for the entire art and industry. Often masked in mystery and fable, the beginnings of film and the silent era of motion pictures are usually marked by a stigma of crudeness and naiveté, both on the audience's and filmmakers' parts. However, with the landmark depiction of a train hurtling toward and past the camera, the Lumière Brothers’ 1895 picture “La Sortie de l’Usine Lumière à Lyon” (“Workers Leaving the Lumière Factory”), was only one of a series of simultaneous artistic and technological breakthroughs that began to culminate at the end of the nineteenth century. These triumphs that began with the creation of a machine that captured moving images led to one of the most celebrated and distinctive art forms at the start of the 20th century. Audiences had already reveled in Magic Lantern, 1818, Musée des Arts et Métiers motion pictures through clever uses of slides http://en.wikipedia.org/wiki/File:Magic-lantern.jpg and mechanisms creating "moving photographs" with such 16th-century inventions as magic lanterns. These basic concepts, combined with trial and error and the desire of audiences across the world to see entertainment projected onto a large screen in front of them, birthed the movies. From the “actualities” of penny arcades, the idea of telling a story in order to draw larger crowds through the use of differing scenes began to formulate in the minds of early pioneers such as Georges Melies and Edwin S. -
Douglass Crockwell Collection, 1897-1976, Bulk 1934-1968
Douglass Crockwell collection, 1897-1976, bulk 1934-1968 Finding aid prepared by Ken Fox, Project Archivist, George Eastman Museum, Moving Image Department, April 2015 Descriptive Summary Creator: Crockwell, Spencer Douglass, 1904-1968 Title: Douglass Crockwell collection Dates: 1897-1976, bulk 1934-1968 Physical Extent: 30.1 cubic feet Repository: Moving Image Department George Eastman Museum 900 East Avenue Rochester, NY 14607 Phone: 585-271-3361 Email: [email protected] Content Abstract: Spencer Douglass Crockwell was a commercial illustrator, experimental filmmaker, inventor, Mutoscope collector, amateur scientist, and Glens Falls, New York, resident. The Douglass Crockwell Collection contains Mr. Crockwell's personal papers, professional documents, films, Mutoscope reels, flip books, drawings, and photographs documenting his professional, civic, and personal life. Language: Collection materials are in English Location: Collection materials are located onsite. Access Restrictions: Collection is open to research upon request. Copyright: George Eastman Museum holds the rights to the physical materials but not intellectual property rights. Acquisition Information: The earliest acquisition of collection materials occurred on August 20, 1973, when one table Mutoscope and three Mutoscope reels were received by the George Eastman Museum as an unrestricted gift from Mr. Crockwell's widow. On March 22, 1974, Mrs. Crockwell transferred most of the Douglass Crockwell Collection to the Museum with the 1 understanding that one third of the collection would be received as an immediate gift. The remaining balance of the collection -- which included the films -- would be received as a loan for study purposes with the understanding it would be accessioned into the permanent collection as a gift within the next two years. -
Persistence of Vision: the Value of Invention in Independent Art Animation
Virginia Commonwealth University VCU Scholars Compass Kinetic Imaging Publications and Presentations Dept. of Kinetic Imaging 2006 Persistence of Vision: The alueV of Invention in Independent Art Animation Pamela Turner Virginia Commonwealth University, [email protected] Follow this and additional works at: http://scholarscompass.vcu.edu/kine_pubs Part of the Film and Media Studies Commons, Fine Arts Commons, and the Interdisciplinary Arts and Media Commons Copyright © The Author. Originally presented at Connectivity, The 10th ieB nnial Symposium on Arts and Technology at Connecticut College, March 31, 2006. Downloaded from http://scholarscompass.vcu.edu/kine_pubs/3 This Presentation is brought to you for free and open access by the Dept. of Kinetic Imaging at VCU Scholars Compass. It has been accepted for inclusion in Kinetic Imaging Publications and Presentations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Pamela Turner 2220 Newman Road, Richmond VA 23231 Virginia Commonwealth University – School of the Arts 804-222-1699 (home), 804-828-3757 (office) 804-828-1550 (fax) [email protected], www.people.vcu.edu/~ptturner/website Persistence of Vision: The Value of Invention in Independent Art Animation In the practice of art being postmodern has many advantages, the primary one being that the whole gamut of previous art and experience is available as influence and inspiration in a non-linear whole. Music and image can be formed through determined methods introduced and delightfully disseminated by John Cage. Medieval chants can weave their way through hip-hopped top hits or into sound compositions reverberating in an art gallery. -
Proto-Cinematic Narrative in Nineteenth-Century British Fiction
The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-2016 Moving Words/Motion Pictures: Proto-Cinematic Narrative In Nineteenth-Century British Fiction Kara Marie Manning University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Literature in English, British Isles Commons, and the Other Film and Media Studies Commons Recommended Citation Manning, Kara Marie, "Moving Words/Motion Pictures: Proto-Cinematic Narrative In Nineteenth-Century British Fiction" (2016). Dissertations. 906. https://aquila.usm.edu/dissertations/906 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. MOVING WORDS/MOTION PICTURES: PROTO-CINEMATIC NARRATIVE IN NINETEENTH-CENTURY BRITISH FICTION by Kara Marie Manning A Dissertation Submitted to the Graduate School and the Department of English at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Approved: ________________________________________________ Dr. Eric L.Tribunella, Committee Chair Associate Professor, English ________________________________________________ Dr. Monika Gehlawat, Committee Member Associate Professor, English ________________________________________________ Dr. Phillip Gentile, Committee Member Assistant Professor, -
History-Of-The-Moving-Image-LIB-Pd
tEl:T. n83 MASTERPIECES OF MOVINGIMAGE TECI{NOLOGY SEPTEMBER 10, 1988 _ MARCH 19, 1989 Descri ption! gf_fhq Objects in the Exhibition American Museum of the Moving lmage Edison KinetograPh Camera 1891 ln 1888, Thomas Edison set out to create "an instrument that does for the Eye what the phono- graph does for the Ear...." He assigned the project to one of his engineers, W.K.L. Dickson, who, after a series of false starts, completed the Kinetograph in 1891. The Kinetograph was the first motion picture camera to use the Eastman celluloid f ilm; this was a key breakthrough which made modern motion pic- tures possible. The camera photographed circular images one-half inch in diameter on perforated, f lexible strips of film which moved horizontally through a mechanized sprocket system' The prototype was cannibalized for laboratory use soon after completion, but was partially reconstructed in '1895-96 as evidence in a patent dispute. (Lent by the Edison National Historic Site) <Technician Charles H. Kayser posing with the Kinetograph in Edison's West Orange, New .lersey laboratory, c. 1891 . Edison KinetoscoPe 1894 To exploit his moving pictures commercially, Edison introduced the Kinetoscope, a "peep-show" viewer capable of presenting half-minute film shows. The machines were sold on a territory basis to showmen who installed them in arcades and Kinetoscope Parlors in all the major cities of America and Europe' Commercially, the Kinetoscope was a short-lived novelty, but its appearance directly inspired other inventors to find a way of projecting moving images onto a screen. (Reproduction made by A.