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A 'Proper Point of View'
A ‘Proper Point of View’: the panorama and some of its early media iterations Early Popular Visual Culture, 9:3, 225-238 (2011) William Uricchio MIT & Utrecht University Abstract: The panorama entered the world not as a visual format but as a claim: to lure viewers into seeing in a particular way. Robert Barker’s 1781 patent for a 360-degree painting emphasized the construction of a ‘proper point of view’ as a means of making the viewer ‘feel as if really on the spot.’ This situating strategy would, over the following centuries, take many forms, both within the world of the painted panorama and its photographic, magic lantern, and cinematic counterparts. This essay charts some of the unexpected twists and turns of this strategy, exploring among others the moving panorama (both as a parallel development to the cinematic moving picture and as deployed by the film medium as a background to suggest movement) and the relations between the spatial promise of the late 19th century stereoscope and that most populous of early motion picture titles, the panorama. The essay focuses on changing technologies and strategies for achieving Barker’s initial goals, while attending to the implications for the viewer. Drawing from the observations of scholars as diverse as Bentham, Foucault, and Crary, the essay uses the various iterations of the panorama to explore the implications of a particularly rich strand of technologies of seeing. William Uricchio is professor and director of Comparative Media Studies at MIT and professor of Comparative Media History at Utrecht University in the Netherlands. 1 A ‘Proper Point of View’: the panorama and some of its early media iterations1 Early Popular Visual Culture, 9:3, 225-238 (2011) http://dx.doi.org/10.1080/17460654.2011.601165 William Uricchio MIT & Utrecht University 'I don't have eyes in the back of my head….' is a well known expression. -
How Newark's A. J. Hahne Helped Save the Gettysburg Cyclorama By
Scene from the "Battle of Gettysburg" cyclorama. Author's photo by Suzanne Wray oday visitors to the Civil War battlefield of Gettysburg, How Newark’s Pennsylvania can see the Gettysburg Cyclorama, in the new A. J. Hahne TVisitors’ Center. After ascending to a viewing platform, they Helped Save are surrounded by a realistic painting created over 100 years ago, a precursor of the virtual reality we know today. The cyclorama the Gettysburg survives in part due to the efforts of Albert J. Hahne, who purchased Cyclorama the huge painting and displayed it for a time around the atrium of his Newark, NJ department store. Saving the Cyclorama | Suzanne Wray | www.GardenStateLegacy.com Issue 42 December 2018 Virtual reality and immersive environments are familiar concepts to most today, but less familiar are their precursors. These include the panorama, also called “cyclorama.” In the nineteenth century, viewers could immerse themselves in another world—a city, a landscape, a battlefield—by entering a purpose-built building, and climbing a spiral staircase to step onto a circular viewing platform. A circular painting, painted to be as realistic as possible, surrounded them. A three-dimensional foreground (the “faux terrain” or “diorama”) disguised the point at which the painting ended and the foreground began. The viewing platform hid the bottom of the painting, and an umbrella-shaped “vellum” hung from the roof, hiding the top of the painting and the skylights that admitted light to the building. Cut off from any reference to the outside world, viewers were immersed in the scene surrounding them, giving the sensation of “being there.”1 An Irish artist, Robert Barker (1739–1806), conceived the circular painting and patented the new art form on June 18, 1787. -
An Evaluation of the Employment of Panoramic Scenery in the Nineteenth- Century Theatre
This dissertation has been 62-824 microfilmed exactly as received WICKMï^, Richard Carl, 1929- AN EVALUATION OF THE EMPLOYMENT OF PANORAMIC SCENERY IN THE NINETEENTH- CENTURY THEATRE. The Ohio State University, Ph.D., 1961 Speech—The ate r University Microfilms, Inc., Ann Arbor, Michigan AN EVALUATION OF THE EMPLOYMENT OP PANORAMIC SCENERY IN THE NINETEENTH-CENTURY THEATRE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Richard Carl Wickman, A. B., B, D., M. A. ******** The Ohio State University 1961 Approved by ^ Adviser Department of Speech TABLE OP CONTENTS CHAPTER PAGE I. INTRODUCTION................................... 1 The Era of the P a n o r a m a ..................... 1 The Purpose and Scope of the Study.......... 3 Terminology ................................. 6 Panorama................................... 6 Diorama ................................... 7 Panoramic exhibitions ..................... 7 Panoramic scene settings................... 7 Sources and Limitations ..................... 8 II. THE HISTORICAL PRECEDENTS TO THE DEVELOPMENT OF THE PANORAMA .......... 12 Introduction.......... 12 Earliest Precedents ......................... l6 Landscape Painting........................... 24 Realism, Illusion, and Mechanized Exhibitions............. ’................. 29 S u m m a r y ..................................... 38 III. THE INVENTION AND EARLY DEVELOPMENT OP THE PANORAMA................................. 39 The -
PICTURING the MODERN CITY AS a PANORAMA by Petra
PICTURING THE MODERN CITY AS A PANORAMA by Petra Watson M.A. Communication, Simon Fraser University, 1990 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Under Special Arrangements in the Faculty of Arts & Social Sciences © Petra Watson 2007 SIMON FRASER UNIVERSITY Spring 2007 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission ofthe author. APPROVAL Name: Petra Watson Degree: Doctor of Philosophy Title ofDissertation: Picturing the Modern City as a Panorama Examining Committee: Jonathan C. Driver, Chair Jerald Zaslove, Senior Supervisor Professor Emeritus, Humanities and English Derek Gregory, Supervisor Professor, Geography University ofBritish Columbia Richard Gruneau, Supervisor Professor, Communication Kirsten McAllister, Examiner Assistant Professor, Communication Rosemary Donegan, External Examiner Associate Professor, Liberal Studies Ontario College ofArt & Design, Toronto Date Approved: II I SIMON f;HASEU ONIVEnSlTY SFU TH1NKING or THE WORLO DECLARATION OF PARTIAL COPYRIGHT LICENCE The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without the author's written permission. -
Memory and the Panorama
International Panorama Council Journal, Volume 2 2018 Memory and the Panorama Edited by Seth Thompson Selected Proceedings from the 27th IPC Conference Blagovesta Momchedjikova Molly Catherine Briggs Sylvia Alting van Geusau Thiago Leitão de Souza International Panorama Council Journal, Volume 2 Memory and the Panorama Selected Proceedings from the 27th IPC Conference Edited by Seth Thompson Blagovesta Momchedjikova Molly Catherine Briggs Sylvia Alting van Geusau Thiago Leitão de Souza 2018 International Panorama Council International Panorama Council Board of Directors, 2018-2019 Seth Thompson, President Guy Thewes, Vice President Dominique Hanson, Treasurer Thiago Leitão de Souza, Secretary-General Ruby Carlson, Past Secretary-General Blagovesta Momchedjikova Gábor Turda Sara Velas International Panorama Council Journal, Volume 2 Editors: Seth Thompson, Blagovesta Momchedjikova, Molly Catherine Briggs, Sylvia Alting van Geusau, and Thiago Leitão de Souza Cover and Layout Design: Rukaiya Banatwala Cover Photo: Panorama 1453 History Museum Copyright 2019 © All rights reserved by the International Panorama Council and the individual authors. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, without prior written permission of the International Panorama Council and individual authors. Individual authors are solely responsible for all their material submitted to this publication. The publisher and editors do not warrant or assume any legal responsibilities for the publication’s -
Newsletter 10 October 2007
Newsletter 10 October 2007 IPC Conference searching for the roots Active colleagues from DPR Korea IPC International A very successful 16th International Panorama A delegation of four artists from Korea Conference was held in Plymouth, England, Paekho Trading Corporation visited London Panorama Council from Saturday 1 through Monday 3 September two weeks after the IPC visit during the 2007. It was IPC’s second conference in 2007. conference tour following our 16th www.panoramapainting.com The 15th Conference in March 2007 had been at conference. Paekho is the artist’s Yale University’s Yale Center for British Art in corporation that has produced many New Haven, Connecticut, U.S.A. (re: News- panoramas and dioramas in the Democratic nd letters 08 and 09). This 2 conference took People’s Republic of Korea and abroad place in the Sherwell Centre of the University of (Bagdad, Cairo, Damascus) during the last Plymouth, right in the city centre of Plymouth. 35 years. Its delegation was headed by It was co-hosted by INNOVATE Centre for Paekho president Mr. Pak Chang Sop and Creative Industries. Fifty participants gathered included Mr. Ri Yong Nam, director of the on the theme Panoramas in the Virtual panorama department. World: The exploration of old techniques and On their request IPC president Ernst Storm new technologies in panorama creation and met with them in the Korean Embassy. He exhibition. Afterwards, a much smaller group was accompanied by London based IPC went on tour to the South-West of England and members Ralph Hyde and Mao Wen Biao. to Edinburgh, Scotland, in search for the roots Ambassador Ja Song Nam and his Counselor of Robert Barker’s panorama invention and the Thae Yong Ho were also present. -
Panoramas and the Origins of the Cinematic Reenactment'
'Shivers down your spine': panoramas and the origins of the cinematic reenactment' Brochure for The Siege ef Pahs ALISON GRIFFITHS panorama (18771 painted by Paui Phiiippoteaux, on exhibition daiiv at the corner of Columbus Avenue and Ferdinand Street. Boston', p 8. Theater To realize thai ihis magnificent pageant is. after all. only an Collection. New York Pubiic Librarv. illusion, requires a stronger mental effort than to accept it for The Cyciorama'. Scientific reality} American, voi 55 |1BS6|. p 296 While looking at the picture he must live in its scene.' Emphasis mine. The author is referring to Paui Phiiippoteaux's panorama Tfie Battle of Gettysburg painted in 1886. which I discuss in greater depth The circular thrill: cinema and early panoramas later in the essay. Ivionas N Squires. 'Henry Lewis The propo.sition that nineteenth-century panoramas constitute and his mammoth panorama of significant precursors to the twentieth-century motion picture is by the Mississippi River'. Missouri Historical Review, voi 27 (Aprii now familiar to film historians. Indeed, long before contemporary art 19331. p 246. cited in Bertha L historians and cultural theorists connected the hyperrealism of these Heilbron. 't^/laking a motion large-scale immersive paintings to the mechanized mimeticism of the picture in 1848 Henry Lewis on the Upper Mississippi'. cinematic image, earlier historians had linked the two representational Minnesota History, vol. 17. no. forms. In 1933, Monas N. Squires argued that panoramas of the 2 119361. p. 132; Heiibron. 184ÜS and 1850s were 'ancestors of the modem moving picture', a 'Making a motion picture'. p. 133: Joseph Earl Arrington.