COMS 200 Lecture 9: Lecture9_may18
5 Sep 2016
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COMS 200
Lecture 9 — May 18
History of Cinema
-Question of cinema and the body — Foster mentioned Edison, and the body as a central
element of cinema. Cinema allows the expression of body language
-Cinema and Time — allows the viewer to see time unfolding, seeing the body in motion
moving between past and present
-Movement — illusion of movement rather than actual movement
Kracauer: the capacity to stir up the elements of nature is one of the possibilities of film
-Comparing photographic newspaper [jumble of images together], rather than cinema that
allows these disjointed pieces to seem dream-like
-Cinema in the 1920s used “talking-motion pictures”
Dixon and Foster
-Motion pictures don’t really move, but rather the illusion of movement on the cinema screen is
the result of persistence of vision in which the human eye sees 24 images per second, each
projected for 1/60th of a second. The brain thus merges these images together
-The brain cannot keep up with these images, but rather the brain blurs them together
through the use of media ecology to make this make sense
-Brain is receiving too much information to process this accurately — too much information
too rapidly
-Attention and how it shifts between different areas
-Understanding how we interpret/ receive information
-Sense of movement, that isn’t really there, but rather something we fill in with our brains
1872 — Edweard Muybridge shoots famous series of still images of a horse in motion to settle a
bet; when viewed in sequence the stills form a primitive movie
-Use of a Zooproxiscope to project these brief segments of motion onto a screen for
audiences. When run together they create a series of motions
-Influential — possibilities of capturing movement and the body in movement. An interest in
the body in movement, seeing and understanding it
Body in Movement — was seen in painting, cinema and photography
-Related to cinema as it was the first realm that could fully capture the body in movement
unlike previous forms
-Painters responding to film makers, film makers responding to painters, engineers responding
to film makers — moving together various realms, creating an ecology around these ideas
[ex. movement]
Cinema as industrial art archives self-movement, automatic movement, it makes movement the
immediate given of the image
-Cinema produces a self-movement and automation
Phantoscope — Vitascope — Kinetoscope
-The ways of moving film through a projector
-The history of photography and film are related
-Edison used the Kinetoscope to capture images of the body
find more resources at oneclass.com
find more resources at oneclass.com
Document Summary
Question of cinema and the body foster mentioned edison, and the body as a central element of cinema. Cinema and time allows the viewer to see time unfolding, seeing the body in motion moving between past and present. Movement illusion of movement rather than actual movement. Kracauer: the capacity to stir up the elements of nature is one of the possibilities of lm. Comparing photographic newspaper [jumble of images together], rather than cinema that allows these disjointed pieces to seem dream-like. Cinema in the 1920s used talking-motion pictures . The brain cannot keep up with these images, but rather the brain blurs them together through the use of media ecology to make this make sense. Brain is receiving too much information to process this accurately too much information too rapidly. Attention and how it shifts between different areas. Sense of movement, that isn"t really there, but rather something we ll in with our brains.
