Film madrasa

Wikipedia about: Film madrasa

History



Preceding film in origin by thousands of years, early , direction, actors, audiences, storyboards, and scores. Much terminology later used in film theory and criticism apply, such as mise en scene (roughly, the entire visual picture at any one time). Owing to the lack of any technology for doing so, the moving images and sounds could not be recorded for replaying as with film.

In the mid-19th century, inventions such as the phenakistoscope and zoetrope demonstrated that a carefully designed sequence of drawings, showing phases of the changing appearance of objects in motion, would appear to show the objects actually moving if they were displayed one after the other at a sufficiently rapid rate. These devices relied on the phenomenon of persistence of vision to make the display appear continuous even though the observer's view was actually blocked as each drawing rotated into the location where its predecessor had just been glimpsed. Each sequence was limited to a small number of drawings, usually twelve, so it could only show endlessly repeating cyclical motions. By the late 1880s, the last major device of this type, the praxinoscope, had been elaborated into a form that employed a long coiled band containing hundreds of images painted on glass and used the elements of a magic lantern to project them onto a screen.

The use of sequences of photographs in such devices was initially limited to a few experiments with subjects photographed in a series of poses, because the …
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