Moving Images: From Edison to the Webcam PDF
Preview Moving Images: From Edison to the Webcam
MOVING IMAGES: FROM EDISON TO THE WEBCAM MOVING IMAGES: FROM EDISON TO THE WEBCAM Edited by John Fullerton and Astrid Söderbergh Widding Aura CataloguinginPublicationData MovingImages:FromEdisontotheWebcam (Stockholmstudiesincinema) 1. Cinematography II. Fullerton,John II. SöderberghWidding,Astrid 791.4’3 ISBN:1864620544(Hardback) EbookeditionISBN:9780-86196-917-3 Publishedby JohnLibbey&CompanyPtyLtd,Level10,15–17YoungStreet,Sydney,NSW2000,Australia. Ebookeditionpublishedby Telephone:+61(0)292514099Fax:+61(0)292514428 JohnLibbeyPublishingLtd,3LeicesterRoad,NewBarnet,HertsEN55EW, e-mail:[email protected] UnitedKingdom e-mail:[email protected];website:www.johnlibbey.com PTrhiinstevdolaunmdeecleocntsrtointuictebsovookluomrdeer5s,(nWumorblderwsi3d/e4):oIfnAduiaran.aFUilnmivSetrusditieysPJroeusrsn,al. HermanBWellsLibrary–350,1320E.10thSt.,Bloomington,IN47405,USA ♥ww20w0.0iuJporhenssL.iinbdbieayna&.eCdoumpanyPtyLtd.Allrightsreserved. Unauthorisedduplicationcontravenesapplicablelaws. ©2016CopyrightJohnLibbeyPublishingLtd.Allrightsreserved. PUrninautetdhoinrisMedaldayuspilaicbaytiKonumco-VntirvaavrePnreisntaipnpglSicdanblBehladw,4s8.000Rawang,SelangorDarulEhsan. v Contents Foreword vii Acknowledgements viii Notesonthe Contributors ix Introduction xi 1. TheApparatus UnalteredtoDate:Developing35mmFilm PaulC.Spehr 3 SeeingSeeing:HermannvonHelmholtzandtheInventionofthe Ophthalmoscope OliverGaycken 29 OnFairiesandTechnologies FrankKessler 39 SeeingintheDark:EarlyX-rayImagingandCinema SolveigJülich 47 TheBolexMotion PictureCamera CarlosBustamante 59 2. TheObserver SoreSociety:TheDissolution oftheImageandtheAssimilationoftheTrauma BentFausing 69 ClosingIn: Telescopes, EarlyCinema,andtheTechnologicalConditionsof De-distancing JanHolmberg 83 ‘WePartake,asitWere,ofHisLife’:TheStatusoftheVisualinEarly EthnographicFilm AlisonGriffiths 91 vi ArchitectonicsofSeeing:Architecture asMovingImages PelleSnickars 111 SubmergedLandscapesofthePostmodernBody:Surface,Text,Commodity JayMoman 121 3. The DomesticSphere WeatherPornandtheBattle forEyeballs:PromotingDigitalTelevision intheUSAandUK WilliamBoddy 133 StereotypingaCompetitor: ImagesofTelevisioninSpanishCinemainthe1960s ValeriaCamporesi 149 VideoPleasureandNarrative Cinema:LucBesson’sTheFifthElementandVideo Game Logic WarrenBuckland 159 SpaceandCharacterRepresentationinInteractive Narratives BjörnThuresson 165 LurkingandLooking: WebcamsandtheConstructionofCybervisuality SheilaC.Murphy 173 Visual Diaries: RevivalofaDocumentaryForminDigitalCulture ÅkeWalldius 181 TheInteractiveFilmmaker’sChallenge ChristopherHales 187 Index 193 vii Foreword MovingImages:FromEdisontothe a virtual environment improvisation by re- Webcamistheoutcomeofacon- searchers at The Royal Institute of ferenceheldintheDepartmentof Technology,Stockholm,theconferencealso Cinema Studies at Stockholm proved to be an exciting social as well as Universityfrom 6–9December 1998.Organ- memorableacademicgathering.Asinallse- ised in association with the Institute for lections,thereareregretsaboutwhathasbeen Futures Studies, the conference showcased passed over or not been available for some thirteen keynote addresses and almost sixty reason, but I believe the essays included in papers covering aspects as diverse as inter- this volume reflect the range of issues and mediality, indexicality, prosthesis, film and excitementthat delegatesfrom elevencoun- stage,screenpracticesandreceptionstudies, triesgeneratedinfourintensedaysofdebate documentary,film,history,memory,filmand inDecember1998.Ihopethatthissamespirit changes in the modes of subjectivity, and willbetransmittedtoreaderswhocould not transformations in the public and private attendtheconference. spheres. WithreceptionsatCityHallandatTheTech- JanOlsson nical Museum, and with a demonstration of Chair,ConferenceSteeringCommittee viii Acknowledgements We would like to thank all those and Edward von Past for piano accompani- whose work before, during and ment to screenings. Elaine King, conference aftertheTechnologiesofMoving co-ordinatorandeditorialassistantinprepar- Images conference contributed ing Moving Images: From Edison to the to its success. Thomas Fürth,formerlyof the Webcam,forherever-resourcefulsupportand InstituteforFuturesStudies,Stockholm,Sten formidableorganisationalabilities.Marianne FrykholmatTheSwedishTelevisionArchive, Sigmond, Lena Sunnegårdh, amd Hannu Stockholm,FolkeSandgrenatTheRoyalLib- Luntinenforadministrativesupport,thecon- rary,Stockholm,andMarianneLundqvistat ferencetechnicalteam ofBartvanderGaag, The Technical Museum, Stockholm, who Björn Thuresson and Bertil Friberg for their were supportive of the conference from the unstintingandmagicalhandlingofabattery outset,andwhovariouslyprovidedfinancial ofapparatus,andtheteamofstudentvolun- andmaterialsupport.Withouttheircommit- teers –Gylla Ersson, EvaEsseen,Mats Isfors, ment,theconferencewouldnothavebecome Per Lundberg, Robert Sington – who helped areality.TheCityofStockholmforproviding to make the conference run smoothly. Ar- a sumptuous reception for conference dele- chives du Film du Centre National de la gates on the first evening of the conference. Cinématographie, Bois d’Arcy, Cinéma- KjellKarlsson,DavidPetterssonandRigmor thèque française, Paris, Department of Film Söderberg of The Technical Museum and andVideo,TheMuseumofModernArt,New PelleLönndahloftheSwedishFilmInstitute, York, National Film Center, The National Stockholm, for their assistance in preparing MuseumofModernArt,Tokyo,NationalFilm anexhibitionofcinematographicapparatus, and Television Archive, London, Swedish nineteenth-century lanterns, lantern slides FilmInstitute,Stockholm,andSwedishTele- andstereoscopicslides,andPeterPluntkyfor vision,Stockholm,foroutstandingscreenings thepresentationofhismagnificentcollection during the conference. Finally, we are in- ofSwedishmagiclanternslidesatareception debted to Jan Olsson whose vision was the in The Technical Museum. John Bowers, motorforcebehindtheconference. Sten-Olof Hellström,andKai-MikaelJää-Aro at The RoyalInstituteof Technology,Stock- holm, for a dazzling virtual environment JohnFullertonand improvisation, Performing Infinite Cinema, AstridSöderberghWidding ix Notes on the Contributors William Boddy teaches media studies and identity in Spanish film production. She is film studies at Baruch College and at the currentlyworkingoncinema-televisioninter- GraduateCenteroftheCityUniversityofNew relations during theearlyyears oftelevision. York. He is the author of Fifties Television: BentFausingisAssociateProfessorandHead TheIndustryandItsCriticsandhaspublished of Departmentin theDepartmentofAesthet- articles in Screen, Cinema Journal, Media, icsandVisualCommunications,Institutefor CultureandSociety, TheHistoricalJournalof NordicPhilology,UniversityofCopenhagen, Film,RadioandTelevision,andTheInterna- and is currently Research Professor for the tional Journal of Cultural Studies. He is interdisciplinaryresearchproject,TheVisual currentlyworkingonasocialhistoryofelec- Construction of Reality. He has published tronicmediainthehome. widelyonfascination,visualcommunication, Warren Buckland is lecturer and Head of visual aesthetics, images of dreams, silence ScreenStudiesatLiverpoolJohnMooresUni- and visuality, and is author of Emotion in versity,UK.HeiseditorofTheFilmSpectator: Motion. On Affect and Images which has re- FromSigntoMind(1995),andauthorofFilm centlybeenpublishedin Danishandissoon Studies(1998)andTheCognitiveSemioticsof toappearinEnglish. Film(2000).Heiscurrentlywritingabookon Oliver Gaycken is agraduate student in the Spielberg’sblockbusters. Department of English at the University of CarlosBustamanteisProfessorintheTheory Chicago.Heiscurrentlyengagedin doctoral ofAudio-VisualDesignandRealisationatthe researchonearlyscientificcinema. Institute for Timebased Media, Hochschule derKünsteBerlin.Hehascontributedessays Alison Griffiths is an Associate Professor in toGriffithiana,Lesvingtpremièresannéesdu the Department of Speech, Baruch College, cinéma français, and Cinéma sans frontièrs City University of New York, where she 1896-1918, and as a filmmaker and cinema- teachesmediastudiesandfilm.Herdoctoral tographer, his recent short experimental dissertationOriginsofEthnographicFilmwon videos include Aus dem Archiv des Ver- the 1999 Society for Cinema Studies Disser- flossenen Instituts (1997), The Upper Bay tation Award, and will be published by (1999) and Licht in der Malerei, eine Ein- Columbia UniversityPress.Shehas publish- führung(1999). edwidelyinWideAngle,VisualAnthropology Review,andFilmHistory,andhascontributed Valeria Camporesi is Professor of Film and to numerous anthologies. She is currently TelevisionHistoryintheArtHistoryDepart- researchingtheuseofnewmediainmuseums ment of the Universidad Autónoma of ofnaturalhistory. Madrid. She has worked extensively on the definitionof nationalidentityinmassmedia Chris Hales is Senior Lecturer, Interactive historywithregardtodifferentnationalcases. Media,intheFacultyofArt,MediaandDesign Herpublicationsincludeaseriesofessayson at the University of theWestof England.As BBC reactions to Americanization and Para adoctoral candidateintheFilmandTelevi- grandes y chicos.Uncinepara los españoles, sionSchoolattheRoyal College ofArt, heis 1940-1990(1993),whichdeals withnational workingonaproject,MakingInteractiveMov-
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