Pre Cinema History 📷🎞️🇨🇦 🏴󠁧󠁢󠁳󠁣󠁴󠁿

3/3 According to Sir David Brewster, who was a contemporary and rival of Wheatstone, Elliot didn't actually construct his device until 1839. Elliot's prototype was described as a simple, fixed septum dividing paired drawings, without optics. Brewster later developed a more practical and popular lenticular stereoscope in 1849, which became widely adopted. Brewster championed Elliot's claim to priority over Wheatstone, so, while James Elliot did have the idea and design for a stereoscopic device around 1834, Wheatstone's work in 1838 is typically recognized as the first functional and publicly demonstrated stereoscope. Here is another Stereograph by James Elliot entitled ‘The Money Lender,’ from 1858, housed at the Victoria & Albert Museum, South Kensington, UK. I have not been able to locate any image of the Elliot Stereoscopic device. -30-

Two years after Wheatstone produced his Stereoscope in 1832, Elliot produced his own device permitting two separate images to be viewed as one. Below, a Stereoscopic photograph by James Elliot entitled 'Cora,' c. 1860s. Image the Victoria & Albert Museum. While Elliot conceived of the idea and designed an instrument, Sir Charles Wheatstone is generally credited with inventing the first functioning stereoscope (a mirror stereoscope) and presenting it in 1838. Wheatstone's device was more robust and allowed for experimental work on binocular vision.

English

31

Two years after Wheatstone produced his Stereoscope in 1832, Elliot produced his own device permitting two separate images to be viewed as one. Below, a Stereoscopic photograph by James Elliot entitled 'Cora,' c. 1860s. Image the Victoria & Albert Museum. While Elliot conceived of the idea and designed an instrument, Sir Charles Wheatstone is generally credited with inventing the first functioning stereoscope (a mirror stereoscope) and presenting it in 1838. Wheatstone's device was more robust and allowed for experimental work on binocular vision.

1834 THE STEREOSCOPY OF JAMES ELLIOT (1811-1891) It is reported that #JamesElliot, a Scottish teacher of mathematics in #Edinburgh, had the idea of constructing an apparatus to view two dissimilar pictures simultaneously to create the impression of an elevated object around 1834 (Royal Society). This Scot devised the idea of building a contraption that would allow two separate and dissimilar images to be seen side by side, creating the illusion of an object with relief in the same manner as our eyes do. Despite his significant role in the early history of 3D vision, there is no verified portrait of James Elliot currently known to exist in major historical archives or the public record. Unlike his more famous contemporaries, Sir Charles Wheatstone and Sir David Brewster, Elliot was a teacher and professor rather than a public-facing ‘celebrity scientist,’ which likely accounts for the lack of an official portrait.

English

2

58

1834 THE STEREOSCOPY OF JAMES ELLIOT (1811-1891) It is reported that #JamesElliot, a Scottish teacher of mathematics in #Edinburgh, had the idea of constructing an apparatus to view two dissimilar pictures simultaneously to create the impression of an elevated object around 1834 (Royal Society). This Scot devised the idea of building a contraption that would allow two separate and dissimilar images to be seen side by side, creating the illusion of an object with relief in the same manner as our eyes do. Despite his significant role in the early history of 3D vision, there is no verified portrait of James Elliot currently known to exist in major historical archives or the public record. Unlike his more famous contemporaries, Sir Charles Wheatstone and Sir David Brewster, Elliot was a teacher and professor rather than a public-facing ‘celebrity scientist,’ which likely accounts for the lack of an official portrait.

English

56

Black Mortadella@BlackMortadella

Isn't it fabulous. Imagine the work involved. And no computer.

@RealPreCinema This is absolutely wild!

English

1

29

4/4 Petit was also granted another US patent № 560425 on 19 May 1896 with the identical name “Apparatus for Exhibiting Successive Photographs,” with a near identical description of it’s operation (near but not exact). All seven pages of this patent are in chapter 18. Neither machine seems to have survived, if they were ever built. -30-

No trace of the Petit apparatus has been found and in fact of all my sources that should know, they have no mention of this man except for his overshadowing work alongside Edison in attempting to record sound.

English

1

30

No trace of the Petit apparatus has been found and in fact of all my sources that should know, they have no mention of this man except for his overshadowing work alongside Edison in attempting to record sound.

The Petit US patent № 560367 for “Apparatus for Exhibiting Successive Photographs,” the projector schematic I am posting about primarily, is here. It had three viewing ports. All seven pages of the patent are here #petit1896" target="_blank" rel="nofollow noopener">precinemahistory.com/chapter-eighte… in chapter 18.

English

2

56

The Petit US patent № 560367 for “Apparatus for Exhibiting Successive Photographs,” the projector schematic I am posting about primarily, is here. It had three viewing ports. All seven pages of the patent are here #petit1896" target="_blank" rel="nofollow noopener">precinemahistory.com/chapter-eighte… in chapter 18.

1896 ADEMOR NAPOLEON PETIT (1866-1914) Petit was a Canadian-born machinist and inventor who became a notable figure in the early Phonograph industry in the United States. He later moved to the US, where he was involved in significant developments in sound recording technology. By 1880, he was living in Chicopee, Hampden County, Massachusetts, as recorded in the US Census. At the age of 14, he was working in a cotton mill, alongside his family members, including his father, R. Leon Petett (or Petit), his mother, Phebe, and siblings. The census lists him as Adamir Petett, perhaps a variation or misspelling of his name. This little man now living in New Jersey applies 7 December 1895 for two patents, an “Apparatus for Exhibiting Successive Photographs,” (No. 614356) and is granted copyrights on 19 May 1896 along with Joseph Livingston who worked with Ottomar Anschutz on the Schnellseher.

English

1

60

1896 ADEMOR NAPOLEON PETIT (1866-1914) Petit was a Canadian-born machinist and inventor who became a notable figure in the early Phonograph industry in the United States. He later moved to the US, where he was involved in significant developments in sound recording technology. By 1880, he was living in Chicopee, Hampden County, Massachusetts, as recorded in the US Census. At the age of 14, he was working in a cotton mill, alongside his family members, including his father, R. Leon Petett (or Petit), his mother, Phebe, and siblings. The census lists him as Adamir Petett, perhaps a variation or misspelling of his name. This little man now living in New Jersey applies 7 December 1895 for two patents, an “Apparatus for Exhibiting Successive Photographs,” (No. 614356) and is granted copyrights on 19 May 1896 along with Joseph Livingston who worked with Ottomar Anschutz on the Schnellseher.

English

1

53

3/3 There’s some scholarly debate about the exact dating of his very earliest animated shorts (like 'Matches: An Appeal'), but films from the 1900s onward, including this one, are undisputedly his. Shooting took place on an outdoor stage; you can spot moving shadows from the sun as proof of the practical setup. Melbourne-Cooper revisited the “toys come alive” theme several times, but 'Dreams of Toyland' / 'In the Land of Nod' remains one of the best-known examples of his playful, inventive early animation. -30-

Cooper was born in St Albans to a photographer father, who trained him in photography from a young age and began his film career assisting Birt Acres in the 1890s. Between 1896 and 1915 he produced around 300 films (roughly 36 of them animated), often under his own Alpha Trading Company, which he established around 1906 (some sources date the company earlier). He also ran early cinemas in the area and later worked on documentaries, newsreels, and animated advertisements. He is best remembered today for his inventive puppet / stop-motion work with everyday objects like matches and children’s toys. His technique involved painstaking frame-by-frame animation, frequently blending live-action bookends with dream sequences.

English

1

35

Cooper was born in St Albans to a photographer father, who trained him in photography from a young age and began his film career assisting Birt Acres in the 1890s. Between 1896 and 1915 he produced around 300 films (roughly 36 of them animated), often under his own Alpha Trading Company, which he established around 1906 (some sources date the company earlier). He also ran early cinemas in the area and later worked on documentaries, newsreels, and animated advertisements. He is best remembered today for his inventive puppet / stop-motion work with everyday objects like matches and children’s toys. His technique involved painstaking frame-by-frame animation, frequently blending live-action bookends with dream sequences.

IN THE LAND OF NOD [Dreams of Toyland] (1908) Predating Pixar's ‘Toy Story’ (1995) by 88 years, Arthur Melbourne-Cooper (1874–1961) and his Alpha Trading Company developed this absolutely amazing stop-motion sequence of toys coming to life in a dream of a little boy. Mom puts him to bed and then the amazement begins. Runs 7:24 with animation beginning at 2:57.

English

1

66

IN THE LAND OF NOD [Dreams of Toyland] (1908) Predating Pixar's ‘Toy Story’ (1995) by 88 years, Arthur Melbourne-Cooper (1874–1961) and his Alpha Trading Company developed this absolutely amazing stop-motion sequence of toys coming to life in a dream of a little boy. Mom puts him to bed and then the amazement begins. Runs 7:24 with animation beginning at 2:57.

English

1

4

106

Welcome aboard Vanhorne Faz @vanhorneeew

English

18

6/6 WHAT IS A RAKE? The 18th century character of Tom Rakewell is described during the time of Jane Austen (1775–1817) who was born just eleven years following Hogarth’s death, by Jane Austen's World online. Chapter six 👉 #hogarth1735" target="_blank" rel="nofollow noopener">precinemahistory.com/chapter-six/#h… -30-

NO SCROLLING NEEDED Nºs 1-8 All of Hogarth’s eight sequential paintings of 'A Rake’s Progress,' are stitched together here for continuity. I am also curating other sequential series by other artists for publishing here a little later. Stay tuned. Animation HOTDOC.

English

2

58

NO SCROLLING NEEDED Nºs 1-8 All of Hogarth’s eight sequential paintings of 'A Rake’s Progress,' are stitched together here for continuity. I am also curating other sequential series by other artists for publishing here a little later. Stay tuned. Animation HOTDOC.

GIF

SEQUENTIAL STORYTELLING IN STORYBOARD FASHION Nº5 Hogarth's work, once made into engravings, was so widely copied as a result of print publishing, that he advocated for the Copyright Act of 1735 to safeguard writers and artists. Nº6 Besides 'A Rake’s Progress,' Hogarth also completed the sequenced ‘A Harlot's Progress’ in 1731 (a series of six sequenced paintings) and ‘Marriage a la Mode’ painted between 1743 and 1745 (also six). Nº7 In a striking piece of sequential storytelling, Hogarth has depicted his characters’ downfall in storyboard fashion, illustrating clumped movement rather than specific motion. Nº8 These original sequenced series of paintings by #WilliamHogarth are held by Sir John Soane's Museum @SoaneMuseum in London soane.org

English

95

SEQUENTIAL STORYTELLING IN STORYBOARD FASHION Nº5 Hogarth's work, once made into engravings, was so widely copied as a result of print publishing, that he advocated for the Copyright Act of 1735 to safeguard writers and artists. Nº6 Besides 'A Rake’s Progress,' Hogarth also completed the sequenced ‘A Harlot's Progress’ in 1731 (a series of six sequenced paintings) and ‘Marriage a la Mode’ painted between 1743 and 1745 (also six). Nº7 In a striking piece of sequential storytelling, Hogarth has depicted his characters’ downfall in storyboard fashion, illustrating clumped movement rather than specific motion. Nº8 These original sequenced series of paintings by #WilliamHogarth are held by Sir John Soane's Museum @SoaneMuseum in London soane.org

PAINTINGS BEFORE FRAMES Nº1 'A Rake’s Progress' is a series of 8 sequential paintings by Hogarth between 1732 and 1733. The series depicts the deterioration of #TomRakewell, a Prodigal Son of sorts who never returned home. I present them in the order painted with matched engravings, published in 1735. Nº2 Hogarth painted several sequenced paintings, not just 'A Rake’s Progress' all being noteworthy to pre cinema as they unfold like a storyboard indicating both motion and more importantly, elapsed time within a story-line. Nº3 The canvases were produced between the years 1732 and 1733, and then engraved in 1734 and published in print form in 1735. Nº4 In the mid-18th century, particularly in England, we begin to see some of the first satirical illustrations in print. Such political humour carried on into the early 20th century newspapers, and continued to morph into what we today call #socialmedia #memes.

English

71

PAINTINGS BEFORE FRAMES Nº1 'A Rake’s Progress' is a series of 8 sequential paintings by Hogarth between 1732 and 1733. The series depicts the deterioration of #TomRakewell, a Prodigal Son of sorts who never returned home. I present them in the order painted with matched engravings, published in 1735. Nº2 Hogarth painted several sequenced paintings, not just 'A Rake’s Progress' all being noteworthy to pre cinema as they unfold like a storyboard indicating both motion and more importantly, elapsed time within a story-line. Nº3 The canvases were produced between the years 1732 and 1733, and then engraved in 1734 and published in print form in 1735. Nº4 In the mid-18th century, particularly in England, we begin to see some of the first satirical illustrations in print. Such political humour carried on into the early 20th century newspapers, and continued to morph into what we today call #socialmedia #memes.

American illustrator-cartoonist #ArthurBurdettFrost is a more modern example who, after meeting Muybridge and seeing #SallieGardner running projected on a wall, honoured him by illustrating the horse in motion. Sallie that is, not Eadweard.

English

62

American illustrator-cartoonist #ArthurBurdettFrost is a more modern example who, after meeting Muybridge and seeing #SallieGardner running projected on a wall, honoured him by illustrating the horse in motion. Sallie that is, not Eadweard.

1735 SEQUENTIAL ART IN PRE CINEMA ‘A RAKE’S PROGRESS’ WILLIAM HOGARTH (1697-1764) Looking back at sequential images in art, like paintings or illustrations of satire with caricatures and the like, takes us all the way back past the Pharaohs, to the man in the cave.

English

54

1735 SEQUENTIAL ART IN PRE CINEMA ‘A RAKE’S PROGRESS’ WILLIAM HOGARTH (1697-1764) Looking back at sequential images in art, like paintings or illustrations of satire with caricatures and the like, takes us all the way back past the Pharaohs, to the man in the cave.

English

45

Pre Cinema History 📷🎞️🇨🇦 🏴󠁧󠁢󠁳󠁣󠁴󠁿@RealPreCinema·6h

“Tell me when to say cut! I'm running out of film.”

GIF

English

28

Pre Cinema History 📷🎞️🇨🇦 🏴󠁧󠁢󠁳󠁣󠁴󠁿@RealPreCinema·6h

4/4 NO BREATHING REQUIRED Also in 1897, Marvin was granted US patent № 584311 for another simple novelty Mutoscope I call a Picture Box Mutoscope. A stick was used the way you would use your thumb in a Flip Book, to advanced the pictures. You would run the tip of the stick along the top of the row of pictures beginning at the right side of the box, ending on the left side as the schematic shows. Breathing was optional. -30-

According to Marvin, his device did not depend on the elasticity of the cards for their support, as in the Toy Mutoscope of W. C. #Farnum of whom I have a series on. Marvin’s patent starts off as;

English