Stereoscopic Cinema and the Origins of 3-D Film, 1838-1952 [electronic resource] /
Zone, Ray.
Though it may come as a surprise to both cinema lovers and industry professionals who believe that 3-D film was born in the early 1950s, stereoscopic cinema actually began in 1838, more than 100 years before the 3-D boom in Hollywood was created by the release of Arch Oboler's African adventure film, Bwana Devil, filmed in ""Natural Vision"" 3-D. Stereoscopic Cinema and the Origins of 3-D Film, 1838--1952, is a comprehensive prehistory of the stereoscopic motion picture. In the late nineteenth century, stereoview cards were popular worldwide, and soon filmmakers wanted to capture these ""li
Description based upon print version of record.
Cover; Half-title; Title; Copyright; Contents; Foreword; Acknowledgments; Prologue; The Novelty Period-1838 to 1952; An Era of Convergence-1952 to 1985; The Immersive Era-1986 to Present; Digital 3-D Cinema-2005 to Present; 1. Stereography Begins; Charles Wheatstone-The Binocular Discovery; Sir David Brewster-The Retinal Rival; Oliver Wendell Holmes-The Poet of Stereo; The Vortex of Popular Consumption; Stereoview Peep Shows; 2. The Peep Show Tradition; An Enclosed Space; Persistence of Vision; Hie First Stereoscopic Motion Picture Patent; Disks and Cylinders; Endless Bands; The Utopian Dream
3. Motion Pictures BeginEadweard Muybridge-Capturing Time; Etienne-Jules Marey-Chronophotographer; Edison's Kinetoscope; Georges Demenys Stereo Phonoscope; Dickson Leaves Edison; C. F. Jenkins-Prescient Inventor; 4. Stereoscopic Projection; The Marvelous Ducos du Hauron; The Problematic Mr. Green; John Anderton-Polarizing Light; From Bioscope to Alabastra; Pepper's Ghost; Stereo Projection in France; Watershed Years-1895-1896; 5. Cinema's Novelty Period; ""Stereopticon"" Entertainment; Phantom Rides; Acknowledging the Viewer; Caligari in Utopia; Display versus Story
6. Public Exhibition of 3-D Films BeginsDevelopments around 1900; Lucien Bull-High Speed Stereoscopy; Stereoscopic Movies in Natural Color; Edwin S. Porter-Artistic Mechanic; Frederic E. Ives-Stereo Polymath; 7. A Wave of Stereo; Anaglyph Proliferates; Shadowgraphs; Teleview-The ""Eclipse"" Method; The Power of Love; William Van Doren Kelley; Plasticons; 8. Essaying Utopia; A Few Stereoscopic Patents; Motional Perspective; Spoor-Berggren-Natural Vision; Parade of Inventors; The Case of William Waddell; The Lost 3-D of Napoleon; 9. Stereoscopic Cinema Proves Itself; Lumiere's 3-D Train
Polarizing Image SelectionZeiss Ikon Stereo; Stereo Films at the Fairs; Vectographs; 10. The Stereoscopic Overture Finishes; Autostereoscopic Cinema; Semyon Ivanov-Utopia at Stereokino; Single-Strip 3-D Systems; John T. Rule-A Stereographic Pioneer; Stereo Movies and the Avant-Garde; The Festival of Britain; Epilogue; Notes; Index
Though it may come as a surprise to both cinema lovers and industry professionals who believe that 3-D film was born in the early 1950s, stereoscopic cinema actually began in 1838, more than 100 years before the 3-D boom in Hollywood was created by the release of Arch Oboler's African adventure film, Bwana Devil, filmed in ""Natural Vision"" 3-D. Stereoscopic Cinema and the Origins of 3-D Film, 1838--1952, is a comprehensive prehistory of the stereoscopic motion picture. In the late nineteenth century, stereoview cards were popular worldwide, and soon filmmakers wanted to capture these ""li
Includes bibliographical references (p. [191]-212) and index.
Description based on print version record.
3-D films