In 1833, scientific study of a stroboscopic illusion in spoked wheels by Joseph Plateau, Michael Faraday and Simon Stampfer led to the invention of the Fantascope, also known as the stroboscopic disk or the phenakistiscope, which was popular in several European countries for a while. Newly pioneered techniques such as the use of dissolving views and the chromatrope allowed for smoother transitions between two projected images and aided in providing stronger narratives. While many first magic lantern shows were intended to frighten viewers, advances by projectionists allowed for creative and even educational storytelling that could appeal to wider family audiences. These popular shows entertained audiences using mechanical slides, rear projection, mobile projectors, superimposition, dissolves, live actors, smoke (on which projections may have been cast), odors, sounds and even electric shocks. Around 1790, this practice was developed into a type of multimedia ghost show known as phantasmagoria. Magic lantern shows developed in the latter half of the 17th century seem to have continued this tradition with images of death, monsters and other scary figures. īy the 16th century, entertainers often conjured images of ghostly apparitions, utilizing techniques such as camera obscura and other forms of projection to enhance their performances. Shadow puppetry enjoyed popularity for centuries around Asia, notably in Java, and eventually spread to Europe during the Age of Enlightenment. Thought to have originated in the Far East, the art form used shadows cast by hands or objects to assist in the creation of narratives. Shadowgraphy and shadow puppetry represent early examples of the intent to use moving imagery for entertainment and storytelling. Predecessors to film that had already used light and shadows to create art before the advent of modern film technology include shadowgraphy, shadow puppetry, camera obscura, and the magic lantern. Cantastoria and similar ancient traditions combined storytelling with series of images that were shown or indicated one after the other. The use of film as an art form traces its origins to several earlier traditions in the arts such as (oral) storytelling, literature, theatre and visual arts. Various film genres emerged and enjoyed variable degrees of success over time, with huge differences among, for instance, horror. Improving over time, digital production methods became more and more popular during the 1990s, resulting in increasingly realistic visual effects and popular feature-length computer animations. The technical quality was usually lower than that of professional movies, but improved with digital video and affordable, high-quality digital cameras. Systems that were cheaper and more easily handled (including 8mm film, video, and smartphone cameras) allowed for an increasing number of people to create films of varying qualities, for any purpose (including home movies and video art). Film production usually responded with content to fit the new media, and with technical innovations (including widescreen (mainstream since the 1950s), 3D, and 4D film) and more spectacular films to keep theatrical screenings attractive. Popular new media, including television (mainstream since the 1950s), home video (mainstream since the 1980s), and the internet (mainstream since the 1990s), influenced the distribution and consumption of films. The first decade of motion pictures saw film move from a novelty to an established mass entertainment industry, with film production companies and studios established all over the world.Ĭonventions toward a general cinematic language also developed, with editing camera movements and other cinematic techniques contributing specific roles in the narrative of films. Those earliest films were in black and white, under a minute long, without recorded sound, and consisted of a single shot from a steady camera. There had been earlier cinematographic results and screenings by others, like the Skladanowsky brothers, who used their self-made Bioscop to display the first moving picture show to a paying audience on 1 November 1895, in Berlin, but they had neither the quality, financial backing, stamina, or luck to find the momentum that propelled the cinématographe Lumière into worldwide success. However, the commercial, public screening of ten of the Lumière brothers' short films in Paris on 28 December 1895, can be regarded as the breakthrough of projected cinematographic motion pictures. The advent of film as an artistic medium is not clearly defined. The history of film chronicles the development of a visual art form created using film technologies that began in the late 19th century.
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