In the first half of the nineteenth century displayed artifacts in each phase of the movement is recorded in separate drawings. In the line of sight of the eye of the beholder each image is replaced by another very similar, so quickly that stimulates the movement as trauma-trope (1826). Next came the fenakistiscopio or magic disk (1832) and the zoetrope or wheel Wonderland, among others.
The Magic Lantern invented by Kircher in 1645, is the precedent of film projection. In 1850 the Austrian Baron Uchatius her realizaó a series of plans for military training sequences were projected about thirty seconds but the system was impractical and did not have much impact. More sophisticated were the Choreutoscope Hughes (1884) and praxinoscope Reynaud (1892) who with his 'Optical Theatre' will be the first in commercially exploiting the projection of images drawn.
to operate the inertia of perception see visual and motion pictures had to make ten or twelve pictures per second at least, what is needed for new photographic emulsions have enough sensitivity to light and respond quickly. Thus arises the rifle photo Marey - fragile to take a glass plate, but was able to impress in a second successive twelve images.
George Eastman in 1889 with the introduction of flexible support a continuous strip of transparent celluloid film, provides an essential material for the development of cinematography.
With photographic inventions on motion capture snapshots and decomposed in the synthesis of movement from static images, we arrive at Kinetoscopio Dickson (1893) and cinema the Lumière brothers (1895) and other less commercial.
The film technique is to break the continuity of the movement of objects in a limited number of still images recorded on photographic support and projected onto a white screen at a rate of 24 frames per second for 35mm-format The so-called 'phi phenomenon' that gives the illusion of dynamic continuity.
The time is thus held in the two-dimensionality frame. But he also subjective implications as cinematic representation has on the reproduction of movement can be observed when projecting the film, you can change the speed of fast-paced, fast forward, or slow-motion, slowing it down, freezing a continuous-casting of the same frame-and even reversing the direction of travel of the film shown watching the original movements' to revés'y creating the illusion with a represented time that we dominated the real time and constant unstoppable.
"Time is the enemy of man, space is your friend." From this point of view, the film represents the triumph of space over time, although it is an apparent and partial success because when you finish the screening, which also has temporal duration, the time is again the master of reality our lives. Hometown
Image: arsoperandi. blogspot.com
0 comments:
Post a Comment