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Movie Archaeology

Movie Archaeology. The Camera Sequence (Owen Barfield). Projection according to Owen Barfield. Movie Archaeology. Athanasius Kircher. Movie Archaeology. A Camera Obscura. Movie Archaeology. A Camera Obscura. Magic Lantern. Movie Archaeology. Ettienne Jules Marey. Movie Archaeology.

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Movie Archaeology

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  1. Movie Archaeology

  2. The Camera Sequence (Owen Barfield)

  3. Projection according to Owen Barfield

  4. Movie Archaeology Athanasius Kircher

  5. Movie Archaeology A Camera Obscura

  6. Movie Archaeology A Camera Obscura

  7. Magic Lantern Movie Archaeology

  8. Ettienne Jules Marey Movie Archaeology

  9. Marey’s Chronophotographic Gun Movie Archaeology

  10. Phenakistoscope Movie Archaeology

  11. Zoetrope Movie Archaeology

  12. Zogroscope Movie Archaeology

  13. Eadweard Muybridge Movie Archaeology

  14. Movie Archaeology Eadweard Muybridge Muybridge Building, Kingston University, UK

  15. Movie Archaeology August Lumiere

  16. Louis Lumiere Movie Archaeology

  17. The Lumiere Brothers Movie Archaeology

  18. The Lumiere Brothers’ Cinematographe Movie Archaeology

  19. Mutoscope Movie Archaeology

  20. Triuniallantern Movie Archaeology

  21. Thomas Edison Movie Archaeology

  22. Kinetoscope Parlor Movie Archaeology

  23. Mechanism of a Kinetoscope Movie Archaeology

  24. Georges Melies Movie Archaeology

  25. It is not perhaps entirely chance that the invention of motion photography, this sudden great leap in our powers of exploring and imitating the outward of perception, coincided so exactly with the journey into inner space initiated by Freud and his compeers. The year 1895 saw not only the very first film but also the publication of Studies in Hysteria, that is, the birth of psychoanalysis. --John Fowles

  26. Film is more than the twentieth-century art. It’s another part of the twentieth-century mind. It’s the world seen from inside. We’ve come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself. This is where we are. The twentieth century is on film. . . . You have to ask yourself if there’s anything about us more important than the fact that we’re constantly on film, constantly watching ourselves. --Don DeLillo

  27. I was born during the Age of Machines. A machine was a thing made up of distinguishable  "parts," organized in imitation of some function of the human body. . . How a machine "worked" was readily apparent to an adept, from inspection of the shape of its working parts. . . . The cinema was the typical survival form of the Age of Machines. Together with still photographs, it performed prizeworthy functions: it taught and reminded us (after what then seemed a bearable delay)  how things looked, how things worked, how we do things . . . and of course (by example) how to feel and think.

  28. We believed it would go on forever, but when I was a little boy, the Age of Machines ended. . . . Cinema is the Last Machine. It is probably the last art that will reach the mind through the senses. --Hollis Frampton

  29. It was for the construction of those micro-bubbles that human intelligence and science had evolved, that savants and engineers and whimsical caricaturists had put together the separate pieces of the great invention. In a roundabout, absurdly elaborated fashion- requiring special effects laboratories, wagonloads of art directors and prop men, years of systematic alchemical research-the brain had set about creating an image of itself, with a view toward projecting it into every corner of This Island Earth. --Geoffrey O’Brien, The Phantom Empire

  30. Once regarded as a puerile, cowardly escape from life because they begot and simulated dreaming, the movies are now recognizable as an extension of the supreme power inherent in a universe of energy, chance, evolution, explosiveness, and creativity. In such a youthful, exuberant universe the movies' kind of dreaming gives concrete probability and direction to the ongoing drive of energy, and as a consequence what at one time was thought to be a vitiating defect is now their greatest virtue. The new freedom they reflect and extend is freedom within the world, contingent and not absolute, a heightened vision of existence through concrete form beyond abstraction. In a world of light and

  31. a light world—unanalyzable, uninterpretable, without substance or essence, meaning or direction—being and non-being magically breed existence. Out of the darkness and chaos of the theater beams a light; out of nothingness is generated brilliant form, existence suspended  somewhere between the extremes of total darkness and total light. Performing its rhythmic dance to energy's tune, the movie of the imagination proves, should there be any doubt, that cinema, an art of light, contributes more than any other art today to fleshing out the possibilities for good within an imaginative universe. –W. R. Robinson, “The Movies, Too, Will Set You Free”

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