Supplementary Files
Keywords
Moving image devices
Space
Representation
How to Cite
Abstract
The aim of this research is to establish a dialogue between moving image devices, considered as precursors of cinema, and the representation of space in order to evaluate the physical orientations of inventors who transformed their spatial searches into cinematic organisation. This study examines the experimental environment created by cinema art for space through moving image devices. It is focused on two research questions: ‘The integration of space representation in pre-cinema moving image devices’ and ‘The effect of space representation on visual narrative in pre-cinema moving image devices’. The study employed a qualitative research design and the literature review method to answer the research questions. The research data was analysed using descriptive content analysis. Based on the analysis, it can be inferred that pre-cinema moving image devices invented between 1558-1834 utilised figurative representations in visual narratives. The representation of space was first introduced in the visual narratives of the Stereoscope, invented by Wheatstone in 1838. Moving image devices invented between 1880-1895 established a strong relationship with the representation of space. However, the fact that the research was collected from fourteen different moving image devices invented in 1558 and later is considered to be one of the major methodological limitations of this study. The limited sample size weakens the possibility of generalising the findings and negatively affects the external validity of the research. In order to overcome the problem of low external validity and to ensure that the data obtained from the study can represent the study population, it is recommended that new studies be planned that include different pre-cinema moving image devices.
References
ABİSEL, N. (2003). Sessiz Sinema. Om Yayınevi.
AKMAN, C. (December 7, 2019). Sinemanın kısa tarihi. https://medium.com/@can_akman/sinemanın-kısa-tarihi- e6d838f25fb0
ANDERSEN, T. (2018). Eadweard Muybridge. Comparative Cinema, 6(11), 10-16.
ART OF PLAY (August 2, 2016). Fun with Zoetropes. https://www.artofplay.com/blogs/stories/fun-with- zoetropes
BAK, M. A. (2016). The ludic archive: The work of playing with optical toys. Moving Image: The Journal of the Association of Moving Image Archivists, 16(1), 1-16.
BERGAN, R. (2012). The film book: A complete guide to the world of film. DK Publishing.
BESSIN, L. (January 17, 2018). La Tapisserie de Bayeux de retour en Angleterre. https://actu.fr/monde/la-tapisserie- bayeux-retour-angleterre_15104456.html
BORDWELL, D., & KRISTIN, T. (2012). Film sanatı. (E. Yılmaz, Trans.). De-Ki Yayınları.
BULLEN, E., RUTHERFORD, L., & URQUHART, I. (2018). Cinema and the book: Intermediality in the invention of Hugo Cabret. The Lion and the Unicorn, 42(1), 73-87.
BURNS, P. (1999). Lıonel Smith Beale - Choreutoscope https://archive.org/details/beale_ls_choreutoscope_s keletonani
BUTLER, R. (2008). An early piece of cinematic history?. TechTrends, 52(6), 17.
CERAM, C. W. (2007). Sinemanın arkeolojisi. (H. Aydın, Trans.). Agora Kitaplığı.
CONREUR, G. (January 22, 2016). Théâtre Optique au musée Grévin. https://www.radiofrance.fr/franceculture/ emile-reynaud-le-pere-du-theatre-optique-6126140
DUTTLINGER, C. (2021). Carried off course: Navigating the nuanced works of a great thinker. TLS: Times Literary Supplement, 6163, 22-24.
ENGELEN, L. (2021). The Kaiser-Panorama and tourism in Belgium around 1900. International Journal on Stereo & Immersive Media, 5(1), 132-154.
FADEN, E. (August 29, 2019). Thaumatrope (magic circle). https://digitalcommons.bucknell.edu/cinematic/2/
FERNETT, G. (1988). American film studios: An historical encyclopedia. McFarland.
FOLIOSCOPIO (August 2, 2021). El folioscopio: el primer libro animado de la historia. https://folioscopio.com/el- folioscopio-el-primer-libro-animado-de-la-historia/
GÖKÇEARSLAN, A. (2016). Çizoynat. Journal of the Fine Arts Institute, 36, 90-110.
GUNNING, T. (2014). The cinema. In M. Saler (Ed.), The Fin-de-Siècle World (pp. 661-676). Routledge.
HANKINS, T. L., & SILVERMAN, R. J. (1999). Instruments and the imagination. Princeton University Press.
HENDRICKS, G. (1964). Beginnings of the biograph: The story of the invention of the mutoscope and the biograph and their supplying camera. Beginnings of the American Film.
HOFFMANN, A. (2002). Das Stereoskop: Geschichte der Stereoskopie. Deutsches Museum.
JACOBSON, B. R. (2011). The Black Maria: film studio, film technology (cinema and the history of technology). History and technology, 27(2), 233-241.
KILIÇ, L. (2008). Fotoğraf ve sinemanın toplumsal tarihi. Dost Yayınevi.
KILIÇ, L. (2011). Durağan ve hareketli görüntünün öyküsü. In T. F. Uçar (Ed.), Görsel Kültür (pp. 103-132). Anadolu Üniversitesi.
KIRCHER, A. (1671). Ars magna lucis et umbrae in decem libros digesta. sumptibus Hermanni Scheus.
KÜÇÜKCAN, U. (2011). Filmin tarihi. In F. Bodur (Ed.),Hareketli görüntünün tarihi (pp. 2-32). Anadolu Üniversitesi.
LARDNER, D. (1855). The Museum of Science and Art (Vol. 8). Walton and Maberly.
LEE, B. (2013). Three-dimensional displays, past and present. Physics Today, 66(4), 36-41.
LESKOSKY, R. J. (1988). The Illusion of Reality and the Reality of Illusion in Animated Film. Semiotics, 460-465.
LESKOSKY, R. J. (1993). Phenakiscope: 19th century science turned to animation. Film History, 5(2), 176-189.
LIESEGANG, F. P. (1926). Zahlen und Quellen: zur Geschichte der projektionskunst und Kinematographie. Deutsches Druck- und Verlagshaus GmbH Hackebeil.
LIU, P. (2021). Flight mystery and aerodynamic principles. In L. Peiqing (Ed.), A General Theory of Fluid Mechanics (pp. 445-579). Springer Singapore.
LITTLE, B. (October 5, 2021). Early cave art was abstract. https://www.history.com/news/prehistoric-cave- paintings-early-humans
Lumière, A., & Lumière, L. (1897). Le cinématographe. La Revue du siècle, 11, 233-263.
MONACO, J. (2010). Bir film nasıl okunur? Sinema dili, tarihi ve kuramı: Sinema, medya ve multimedya dünyası. (E. Yılmaz, Trans.). Oğlak Yayıncılık.
MUZDAKIS, M. (August 29, 2023). 5,000-year-old Iranian vase features the first known animation. https://mymodernmet.com/iranian-vase-animation- shahr-e-sukhteh/
MYERS, N. (January 12, 2018). Zoopraxiscope Project. https://thezoopraxiscope.wordpress.com/2018/01/12/ zoopraxiscope-chronicles/
MYRENT, G. (1989). Émile Reynaud: First motion picture cartoonist. Film History, 3(3), 191-202.
ÖZÖN, N. (1964). Sinema el kitabı. Elif Yayınları.
ÖZUYAR, A. (2017). Sessiz dönem Türk sinema tarihi. Yapı Kredi Yayınları.
PANDYA, A. (2019). Evolution of animations technology and its appeal as a tool to educate. Vidhyayana, 4(4), 1-7.
PESELMANN, V. (2016). Enacting public perception in the late 19th century. The Kaiserpanorama. Figurationen, 17(2), 70-88.
PIKKOV, Ü. (2010). Animasophy: Theoretical writings on the animated film. Estonian Academy of Arts.
RAMSAYE, T. (1926). Movie Jargon. American Speech, 1(7), 357-362.
REGNIER, C. (2013). Cinema, science, and medicine in France. Medicographia, 35, 237-245.
REYNOLDS, H. (December 19, 2020). The Quest to escape reality. https://aghseagletimes.com/832/features/ the-quest-to-escape-reality/
ROBB, J. (2013). Sessiz sinema. (E. Ulun, Trans.) Kalkedon Yayınevi.
ROBBINS, J. (2013). Original Cinema. Film Comment, 49(1), 78.
Ruffles, T. (2004). Ghost images: Cinema of the afterlife. McFarland.
RUIRUI, Z. & XIAO, G. (2012). The application and development of photoelectric sensor. Energy Procedia, 17, 1304-1308.
ROSSELL, D. (1998). Living pictures: The origins of the movies. SUNY Press.
SFETCU, N. (2021). Animation & Cartoons. MultiMedia Publishing.
STREIBLE, D. (2003). Children at the Mutoscope. Cinémas, 14(1), 91-116.
TEKSOY, R. (2005). Rekin Teksoy'un sinema tarihi. Oğlak Yayınları.
TRAISNEL, A. (2020). Introduction. https://manifold.umn.edu/read/capture/section/2f1fe ff8-8608-4bb9-a169-9dc2cd000489
VERAS, C. (2022). Reanimating the history and the forgotten characteristics of the Zoetrope. Animation, 17(1), 26-48.
WERNER, K. (2013). Untersuchungen zur Illumination der mittelhochdeutschen Heldendichtung. [Master of Arts thesis, University of Vienna].
ZORICH, Z. (February 28, 2014). Early humans made animated art: How Paleolithic artists used fire to set the world’s oldest art in motion. https://nautil.us/early- humans-made-animated-art-234819/
This work is licensed under a Creative Commons Attribution 4.0 International License.
Copyright (c) 2024 Holistence Publications