Stereoscopic Cinema and the Origins of 3-D Film, 1838-1952
This is a comprehensive history of the stereoscopic motion picture. Ray Zone not only discusses technological innovation and its cultural context, but also examines the aesthetic aspects of stereoscopic cinema in its first century of production.
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3-D ﬁlm 3D Film anaglyph Apparatus Attempts at Stereoscopic audience Audioscopiks autostereoscopic binocular Bioscope Brewster Bwana Devil Charles Wheatstone cinematography created Crespinel depth developed device diﬀerent disk Eadweard Muybridge Edison eﬀect eﬀorts exhibition feature ﬁlm Festival of Britain ﬁeld ﬁgures ﬁlm ﬁlming ﬁrst ﬂat Friese-Greene glasses Gosser Hauron Ibid invention inventor Kinemacolor Kinetoscope lens lenses Leventhal Lumiere Lumiere brothers magic lantern mirrors motion picture camera Motion Picture Engineers Muybridge narrative Norling novelty period optical parallax peep show Phenakistoscope photographic Plastigrams polarizing Polaroid printed Prizma color produced projector reﬂecting right-eye images scientiﬁc scopic screen Selected Attempts shutter single-strip Society of Motion Spottiswoode stereo pairs stereographic stereoscopic cinema stereoscopic eﬀect stereoscopic ﬁlm stereoscopic images stereoscopic motion picture Stereoscopic Moving Pictures stereoscopic pictures stereoscopic projection stereoview stereoview cards Theater Third Dimension three-dimensional tion titled twin-strip U.S. patent Vectograph viewer viewing Wheatstone Wheatstone’s William William Friese-Greene wrote York
Page 12 - We see something with the second eye, which we did not see with the first; in other words, the two eyes see different pictures of the same thing, for the obvious reason that they look from points two or three inches apart. By means of these two different views of an object, the mind, as it were, feels round it and gets an idea of its solidity. We clasp an object with our eyes, as with our arms, or with our hands, or with our thumb and finger, and then we know it- to be something more than a surface.
Page 27 - Instead of the vertical original revolving disk of Plateau, he employed a cylinder revolving on its vertical axis ; and he placed on two inside zones of that cylinder, one above the other, the two series of photographic pictures, between the slits through which the eyes can see the pictures ; and by means of two mirrors, as in the other apparatus, each series was reflected on its respective lens through the cylinder, and the stereoscopic...
Page 7 - What would be the visual effect of simultaneously presenting to each eye, instead of the object itself, its projection on a plane surface as it appears to that eye?
Page 27 - Therefore the solution of such an interesting problem was capable of exciting the emulation and the ambition of many ingenious and scientific minds. Among those who undertook the task, M. Duboscq, the eminent optician of Paris, was the one who attained the greatest success. He had fixed the two series of binocular photographs on two zones of the revolving disk of the...
Page 26 - But nothing is so easy as to employ eight different pictures in as many different stages of action, and with this number of pictures the effect will be sufficiently complete. For this, having placed in the stereoscope two separate cubic frames, revolving independently on the same horizontal axis, I have only to fix on their four sides at right angles two sets of four pictures...
Page 7 - ... those employed in the refracting stereoscope, placed in a frame at the proper distance from each other. If the engravings should be less than 2| inches apart, the prisms may be dispensed with by persons who have command over the adaptation of their eyes, particularly if they be short-sighted. § 19. At the date of the publication of my experiments on binocular vision, the brilliant photographic discoveries of Talbot, Niepce and Dagucrre, had not been announced to the world.