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A projectionist in London movie houses who became Head of Technical Services at the British Film Institute's South Bank facility, he found the time between constantly repairing exhibits in the heavily visited Museum of the Moving Image and managing the unruly schedule of projectionists in the National Film Theatre's three theatres to organize and edit (with Luke McKernan) the essential Who's Who of Victorian Cinema (BFI Publishing, 1996, as well as a website, ). A unique talent in media archaeology, for his loyalty, his innate honesty, his unending curiosity, his many practical skills, and his productivity, Stephen Herbert will be greatly missed by many in the community. fr Ancien projectionniste, Stephen Herbert est devenu chef des services techniques du site South Bank du British Film Institute. Chronology of the Birth of Cinema 1633-1696 was reviewed in Journal of Film Preservation No.108, 04.2023, and his book on British film pioneer Birt Acres, co-authored with Barry Anthony and Peter Dornankiewicz, is under contract with University of Exeter Press. 1. .

Exhibition Animating images In the mid-19th century, portrait photographers used iron neck braces to steady their subjects and ensure that they remained static for the time required to expose photographic plates.

Eadweard Muybridge's Pacific Coast photographs provide an important site for investigating Victorian visual practices of the “wide.” They do not simply expand a referential frame to encompass novel subjects; they also, and more critically, register powerful narratives of temporality and modernity. This essay's analysis of the “wide” as an incipient concept of critical spatiality is not set against the more familiar temporal dimension of the long nineteenth century (a false and ultimately unproductive opposition). Rather, it places these two concerns in some tension with each other, though the argument is less about periodicity than about the representation of timescales in nineteenth-century media. In Muybridge's photographs, thinking about the representational possibilities of width is impossible without also confronting temporality. The Pacific Coast photographs are important both as explorations of timescales and artifacts in an influential nineteenth-century medium and prompts to reconsider the politico-economic networks that were central to the progress of expeditionary photography itself.

Mit Cabin Essence, einem Songtitel der Beach Boys, fügt die Künstlerin weiteres Material hinzu, das sich sowohl mit dem Mythos des amerikanischen Westens beschäftigt, aber auch selbst zum Anlass für Spekulationen wurde. Und wo einst nach Gold geschürft wurde, ging es zu einem späteren Zeitpunkt, in Silicon Valley, um „Data Mining\". Kalifornien und das Verschwinden des Außen, hg. v. Diedrich Diederichsen und Anselm Franke.

Peirce once called his graphical system of logic—the Existential Graphs—the moving pictures of thought. I argue that Peirce meant that using his graphs to study the movement of thought is akin to Eadweard Muybridge's use of moving pictures to study animal motion, and I show that this analogy is highly apt for several reasons. The analogy is apt because: (1) Just as animal motion is continuous, thought is continuous; (2) Animal motion, like the movement of thought, is too swift and complex to examine directly, without aid; (3) Nevertheless, just as we can record a series of moments of animal motion with the use of a special instrument (viz., cameras and instantaneous photographs), so too we can record a series of moments of thought with the use of a special instrument (viz., the Existential Graphs), enabling us to study its structure; and (4) Through the study of these moments of thought, or of animal motion, we will improve our understanding of them and be able to settle debates about them.

In the 1870s, Leland Stanford allegedly wagered $25,000 to prove the theory that all four of a horse's hooves leave the ground when it travels at a gallop. While the anecdote is largely considered to be untrue, the wager has been repeatedly refuted across close to a century of writing on Stanford and Eadweard Muybridge's role in the development of motion pictures. In examining the disavowal of the wager myth, this article argues the refutations illustrate contradictions between science and representation that remain central to the history of motion-picture technology.

The aim of this article is to show the role that Eadweard Muybridge’s work and wide-angle snapshot photography, perfected at the end of the 19th century by the Lumière brothers, played in the development of the levitation technique. The author emphasizes the visual fascination with spectacular images of a body suspended in the air, which can take various forms: from the stop motion effect, bringing to mind the notion of a frozen time, by suggesting the suspension of the law of gravity, to the visualization of the various time dimensions possible through the film mobilization of the gaze. Taking the affinity between Muybridge’s studies and the bullet time effect as her starting point, the author also looks at the relationships between the various versions of the trick of the nineteenth and twentieth centuries, and the present time. Gruenpeter considers the popularity of this theme in modern audio-visual culture using selected films, and in the context of recreational photography and the art of illusion.

In the summer of 1893, American audiences were introduced to the perfect man. EugenSandow was a Prussian-born strongman whose sinewy physique was instantly lauded as the height of physical perfection. To mark his distance from laboring classes and colonized peoples, the theatrics of Sandow’s presentation positioned him as a modern incarnation of classical beauty. But influential as he was, Sandow was not the only physical embodiment of corporeal perfection Americans plucked from antiquity. Another contender for the title of the perfect man was Jesus. The contours of manhood coded in Sandow’s sinew were rendered in contemporaneous depictions of Jesus as the model physical type. The face of Jesus was not simply mimeographed onto Sandow’s flesh. Instead, a language of physical perfection and attending visual and imaginative strategies of representation linked Jesus and Sandow—American Christianity and American manhood—in minds and bodies. Rather than compare Jesus and the strongman, this article explores visual regimes of late nineteenth-century American masculinity to demonstrate the mutual articulation of religious and national imaginaries through visual iconographies of race.