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Journal articles on the topic 'Magic lanterns'

Author: Grafiati

Published: 24 April 2022

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1

Toba, Koji. "On the Relationship between Documentary Films and Magic Lanterns in 1950s Japan." Arts 8, no. 2 (May 17, 2019): 64. http://dx.doi.org/10.3390/arts8020064.

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In this paper, I explore three cases from postwar Japanese media history where a single topic inspired the production of both documentary films and magic lanterns. The first example documents the creation of Maruki and Akamatsu’s famed painting Pictures of the Atomic Bomb. A documentary and two magic lantern productions explore this topic through different stylistic and aesthetic approaches. The second example is School of Echoes, a film and magic lantern about children’s education in rural Japan. The documentary film blurs distinctions between the narrative film and documentary film genres by utilizing paid actors and a prewritten script. By contrast, the original subjects of the documentary film appear as themselves in the magic lantern film. Finally, the documentary film Tsukinowa Tomb depicts an archeological excavation at the site named in the title. Unlike the monochrome documentary film, the magic lantern version was made on color film. Aesthetic and material histories of other magic lanterns include carefully hand-painted monochrome films. Monochrome documentary films in 1950s Japan tended to emphasize narrative and political ideology, while magic lantern films projected color images in the vein of realism. Through these examples of media history, we can begin to understand the entangled histories of documentary film and magic lanterns in 1950s Japan.

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2

Capshaw, Katharine. "Archives and Magic Lanterns." Children's Literature Association Quarterly 39, no. 3 (2014): 313–15. http://dx.doi.org/10.1353/chq.2014.0050.

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3

Dutta, Swarup Kumar. "Eveready Industries: The Magic Lamp that Changed the Fortunes." Asian Case Research Journal 18, no. 01 (June 2014): 1–34. http://dx.doi.org/10.1142/s0218927514500011.

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This case portrays the experimental foray of Eveready Industries Limited in a new line of business when faced with dire consequences of survival of its core battery business. The battery business was severely hit because of cheap Chinese imports and from a position of domestic market leader, Eveready saw its position untenable during 2006 to 2008. Mr. Khaitan the Vice Chairman & Managing Director of Eveready Industries Ltd. felt that the company's problems were much deeper. On top of its falling domestic demand, the company did not have the license to sell Eveready batteries in many overseas markets. Thus born out of sheer necessity of survival, Eveready Industries made its experimental foray of entering the LED lantern (lamp) business. This entry into a new business could, on one hand, create a new growth opportunity for catering to the BOP customer in an emerging country like India. On the other hand, these lamps would need batteries to operate on, which would create a further traction for his existing battery business. Further, if it could be provided cheaper than traditional kerosene lamps, it would fill a significant void in the market. This experimental foray led to unprecedented success which changed the fortunes of the company from 2009 onwards. Built on the philosophy of giving better light at a lower monthly cost than running kerosene lanterns, this experimentation was a huge success. What then were the challenges and pitfalls faced by Eveready Industries in taking an alternative growth path? What were the strategies adopted in revitalizing the Company? It is quite rare in the Indian market that a consumer product can catch such a customer fancy in such a short span of time as with the LED lamps. However challenges remain as rechargeable batteries and solar lanterns could be a potential threat to the LED lantern. This case describes the innovation in the business model and leadership issues during a crisis, which resulted in revitalization of the company.

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Giguere, Noelle. "Magic Lanterns: Artistic Vision and Hélène Cixous' Cats." Contemporary French and Francophone Studies 17, no. 3 (June 2013): 274–81. http://dx.doi.org/10.1080/17409292.2013.790617.

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5

Foutch, Ellery E. "Moving Pictures: Magic Lanterns, Portable Projection, and Urban Advertising in the Nineteenth Century." Modernism/modernity 23, no. 4 (2016): 733–69. http://dx.doi.org/10.1353/mod.2016.0072.

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6

Blom, Ivo. "Picturesque Pictures: Italian Early Non-fiction Films within Modern Aesthetic Visions." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (March 1, 2021): 49–65. http://dx.doi.org/10.2478/ausfm-2021-0004.

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Abstract Within early non-fiction film, the Italian travel or scenic films of the 1910s may be considered the most picturesque. They are remarkable for their presentation of landscapes and cityscapes, their co-existence of modernity and nostalgia, their accent on beauty – at times at the expense of geographic veracity and indexicality – and their focus on the transformed gaze through the use of special masks, split-screens, and other devices. The transmedial roots for this aestheticization can be found both in art (painting) and popular culture (postcards, magic lanterns, etc.). While the author was one of the firsts to write on this subject decades ago, today there is a need for radical revision and a deeper approach. This is due to the influx of recent literature first by Jennifer Peterson’s book Education in the School of Dreams (2013) and her scholarly articles. Secondly, Blom’s co-presentation on Italian early nonfiction at the 2018 workshop A Dive into the Collections of the Eye Filmmuseum: Italian Silent Cinema at the Intersection of the Arts led to the recognition that revision was needed. Finally, the films themselves call for new approaches while they are being preserved and disseminated by, foremost, the film archives of Bologna, Amsterdam, and Turin.

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7

Campbell, John C., and Timothy Garton Ash. "The Magic Lantern." Foreign Affairs 69, no. 5 (1990): 202. http://dx.doi.org/10.2307/20044662.

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8

Gosser, H. Mark. "The magic lantern." History of Photography 12, no. 1 (January 1988): 87. http://dx.doi.org/10.1080/03087298.1988.10442104.

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9

Fresko, David. "Muybridge’s Magic Lantern." Animation 8, no. 1 (March 2013): 47–64. http://dx.doi.org/10.1177/1746847712473804.

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10

Hankins, Thomas L. "How the Magic Lantern Lost Its Magic." Optics and Photonics News 14, no. 1 (January 1, 2003): 34. http://dx.doi.org/10.1364/opn.14.1.000034.

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11

VERMEIR, KOEN. "The magic of the magic lantern (1660–1700): on analogical demonstration and the visualization of the invisible." British Journal for the History of Science 38, no. 2 (May 25, 2005): 127–59. http://dx.doi.org/10.1017/s0007087405006709.

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The history of the magic lantern provides a privileged case study with which to explore the histories of projection, demonstration, illusion and the occult, and their different intersections. I focus on the role of the magic lantern in the work of the Jesuit Athanasius Kircher and the French Cartesian Abbé de Vallemont. After explaining the various meanings of the seventeenth-century concept of illusio, I propose a new solution for the long-standing problem that Kircher added the ‘wrong’ illustrations to his description of the lantern. The complex interaction between text, image and performance was crucial in Kircher's work and these ‘wrong’ figures provide us with a key to interpreting his Ars Magna. I argue that Vallemont used the magic lantern in a similar rhetorical way in a crucial phase of his argument. The magic lantern should not be understood merely as an illustrative image or an item of demonstration apparatus; rather the instrument is employed as part of a performance which is not meant simply to be entertaining. Both authors used a special form of scientific demonstration, which I will term ‘analogical demonstration’, to bolster their world view. This account opens new ways to think about the relation between instruments and the occult.Sol fons lucis universi, vas admirabile, opus Excelsi, divinitatis thalamus, risus coeli, decor, & pulchritudo mundiA. KircherFor one of those Gnostics, the visible universe was an illusion or, more precisely, a sophism. Mirrors and fatherhood are abominable because they multiply it and extend it.J. L. Borges

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12

Loughridge, Deirdre. "Haydn's Creation as an Optical Entertainment." Journal of Musicology 27, no. 1 (January 1, 2010): 9–54. http://dx.doi.org/10.1525/jm.2010.27.1.9.

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"What can aesthetics have to say," Johann Triest complained of Haydn's Creation two years after its premiere, "to a natural history, or geogony, set to music, where objects pass before us as in a magic lantern?" By contrast, Carl Friedrich Zelter praised the oratorio as a "fine shadow-play." Both agreed, however, that the work was like an optical entertainment. Triest's and Zelter's metaphors point to a hitherto unexplored context for The Creation's early reception that contributed at once to its popularity and to its dubious status. Retrieving the exhibition practices employed by itinerant magic lanternists reveals that barrel organ music had an established place in their entertainments and that certain numbers of The Creation echoed the auditory component of magic lantern shows. For Triest, the resemblance of these numbers to a magic lantern presentation suggested that tone-paintings were meaningless without verbal specification, and that in composing the oratorio Haydn was much like an organ-grinder cranking out a predetermined tune. In Zelter's counterargument to the magic lantern, the shadow-play characterized Haydn's oratorio as a species of illusionistic display demonstrating mastery over the raw materials of music. The alternative framework Zelter developed for Haydn's oratorio placed the work alongside fireworks and other philosophical entertainments that inspired awe at human accomplishment. Together, Triest's and Zelter's metaphors suggest that optical entertainments provided terms not only for describing the oratorio and the experience of listening to it, but also for elevating Haydn to the status of master over nature——-or else lowering him to the status of machine.

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BREMNER, LEWIS. "The Magic Lantern as a Lens for Observing the Eye in Tokugawa Japan: Technology, translation, and the Rangaku movement." Modern Asian Studies 54, no. 3 (October 16, 2019): 691–729. http://dx.doi.org/10.1017/s0026749x19000143.

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AbstractThis article explores the thoughts and ideas associated with magic-lantern technology in late eighteenth- and early nineteenth-century Japan. Its primary focus is on trends in Japanese thought from the 1770s until the 1820s, with specific reference to the Rangaku (‘Dutch Studies’) movement. The article examines connections between the magic lantern and a wider discourse within Japan on epistemology, knowledge about nature, and the study of the human body, centring upon the device's vital role in the endeavour to understand the workings of the human eye. Through this lens, a fresh perspective is offered on the role of critical analysis in the translation and interpretation of European texts in Tokugawa Japan, as well as on the shifting prominence of empiricism and deductive reasoning in Japanese epistemology. In this way, the history of the magic lantern is used to look beyond the prevailing West-centred narrative of global technological and intellectual development.

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14

Ferrara, Patricia, Ingmar Bergman, Joan Tate, and Robert Erich Wolf. "The Magic Lantern: An Autobiography." South Atlantic Review 55, no. 3 (September 1990): 147. http://dx.doi.org/10.2307/3200323.

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15

Simpson, Donald. "Missions and the Magic Lantern." International Bulletin of Missionary Research 21, no. 1 (January 1997): 13–15. http://dx.doi.org/10.1177/239693939702100103.

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16

Kember, Joe. "The magic lantern: open medium." Early Popular Visual Culture 17, no. 1 (January 2, 2019): 1–8. http://dx.doi.org/10.1080/17460654.2019.1640605.

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17

A., N. C. "The Magic Lantern: An Autobiography." American Journal of Psychiatry 146, no. 12 (December 1989): 1624—a—1625. http://dx.doi.org/10.1176/ajp.146.12.1624-a.

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18

Rodrigues, Santos, Melo, Otero, and Vilarigues. "Magic Lantern Glass Slides Materials and Techniques: the First Multi-Analytical Study." Heritage 2, no. 3 (August 29, 2019): 2513–30. http://dx.doi.org/10.3390/heritage2030154.

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This paper presents the first systematic investigation of hand-painted magic lantern glass slides using multi-analytical techniques combined with a critical analysis of historical written sources of the painting materials and techniques used to produce them. The magic lantern was an optical instrument used from the seventeenth to the twentieth century that attained great success and impact on the entertainment industry, science, religion, and advertisement industry. The glass, colorants, and organic media of five magic lantern slides from the Museum of Natural History and Science of the University of Lisbon were studied. By means of energy-dispersive X-ray fluorescence spectrometry, the glass was characterized and the oxide quantification unveiled that the glass substrate was possibly produced between 1870 and 1930. Ultraviolet-Visible, Raman and Fourier transform infrared spectroscopies allowed the characterization of the colorants: Prussian blue, an anthraquinone red lake pigment of animal origin (such as cochineal), an unidentified organic yellow, and carbon black. The remaining colors were achieved through mixtures of the pure pigments. Infrared analysis detected a complex fingerprint in all colors, nevertheless, a terpenoid resin such as shellac was identified. Metal carboxylates were also detected, contributing to the assessment of the state of conservation of the paints.

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19

Moore, Dick. "The Lapierre circus magic lantern slides." Early Popular Visual Culture 16, no. 3 (July 3, 2018): 317–27. http://dx.doi.org/10.1080/17460654.2019.1569855.

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Lamarre, Thomas. "Magic Lantern, Dark Precursor of Animation." Animation 6, no. 2 (July 2011): 127–48. http://dx.doi.org/10.1177/1746847711406374.

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21

Everts, Kathryne L. "Reduced Fungicide Applications and Host Resistance for Managing Three Diseases in Pumpkin Grown on a No-Till Cover Crop." Plant Disease 86, no. 10 (October 2002): 1134–41. http://dx.doi.org/10.1094/pdis.2002.86.10.1134.

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Two recent changes in Maryland pumpkin production are (i) planting no-till into a cover crop with soil surface residue (70% of acreage) and (ii) adoption of cultivars with moderate resistance to powdery mildew. Pumpkin cultivar resistance to powdery mildew, planting method (no-till cover crop or conventional tillage bare ground), and fungicide schedules were examined for development of powdery mildew (caused primarily by Podosphaera xanthii), Plectosporium blight (Plectosporium tabacinum), and black rot (Didymella bryoniae), and pumpkin yield and quality. Fungicide application intervals were (i) nontreated, (ii) 7 days, (iii) 14 days, or (iv) 7 days early and 14 days late season. Pumpkin grown no-till on hairy vetch and hairy vetch plus rye cover crops had an average 36% less Plectosporium blight and 50% less black rot than those grown conventional tillage on bare ground. Powdery mildew was less severe on cv. Magic Lantern, which is moderately resistant to this disease, than on susceptible cv. Wizard. Regression equations to describe the impact of disease and treatment on pumpkin fruit number, weight, and peduncle quality (healthy, intact peduncles) were developed using three-stage least squares procedure. Powdery mildew caused the greatest reduction on fruit number, weight, and peduncle quality compared with other diseases. Plectosporium blight reduced fruit number in 1999 and 2000, and fruit weight and peduncle quality in 2000. Hairy vetch and hairy vetch plus rye cover crops resulted in greater fruit number (1,033 and 858 more marketable fruit/ha, respectively) than bare ground in 2000. Powdery mildew resistance (Magic Lantern) combined with pumpkin production on a cover crop resulted in lower levels of powdery mildew (average areas under the disease progress curve 1,474 versus 2,379), Plectosporium blight (average 5 versus 16% severity), and black rot (average 153 versus 217 symptomatic fruit/ha) compared with conventional production (Wizard on bare ground). A reduced fungicide schedule resulted in acceptable disease management, yield, and peduncle quality of Magic Lantern grown on a cover crop; Magic Lantern grown on a cover crop and sprayed every 14 days yielded the same as or more than Wizard grown on bare ground and sprayed weekly.

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22

Morris, Catherine. "‘Unremarkable, Forgotten, Cast Adrift’: Feminist Revolutions in Irish Visual Culture." Review of Irish Studies in Europe 2, no. 2 (October 24, 2018): 70–88. http://dx.doi.org/10.32803/rise.v2i2.1888.

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This creative essay examines how visual culture and Alice Milligan’s re-animation of the Tableaux as a radical form of theatre practice operated as a link between ideas of national culture and revolutionary feminism in Ireland. But the tableaux had other elective affinities too. Theatre, photography and the magic lantern were the most immediately obvious of these; but cinema and art installation are by now also recognizably among them. The moving cinematic image is in fact a series of still pictures which give the effect of movement. As silent films became more popular in Ireland in the early years of the twentieth century they were called ‘living pictures’, the name also used to describe tableaux. But even in the era of the early silent film, directors often suspended action to jolt the viewer into another interpretative realm. We see this in Griffith’s 1909 film A Corner in Wheat — where a shot of a bread queue looks like the film has stopped. Early photography was vital to Alice Milligan’s practice: she raised funds for the first magic lantern for the Gaelic League (first used in Donegal); travelled the country taking photographs of people and sites; projected glass slides as part of community tableaux shows; and Maud Gonne’s early play Dawn uses 3 of her tableaux. During the 1897 royal visit to Dublin, James Connolly, Milligan and Maud Gonne used a magic lantern to project onto Dublin’s city walls photographs of famine that they had witnessed in the west of Ireland.

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Widmer, Alexandra. "The Order of the Magic Lantern Slides." Commoning Ethnography 2, no. 1 (December 19, 2019): 52. http://dx.doi.org/10.26686/ce.v2i1.5269.

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Dr Sylvester Lambert, an American public health doctor who worked for the International Health Board of the Rockefeller Foundation, created a magic lantern slide presentation to retell the arrest of a sorcerer that he had witnessed in 1925 on the island of Malakula in Vanuatu. In this article, I use creative non-fiction to envision other audiences and narrators of this storied event to present an expanded picture of life for Pacific Islanders at that time. I also reflect on how particular events make for good stories because they are contests about belief and incredulity. Reimagining medical stories of sorcery reminds us that medicine is part of larger contests over the nature of reality. This is an imaginative ethnographic experiment with decolonizing intentions which combines archival research, ethnographic research, colonial images and creative non-fiction. It aspires to untie the images from a single fixed colonial narrative and to revisit the images in ways that are open to multiple interpretations, audiences, and narrators.

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Schneider, Edward W. "The demise of the magic lantern show." Performance Improvement 45, no. 6 (July 2006): 13–16. http://dx.doi.org/10.1002/pfi.2006.4930450605.

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Heard, Mervyn. "A prurient look at the magic lantern." Early Popular Visual Culture 3, no. 2 (September 2005): 179–95. http://dx.doi.org/10.1080/17460650500198055.

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Washitani, Hana. "Gentō." Feminist Media Histories 2, no. 1 (January 1, 2016): 61–85. http://dx.doi.org/10.1525/fmh.2016.2.1.61.

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Japanese gentō (originally a translation of the English term “magic lantern”) is a still-image projection system that enlarges images on a transparent slide or film and projects them onto a large screen. Most studies argue that the magic lantern, stereopticon, or gentō thrived from the seventeenth to the nineteenth centuries and that their use declined in the early twentieth century with the arrival of the motion picture. This article examines the revival and redevelopment of gentō in mid-twentieth-century Japan, focusing on its use in 1950s social movements (including labor, social welfare, and political protest movements) and exploring how independent gentō works represented the landscapes, histories, and everyday lives threatened by the presence of U.S. military forces in Japan. It also examines the representation of female gender and sexuality in these gentō works, looking at the ways they depict women as both symbols of a victimized and humiliated homeland and as threats to the order of paternalistic family and society in Japan.

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Ganter, Granville. "Mistress of Her Art: Anne Laura Clarke, Traveling Lecturer of the 1820s." New England Quarterly 87, no. 4 (December 2014): 709–46. http://dx.doi.org/10.1162/tneq_a_00418.

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This essay examines Anne Laura Clarke, a public lecturer from 1822 through the mid-1830s. Her topics ranged from western history to world clothing customs, and she employed hand-crafted historical charts and magic lantern images. The essay is a contribution to feminist history and recovers Clarke's manuscript lectures and visual materials.

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STAUBERMANN, KLAUS B. "Making stars: projection culture in nineteenth-century German astronomy." British Journal for the History of Science 34, no. 4 (December 2001): 439–51. http://dx.doi.org/10.1017/s0007087401004472.

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The introduction into the laboratory of the magic lantern and the arts of projection marked a change from putatively individual and mechanical to obviously collective and skillful perception in nineteenth-century German sciences. In 1860 Karl Friedrich Zöllner introduced an astro-photometer to astronomers who, by practising with it, became aware of their own tacit and ubiquitous skills. Zöllner was a showman who was aware of the personal skills involved in magic-lantern projection. Like showmen, nineteenth-century astronomers could also control and calibrate their vision with this instrument. Photometrists such as Zöllner were not only aware of subjectivity, but developed techniques to manipulate, control and to employ it in scientific judgements. This view stands in contrast to that of the scientists described by Lorraine Daston and Peter Galison, for whom ‘machines offered freedom from will – from the willful interventions that had come to be seen as the most dangerous aspects of subjectivity’. But with Zöllner's successful programme of instrumental subjectivity, acts of willful intervention were at the very centre of astronomical judgement.

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29

Andriopoulos, Stefan. "Kant's Magic Lantern: Historical Epistemology and Media Archaeology." Representations 115, no. 1 (2011): 42–70. http://dx.doi.org/10.1525/rep.2011.115.1.42.

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This essay juxtaposes Kant's critical epistemology with the visual medium of the phantasmagoria and a contemporaneous debate about spirit apparitions. Kant's notion of Erscheinung as an appearance or apparition of a supersensory thing in itself draws on the previous hypothesis of genuine spirit apparitions from his Dreams of a Spirit Seer (1766). His doctrine of transcendental illusion, by contrast, adapts a second, skeptical explanation of spirit visions by describing speculative metaphysics as a “magic lantern of brain phantoms.” Kant thereby transforms the optical instrument into an epistemological figure, highlighting the unreliability and limits of philosophical knowledge.

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McCole, Niamh. "THE MAGIC LANTERN IN PROVINCIAL IRELAND, 1896–1906." Early Popular Visual Culture 5, no. 3 (November 2007): 247–62. http://dx.doi.org/10.1080/17460650701633603.

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Verber, Jason. "Magic Lantern Empire: Colonialism and Society in Germany." History: Reviews of New Books 42, no. 4 (July 22, 2014): 142–43. http://dx.doi.org/10.1080/03612759.2014.930779.

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Jefferies, M. "Magic Lantern Empire: Colonialism and Society in Germany." German History 32, no. 2 (November 19, 2013): 313–14. http://dx.doi.org/10.1093/gerhis/ght095.

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Wood, Juliette. "Fairytales and the Magic Lantern: Henry Underhill's Lantern Slides in The Folklore Society Collection." Folklore 123, no. 3 (December 2012): 249–68. http://dx.doi.org/10.1080/0015587x.2012.716575.

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Wolffe, John. "The End of Victorian Values? Women, Religion, and the Death of Queen Victoria." Studies in Church History 27 (1990): 481–503. http://dx.doi.org/10.1017/s0424208400012262.

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In the evening of Tuesday 22 January 1901 Queen Victoria died at Osborne House on the Isle of Wight. At the other end of England, the Mothers’ Union branch at Embleton, on the coast of north Northumberland, was listening to a magic-lantern lecture about ‘Mothers in Many Lands’. The report of that meeting provides a touching cameo of that last hour of the Victorian age:

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35

Kember, Joe. "The magic lantern in colonial Australia and New Zealand." Early Popular Visual Culture 17, no. 1 (January 2, 2019): 132–33. http://dx.doi.org/10.1080/17460654.2018.1558813.

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Brooker, Jeremy. "The ‘Frankenstein Phantasmagoria’: making slides for the magic lantern." Early Popular Visual Culture 17, no. 1 (January 2, 2019): 112–18. http://dx.doi.org/10.1080/17460654.2019.1615683.

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Kennedy, Valerie. "The Magic Lantern: Representation of the Double in Dickens." English Studies 95, no. 3 (April 3, 2014): 342–43. http://dx.doi.org/10.1080/0013838x.2014.894748.

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de la Fuente, Ricardo Samaniego. "Adorno’s Magic Lantern: On Film, Semblance, and Aesthetic Heteronomy." New German Critique 48, no. 2 (August 1, 2021): 147–75. http://dx.doi.org/10.1215/0094033x-8989302.

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Abstract Rejecting a reading of Theodor W. Adorno as a critic of the culture industry who could not conceive of film’s critical potential, many commentators have argued that for Adorno, film can become autonomous and thus a medium for social critique. This article argues that such a reading is only partly correct. Indeed, Adorno thought that film could be a medium for critique, yet he never stopped asserting film’s heteronomy. Building on the work of Miriam Hansen, the article argues that for Adorno, critical film could overcome the limitation of technique by film’s representational base and its inability to achieve a neutral standpoint through the use of montage, which arranges the material without dominating it.

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Hunt, Verity. "Raising a Modern Ghost: The Magic Lantern and the Persistence of Wonder in the Victorian Education of the Senses." Articles, no. 52 (January 30, 2009): 0. http://dx.doi.org/10.7202/019806ar.

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Abstract This article begins by posing the question of why the eminent Victorian inventor and scientist of optics, Sir David Brewster (1781-1868), chooses to appear in a popular domestic magic lantern handbook of the 1860s, offering a testimonial to the value and importance of that by-that-time familiar parlour toy? By looking back some thirty years or so to Brewster’s Letters On Natural Magic (1832), in which the scientist sets out his project for a popular training of the senses, it highlights the part played by optical entertainments and discourses of magical wonder in Victorian education(s) of the eye, and the particular visuality of wonder as sensory experience. In its discussion of wonder, this article asserts the importance of an emotion frequently excluded from a longstanding picture of a nineteenth century ‘disenchanted’ by science and technology. Someone like Brewster is interesting because he explicitly, programmatically weighs in against irrationality; yet, in explaining away superstitious wonder in terms of, predominantly optical illusion, he retains some of the glamour or fascination of these illusions. As a member of the scientific elite working for the popularisation of optical science and technology for the ‘vulgar’ masses, the scientist may be reassessed and understood as a player in a cultural middle ground, an ambiguous hinterland between positions of outright superstition and outright disillusionment. Exploring the enchantments of technology, this article underlines how optical devices and the visions they offer are instrumental in the evolution of an emerging nexus of Victorian wonders. Through a case study of the magic lantern in nineteenth-century popular science and entertainment, it shows how multiple, diverse ‘wondering’ perspectives gather around a single, longstanding visual machine.

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Palmer, Sally B. "Projecting the Gaze: The Magic Lantern, Cultural Discipline, and Villette." Victorian Review 32, no. 1 (2006): 18–40. http://dx.doi.org/10.1353/vcr.2006.0004.

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Shepard, Elizabeth. "The magic lantern slide in entertainment and education, 1860–1920." History of Photography 11, no. 2 (April 1987): 91–108. http://dx.doi.org/10.1080/03087298.1987.10443777.

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42

Chayt, Eliot. "The Complete Magick Lantern Cycle (review)." Moving Image 12, no. 1 (2012): 153–56. http://dx.doi.org/10.1353/mov.2012.0008.

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Bowersox, Jeff. "John Phillip Short. Magic Lantern Empire: Colonialism and Society in Germany." American Historical Review 118, no. 5 (November 25, 2013): 1619–20. http://dx.doi.org/10.1093/ahr/118.5.1619.

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Wue, Roberta. "China in the World: On Photography, Montages, and the Magic Lantern." History of Photography 41, no. 2 (April 3, 2017): 171–87. http://dx.doi.org/10.1080/03087298.2017.1320127.

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Loiperdinger, Martin. "Magic Lantern, Panorama and Moving Picture Shows in Ireland, 1786–1909." Historical Journal of Film, Radio and Television 33, no. 2 (June 2013): 334–36. http://dx.doi.org/10.1080/01439685.2013.793010.

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Malt, Johanna. "The Blob and the Magic Lantern: On Subjectivity, Faciality and Projection." Paragraph 36, no. 3 (November 2013): 305–23. http://dx.doi.org/10.3366/para.2013.0096.

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Through an examination of Proust's ‘magic lantern’ scene from the opening of A la recherche du temps perdu, alongside the work of the contemporary installation artist Tony Oursler, this article takes projection as a means of exploring the relationship between subjectivity and embodiment. Reading them in conjunction with Deleuze and Guattari's concept of ‘faciality’, I argue that Oursler's installations, combining performance, sculpture and video art, explore the fate of the body subjected to signification and can be described as ‘tragedies of faciality’. At the same time, anchored as they are in material relations, they are unable to detach the subject from the limits of the body in the radical way Proust can, via a literary account of projection which is, I argue, doubly virtual.

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Kember, Joe. "Magic lantern, panorama and moving picture shows in Ireland, 1786–1909." Early Popular Visual Culture 11, no. 4 (November 2013): 442–44. http://dx.doi.org/10.1080/17460654.2013.837595.

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Gray, Lara Cain. "Magic Moments: Contextualising Cinema Advertising Slides from the Queensland Museum Collection." Queensland Review 18, no. 1 (2011): 73–84. http://dx.doi.org/10.1375/qr.18.1.73.

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The Queensland Museum's eclectic State Collection holds an extensive range of photographic and moving image equipment, as well as a collection of slides and photographs that tells all manner of stories about the history of Queensland. This collection goes back to the earliest technologies, such as daguerreotypes and hand-drawn magic lantern slides, and extends through to a digital image repository. Included in this collection are two captivating series of cinema advertising slides used at the Wintergarden cinemas in Maryborough and Ipswich during the 1940s and 1950s. These slides simultaneously illuminate a history of entertainment and cinema-going, a history of image technologies and the histories of the advertised products and events pertinent to regional Queenslanders at this time.

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Fitzpatrick, Matthew. "Magic Lantern Empire: Colonialism and Society in Germany by John Phillip Short." German Studies Review 37, no. 1 (2014): 190–92. http://dx.doi.org/10.1353/gsr.2014.0044.

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Sperling, Joy. "From Magic Lantern Slide to Digital Image: Visual Communities and American Culture." Journal of American Culture 31, no. 1 (March 2008): 1–6. http://dx.doi.org/10.1111/j.1542-734x.2008.00659.x.

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