Birth of the Motion Picture by Emmanuelle Toulet

By Emmanuelle Toulet

The tale of the start of the cinema starts in a Parisian theater in 1895 whilst a road scene of horses and carriages unexpectedly starts to move--and reportage, commute movies, tales, and experiments with colour and track quickly persist with.

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Magicians, Quick to Promote Cinema, Conspired in What Ended Up Becoming the Ruin of Their Own Art — Magic shows with their projections, automatons, and creative uses of electricity foreshadowed the cinematographic spectacle, as the link between magic and the cinema grew closer at the end of the century. The Robert-Houdin Theater in Paris and the Egyptian — T he silhouettes of three well-known figures of the day from Felicien Trewey's repertoire. Italian illusionist Leopoldo Fregoli was one of the first to whom the Lumiere brothers agreed to He sell a camera.

The projectors, which could possess became particmovement, and metamorphose or dissolve into several lenses, ularly sophisticated, reconstructing allowing one image to the next. Magicians, Quick to Promote Cinema, Conspired in What Ended Up Becoming the Ruin of Their Own Art — Magic shows with their projections, automatons, and creative uses of electricity foreshadowed the cinematographic spectacle, as the link between magic and the cinema grew closer at the end of the century. The Robert-Houdin Theater in Paris and the Egyptian — T he silhouettes of three well-known figures of the day from Felicien Trewey's repertoire.

Trewey Felicien Trewey, organized the conjurer David The Devant projected Robert W. Pauls Animatograph. Paul filmed him while he performed his acts. 55 ; % : in^ r m w% 60 EARLY MASTERS Though many magicians would find the cinema a to be more of a menace than a boon, it was fashionable for them to name the gadgets they used in their acts after themselves. Thus we have Philip Anderson's Andersonoscopograph, Emile and Vincent Isola's Isolatograph, and Leopoldo Fregoli's Fregoligraph. Georges Melies had...

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