In order to better understand this shift in use of the magic lantern, this postdoctoral project will investigate its distinct contributions and links with other visual media in three different multi-modal contexts: it will explore the magic lantern’s relationships to wall charts and maps in schools, and analyze the stylistic, technical and narrative interplay with dioramas, pre-film animation and early film in entertainment and science.I'm sort of amazed at the cost of high-end cameras, especially when what separates it from a modern smartphone seems to be nothing but bigger/faster sensors and the ability to use big lenses. Nevertheless, by the end of the period under consideration, film had replaced magic lantern projections virtually everywhere except in the classroom. the incorporation of photographic images into lantern shows). The medium’s endurance has been credited to its wide range of cultural functions (Kember 2009), but also to technical progress (e.g. The arrival of the moving image would initially not seriously erode its popularity. By the end of the 19 th century, due to its versatility and flexibility, the magic lantern was already a well-established medium for both entertainment and instructional purposes. Nelleke Teughels will investigate the changing role of the magic lantern in the rapidly transforming Belgium visual media landscape of the late 19 th and early 20 th century. The thesis is that part of Belgian schools (and also universities) progressively abandoned the method of authoritative frontal teaching in favour of a “modern” style of Anschauungsunterricht. During the second half of the 19th century, changes in pedagogical concepts stimulated its didactic use in Germany (Curtis 2015, 172–184): thanks to the industrialized slide production, the lantern became a widespread and affordable teaching tool. The PhD-project will analyze whether the lantern had an impact on the modernization of school teaching in Belgium. Wouter Egelmeers will study the use of educational lantern series in Catholic and City Schools. To this end, it brings together an interdisciplinary team of researchers from Performance Studies, Cinema and Media Studies, Urban History, History of Science and Knowledge, Cultural History, Communication Studies, Semiotics, and Narratology. ![]() The B-Magic consortium will research the pivotal role of the magic lantern in Belgian society from the country's independence (1830) up to 1940, when its use declined. It aims to rediscover the various functions of the lantern performance within the Belgian public sphere, in particular, its use in the transmission and negotiation of knowledge, norms and values by different societal groups. In doing so, it will make an essential contribution to the study of the country’s cultural history as well as to international media historiography. ![]() The B-magic project will write the as yet unwritten history of the magic lantern as a mass medium in Belgium. All layers of society, both literate and illiterate, received visual information about nature, religion, science, new technologies and foreign countries. The lantern was the first visual mass medium to contest the printed word as a primary mode of information and instruction. Scientists and entertainers, teachers and priests, political movements and organizations: they all used projected visual narratives to inform, entertain, educate and mobilize audiences of up to more than a thousand people per occasion. Traveling showmen with lanterns on their backs also put on public lantern shows at fairs. ![]() The invention was used to project transparent images from glass slides on the walls of theatres, schools and people’s homes. The magic lantern, or ‘laterna magica’, was a fascinating and instructive tool, which was especially popular in the 19th century. Long before social media, cinema and PowerPoint presentations, images were an important means of communication.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |