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001387629 072_7 $$aART$$x028000$$2bisacsh
001387629 08204 $$a751.7/4$$223
001387629 1001_ $$aHuhtamo, Erkki.
001387629 24510 $$aIllusions in motion :$$bmedia archaeology of the moving panorama and related spectacles /$$cErkki Huhtamo.
001387629 260__ $$aCambridge, Mass. :$$bMassachusetts Institute of Technology,$$c©2013.
001387629 300__ $$a1 online resource :$$billustrations.
001387629 336__ $$atext$$btxt$$2rdacontent
001387629 337__ $$acomputer$$bc$$2rdamedia
001387629 338__ $$aonline resource$$bcr$$2rdacarrier
001387629 4901_ $$aLeonardo book series
001387629 506__ $$aAccess limited to authorized users.
001387629 520__ $$aTracing the cultural, material, and discursive history of an early manifestation of media culture in the making.Beginning in the late eighteenth century, huge circular panoramas presented their audiences with resplendent representations that ranged from historic battles to exotic locations. Such panoramas were immersive but static. There were other panoramas that moved--hundreds, and probably thousands of them. Their history has been largely forgotten. In Illusions in Motion, Erkki Huhtamo excavates this neglected early manifestation of media culture in the making. The moving panorama was a long painting that unscrolled behind a "window" by means of a mechanical cranking system, accompanied by a lecture, music, and sometimes sound and light effects. Showmen exhibited such panoramas in venues that ranged from opera houses to church halls, creating a market for mediated realities in both city and country. In the first history of this phenomenon, Huhtamo analyzes the moving panorama in all its complexity, investigating its relationship to other media and its role in the culture of its time. In his telling, the panorama becomes a window for observing media in operation. Huhtamo explores such topics as cultural forms that anticipated the moving panorama; theatrical panoramas; the diorama; the "panoramania" of the 1850s and the career of Albert Smith, the most successful showman of that era; competition with magic lantern shows; the final flowering of the panorama in the late nineteenth century; and the panorama's afterlife as a topos, traced through its evocation in literature, journalism, science, philosophy, and propaganda.
001387629 588__ $$aOCLC-licensed vendor bibliographic record.
001387629 650_0 $$aPanoramas.
001387629 650_0 $$aPanoramas$$xPsychological aspects.
001387629 650_0 $$aMass media and culture.
001387629 650_0 $$aPopular culture.
001387629 653__ $$aDIGITAL HUMANITIES & NEW MEDIA/General
001387629 653__ $$aARTS/Photography & Film/History, Theory & Criticism
001387629 653__ $$aSOCIAL SCIENCES/Media Studies
001387629 655_0 $$aElectronic books
001387629 852__ $$bebk
001387629 85640 $$3MIT Press$$uhttps://univsouthin.idm.oclc.org/login?url=https://doi.org/10.7551/mitpress/9228.001.0001?locatt=mode:legacy$$zOnline Access through The MIT Press Direct
001387629 85642 $$3OCLC metadata license agreement$$uhttp://www.oclc.org/content/dam/oclc/forms/terms/vbrl-201703.pdf
001387629 909CO $$ooai:library.usi.edu:1387629$$pGLOBAL_SET
001387629 980__ $$aBIB
001387629 980__ $$aEBOOK
001387629 982__ $$aEbook
001387629 983__ $$aOnline