초록 열기/닫기 버튼
This thesis examines the true origin of cinema, analyzing the achievements of the pioneers who tried to show ‘moving images’ with film cameras and projectors during the period of 1886 to 1896. Generally in most literatures on the history of world cinema, the advent of cinema is recorded as the 28th of Dec., 1895 when the French Lumière brothers showed Leaving the factory and other nine short film strips with each c. 40 seconds created by their film camera-projector, Cinématographe, at the Grand café in Paris. However, there were pioneers screening films before the Lumière brothers. As the first pioneer, the French-born L. A. A. Le Prince shot very short film strips in London and Leeds, using a complicated film camera with a celluloid roll film in 1889. It is not clear, whether he really and successfully projected these short films. The American inventor, Thomas Alva Edison and his assistant W. K. L. Dickson developed the peepshow film, Kinetoscope, through which short films like Sneeze, Boxing and Carmencita were shown to public since the 14th of April, 1894 in New York. Copying Edison’s Kinetoscope, Robert W. Paul in London developed his own projector in 1895, which is later called Theatrograph. In cooperation with the American photographer Birt Aicres he shot a few short films including Rough Sea at Dover which were publicly shown on the 20th of Feb., 1896 at the Polytechnic Institution in London. At the Wintergarten, Berlin, the Skladanowsky brothers used their film projector (Bioscop) to show short films such as Boxing Kangaroo and Juggler from the 1st to the 30th of Nov., 1895. The main question of the thesis focuses on when the true beginning of cinema is among these early film screenings. In many literatures about the world history of cinema, published in Europe and the USA before the World War II, the birth of cinema used to be described as their countrymen’s own achievements merely due to the cultural nationalism. Furthermore, the contribution of scientists and the technological developments that enabled us to see ‘moving images’ has long been overlooked. Moreover, the socio-cultural factors of people in the late 19th century who wanted to see ‘moving images’ have been discounted as well as the capitalistic expansionism for more profits through film-showing business. Such various factors need to be considered all together regarding the invention of movie machines and the advent of cinema.
키워드열기/닫기 버튼
cinema, the birth of cinema, Le Prince, Robert W. Paul, Lumiere, Edison, Skladanowsky
