December 9: In 1874,
Jules Janssen made several practice discs for the recording of the passage of
Venus with his series Passage de Vénus, which he intended to record with his
photographic revolver. He used a model of the planet and a light source standing in for the
Sun. While actual recordings of the passage of Venus have not been located, some practice discs survived and the images of one were turned into a short animated film after the development of
cinematography.[1][2] The images were purportedly taken in
Japan by Janssen himself and the Brazilian engineer
Francisco Antônio de Almeida by using Janssen's photographic revolver.[3][4][5]The revolver could take several dozens of exposures at regulated intervals on a
daguerreotype disc.[6] The Janssen revolver was the instrument that originated
chronophotography, a branch of photography based on capturing movement from a sequence of images. To create the apparatus Pierre Janssen was inspired by the revolving cylinder of
Samuel Colt's revolver.[7]
In 1874, the photographer
Frederick Albert Bridge gave a series of lectures entitled Gems of English Scenery and Song, accompanied by
magic lantern slides. [10]
By 1874, the photographer
Henry Taunt sharted performing
magic lantern shows in his regular series of children's events. [11]
^L’Académie Julian et ses élèves canadiens Paris, 1880-1900 par Samuel Montiège, Thèse de doctorat, Département d’histoire de l’art et d’études cinématographiques, Faculté des arts et sciences, Montréal, mai 2011.
^Gifford, Denis (1990). American Animated Films: The Silent Era, 1897-1929. McFarland & Co.
ISBN0-89950-460-4.
^Maltin, Leonard (1987). Of Mice and Magic: A History of American Animated Cartoons (Revised ed.). Plume. pp. 11–14.
ISBN0-452-25993-2.
^Crafton, Donald (2009), "Arthur Melbourne-Cooper's Shadow of Doubt", in de Vries, Tjitte; Mul, Ati (eds.), They Thought it Was a Marvel: Arthur Melbourne-Cooper (1874-1961), Pioneer of Puppet Animation, Amsterdam University Press,
ISBN9789085550167
^Gray, Frank (1999). "Smith versus Melbourne-Cooper: History and Counter-History". Film History. 11: 246–261.
^Tjitte, de Vries (2000). "Letter to the Editor: The Case for Melbourne-Cooper". Film History. 12: 330–335.
^Stephen, Bottomore (2002). "Smith Versus Melbourne-Cooper: An End to the Dispute". Film History. 14: 57–73.
doi:
10.2979/FIL.2002.14.1.57.
^Billaut Manon, Por Katalin, « Colloque « Les mille et un visages de Segundo de Chomón : truqueur, coloriste, cinématographiste... et pionnier du cinématographe » à la Fondation Jérôme Seydoux-Pathé ; exposition « Effets Spéciaux. Crevez l’écran ! » à la Cité des Sciences et de l’industrie », 1895, 2018/1 (n° 84), p. 172-175. URL :
https://www.cairn.info/revue-1895-2018-1-page-172.htm