Photoplay

Hugo Münsterberg

Description

In the early years of the twentieth century, both psychology and motion pictures were just beginning to emerge as significant cultural forces. Published in 1916, this fascinating work from prominent psychologist Hugo Munsterberg analyzes early films from a psychological point of view.

Sujets

• Sociologie, société et politique
• Psychology

Informations

• Publié par: The Floating Press
• Date de parution: 01 juillet 2014
• Nombre de lectures: 0
• EAN13: 9781776583898
• Langue: English

Extrait

THE PHOTOPLAY
A PSYCHOLOGICAL STUDY
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HUGO MUNSTERBERG
 
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The Photoplay A Psychological Study First published in 1916 Epub ISBN 978-1-77658-389-8 Also available: PDF ISBN 978-1-77658-390-4 © 2013 The Floating Press and its licensors. All rights reserved. While every effort has been used to ensure the accuracy and reliability of the information contained in The Floating Press edition of this book, The Floating Press does not assume liability or responsibility for any errors or omissions in this book. The Floating Press does not accept responsibility for loss suffered as a result of reliance upon the accuracy or currency of information contained in this book. Do not use while operating a motor vehicle or heavy equipment. Many suitcases look alike. Visit www.thefloatingpress.com
Contents
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Introduction Chapter I - The Outer Development of the Moving Pictures Chapter II - The Inner Development of the Moving Pictures PART I - THE PSYCHOLOGY OF THE PHOTOPLAY Chapter III - Depth and Movement Chapter IV - Attention Chapter V - Memory and Imagination Chapter VI - Emotions PART II - THE ESTHETICS OF THE PHOTOPLAY Chapter VII - The Purpose of Art Chapter VIII - The Means of the Various Arts Chapter IX - The Means of the Photoplay Chapter X - The Demands of the Photoplay Chapter XI - The Function of the Photoplay Endnotes
Introduction
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Chapter I - The Outer Development of the Moving Pictures
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It is arbitrary to say where the development of the moving picturesbegan and it is impossible to foresee where it will lead. What inventionmarked the beginning? Was it the first device to introduce movement intothe pictures on a screen? Or did the development begin with the firstphotographing of various phases of moving objects? Or did it start withthe first presentation of successive pictures at such a speed that theimpression of movement resulted? Or was the birthday of the new art whenthe experimenters for the first time succeeded in projecting suchrapidly passing pictures on a wall? If we think of the moving picturesas a source of entertainment and esthetic enjoyment, we may see the germin that camera obscura which allowed one glass slide to pass beforeanother and thus showed the railway train on one slide moving over thebridge on the other glass plate. They were popular half a century ago.On the other hand if the essential feature of the moving pictures is thecombination of various views into one connected impression, we must lookback to the days of the phenakistoscope which had scientific interestonly; it is more than eighty years since it was invented. In America,which in most recent times has become the classical land of the movingpicture production, the history may be said to begin with the days ofthe Chicago Exposition, 1893, when Edison exhibited his kinetoscope. Thevisitor dropped his nickel into a slot, the little motor started, andfor half a minute he saw through the magnifying glass a girl dancing orsome street boys fighting. Less than a quarter of a century later twentythousand theaters for moving pictures are open daily in the UnitedStates and the millions get for their nickel long hours of enjoyment. InEdison's small box into which only one at a time could peep through thehole, nothing but a few trite scenes were exhibited. In those twentythousand theaters which grew from it all human passions and emotionsfind their stage, and whatever history reports or science demonstratesor imagination invents comes to life on the screen of the picturepalace.
Yet this development from Edison's half-minute show to the "Birth of aNation" did not proceed on American soil. That slot box, after all, hadlittle chance for popular success. The decisive step was taken whenpictures of the Edison type were for the first time thrown on a screenand thus made visible to a large audience. That step was taken 1895 inLondon. The moving picture theater certainly began in England. But therewas one source of the stream springing up in America, which longpreceded Edison: the photographic efforts of the Englishman Muybridge,who made his experiments in California as early as 1872. His aim was tohave photographs of various phases of a continuous movement, forinstance of the different positions which a trotting horse is passingthrough. His purpose was the analysis of the movement into its componentparts, not the synthesis of a moving picture from such parts. Yet it isevident that this too was a necessary step which made the latertriumphs possible.
If we combine the scientific and the artistic efforts of the new and theold world, we may tell the history of the moving pictures by thefollowing dates and achievements. In the year 1825 a Doctor Rogetdescribed in the "Philosophical Transactions" an interesting opticalillusion of movement, resulting, for instance, when a wheel is movingalong behind a fence of upright bars. The discussion was carried muchfurther when it was taken up a few years later by a master of the craft,by Faraday. In the Journal of the Royal Institute of Great Britain hewrites in 1831 "on a peculiar class of optical deceptions." He describesthere a large number of subtle experiments in which cogwheels ofdifferent forms and sizes were revolving with different degrees ofrapidity and in different directions. The eye saw the cogs of the movingrear wheel through the passing cogs of the front wheel. The result isthe appearance of movement effects which do not correspond to anobjective motion. The impression of backward movement can arise fromforward motions, quick movement from slow, complete rest fromcombinations of movements. For the first time the impression of movementwas synthetically produced from different elements. For those who fancythat the "new psychology" with its experimental analysis ofpsychological experiences began only in the second half of thenineteenth century or perhaps even with the foundation of thepsychological laboratories, it might be enlightening to study thosediscussions of the early thirties.
The next step leads us much further. In the fall of 1832 Stampfer inGermany and Plateau in France, independent of each other, at the sametime designed a device by which pictures of objects in various phases ofmovement give the impression of continued motion. Both secured theeffect by cutting fine slits in a black disk in the direction of theradius. When the disk is revolved around its center, these slits passthe eye of the observer. If he holds it before a mirror and on the rearside of the disk pictures are drawn corresponding to the various slits,the eye will see one picture after another in rapid succession at thesame place. If these little pictures give us the various stages of amovement, for instance a wheel with its spokes in different positions,the whole series of impressions will be combined into the perception ofa revolving wheel. Stampfer called them the stroboscopic disks, Plateauthe phenakistoscope. The smaller the slits, the sharper the pictures.Uchatius in Vienna constructed an apparatus as early as 1853 to throwthese pictures of the stroboscopic disks on the wall. Horner followedwith the daedaleum, in which the disk was replaced by a hollow cylinderwhich had the pictures on the inside and holes to watch them fromwithout while the cylinder was in rotation. From this was developed thepopular toy which as the zoötrope or bioscope became familiareverywhere. It was a revolving black cylinder with vertical slits, onthe inside of which paper strips with pictures of moving objects insuccessive phases were placed. The clowns sprang through the hoop andrepeated this whole movement with every new revolution of the cylinder.In more complex instruments three sets of slits were arranged above oneanother. One set corresponded exactly to the distances of the picturesand the result was that the moving object appeared to remain on thesame spot. The second brought the slits nearer together; then thepictures necessarily produced an effect as if the man were really movingforward while he performed his tricks. In the third set the slits werefurther distant from one another than the pictures, and the result wasthat the picture moved backward.
The scientific principle which controls the moving picture world oftoday was established with these early devices. Isolated picturespresented to the eye in rapid succession but separated by interruptionsare perceived not as single impressions of different positions, but as acontinuous movement. But the pictures of movements used so far weredrawn by the pen of the artist. Life showed to him everywhere continuousmovements; his imagination had to resolve them into variousinstantaneous positions. He drew the horse race for the zoötrope, butwhile the horses moved forward, nobody was able to say whether thevarious pictures of their legs really corresponded to the stages of theactual movements. Thus a true development of the stroboscopic effectsappeared dependent upon the fixation of the successive stages. This wassecured in the early seventies, but to make this progress possible thewhole wonderful unfolding of the photographer's art was needed, from theearly daguerreotype, which presupposed hours of exposure, to theinstantaneous photograph which fixes the picture of the outer world in asmall fraction of a second. We are not concerned here with thistechnical advance, with the perfection of the sensitive surface of thephotographic plate. In 1872 the photographer's camera had reached astage at which it was possible to take snapshot pictures. But this alonewould not have allowed the photographing of a real movement with onecamera, as the plates could not have been exchanged quickly enough tocatch the various phases of a short motion.
Here the work of Muybridge sets in. He had a black horse trot or gallopor walk before a white wall, passing twenty-four cameras. On the path ofthe horse were twenty-four threads which the horse broke one afteranother and each one released the spring which