In today's world, 1879 in animation is a topic that has captured the attention of millions of people around the world. From its impact on society to its influence on popular culture, 1879 in animation has generated unprecedented debate. As we continue to explore this ever-evolving phenomenon, it is important to understand its ramifications and how it is shaping the world around us. In this article, we will delve into the different aspects of 1879 in animation, from its history to its impact today, in order to shed light on this topic and encourage informed discussion.
In 1879, Charles-Émile Reynaud registered a modification to the praxinoscope patent to include the Praxinoscope Théâtre, which utilized the Pepper's ghost effect to present the animated figures in an exchangeable background. Later improvements included the "Praxinoscope à projection" (marketed since 1882) which used a double magic lantern to project the animated figures over a still projection of a background.[1]
In 1879, Eadweard Muybridge created the zoöpraxiscope (animal action viewer), a projection device that created cyclical animations of animal movement, incorporating technologies from photography, the magic lantern and the zoetrope. The photographer created painted sequences on the glass zoöpraxiscope discs that were based on his motion-study photographs to produce an early form of animation. Muybridge used these to illustrate his lectures that were presented to audiences in the United States and Europe, marking his contribution to photography and film in relation to the "experience of time within modernity."[2][3]
An 1879 edition of the Sallie Gardnercabinet card has the images altered to create more distinct outlines (with straight lines and clear numbers replacing the original photographic background) "with care to preserve their original positions". The verso has a diagram of the mare's foot movements in a complete stride, executed per Leland Stanford's instructions.[4]
October 2: Angel Espoy, Spanish-American painter (worked in the animation industry of San Francisco, staff member of the Animated Film Corporation), (d. 1963).[24][25][26]
^Herbst, Helmut. Drei Bildbeschreibungen und eine Liste. Der Filmpionier Guido Seeber. pp. 15–41 in C. Müller und H. Segeberg (ed.) Die Modellierung des Kinofilms. Munich, 1998.
^Stiftung Deutsche Kinemathek (publ.) Das wandernde Bild. Der Filmpionier Guido Seeber. Berlin, 1979.