Black Cat 😾Crossing🐾 Street

Dancing Skeletons 🧟‍♀️ Michael Jackson 🧟 Thriller 👻Ghosts

Dancing Skeletons

Michael Jackson Thriller
👇🧟 VIDEO  🧟‍♀️👇

Thriller Animation
👇🧟 VIDEO  🧟‍♀️👇

Michael Jackson - Ghosts

Skeleton Dance
Enhanced HD  👇🧟 VIDEO  🧟‍♀️👇

Full Complete Version HD
👇🧟 VIDEO  🧟‍♀️👇 

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Phénakisticope Phénakistiscope

Phénakisticope

The phénakisticope (better known as phenakistiscope or the later misspelling phenakistoscope) was the first widespread animation device that created a fluid illusion of motion. The phenakistiscope is regarded as one of the first forms of moving media entertainment that paved the way for the future motion picture and film industry.

It is sometimes compared to GIF animation since both show a short continuous loop. 

HOW DID THE PHENAKISTOSCOPE WORK?
Still images were drawn onto a disc and each image was slightly different, in the same way images are drawn on the pages of a flip book.
This disc was attached to another that had slits cut around it and both were attached to an axis in the center.
The disc with the images on was held in front of a mirror and was spun around this axis. When looked at in the mirror, the images appeared to move in circles.

 
Re-animation from a paper zoopraxiscope disc

Invention

The phenakisticope was invented almost simultaneously around December 1832 by the Belgian physicist Joseph Plateau and the Austrian professor of practical geometry Simon Stampfer.

As a university student Plateau noticed in some early experiments that when looking from a small distance at two concentric cogwheels which turned fast in opposite directions, it produced the optical illusion of a motionless wheel. He later read Peter Mark Roget's 1824 article Explanation of an optical deception in the appearance of the spokes of a wheel when seen through vertical apertures which addressed the same illusion. Plateau decided to investigate the phenomenon further and later published his findings in Correspondance Mathématique et Physique in 1828. In a letter to the same scientific periodical dated December 5, 1829 he presented his (still nameless) Anorthoscope, a disc that turns an anamorphic picture into a normal picture when it is spun fast and seen through the four radial slits of a counter-rotating black disc. This invention was later marketed, for instance by Newton & Co in London.

Etymology and spelling

The term 'phénakisticope' was explained in its introduction article in Le Figaro in June 1833 to be from the root Greek word 'phenakisticos' (or rather φενακίζειν - phenakizein), meaning "to deceive" or "to cheat", and ὄψ - óps, meaning "eye" or "face", so it was probably intended as a transliteration of 'optical deception' or 'optical illusion'.

The term phénakisticope was probably first used by the French company Alphonse Giroux et Compagnie in their application for an import license (29 May 1833) and this name was used on their box sets. Fellow Parisian publisher Junin also used the term 'phenakisticope' (both with and without the accent).

Inventor Joseph Plateau did not give a name for the device when he first published about it in January 1833, but used 'phénakisticope' later that year in another article to refer to the published versions he was not involved with. By then, he had an authorized set published first as Phantasmascope and later as Fantascope.

In writings and presentations Plateau used both the terms phénakisticope and fantascope, seemingly using phénakisticope as the better known name and fantascope as a preferred name.

The spelling 'phenakistiscope' was possibly introduced by lithographers Forrester & Nichol in collaboration with optician John Dunn; they used the title "The Phenakistiscope, or, Magic Disc" for their box sets, as advertised in September 1833. 

The corrupted part 'scope' was understood to be derived from Greek 'skopos', meaning "aim", "target", "object of attention" or "watcher", "one who watches" and was quite common in the naming of optical devices (e.g. Telescope, Microscope, Kaleidoscope, Fantascope, Bioscope).

Technology

The phénakisticope usually comes in the form of a spinning cardboard disc attached vertically to a handle. Arrayed radially around the disc's center are a series of pictures showing sequential phases of the animation. Small rectangular apertures are spaced evenly around the rim of the disc. The user would spin the disc and look through the moving slits at the images reflected in a mirror. The scanning of the slits across the reflected images keeps them from simply blurring together, so that the user can see a rapid succession of images that appear to be a single moving picture.

When there is the same number of images as slots, the images will animate in a fixed position, but will not drift across the disc. Fewer images than slots, and the images will drift in the opposite direction to that of the spinning disc. More images than slots, and the images will drift in the same direction as the spinning disc.

Unlike the zoetrope and other successors, common versions of the phénakisticope could only practically be viewed by one person at a time.

The pictures of the phénakisticope became distorted when spun fast enough to produce the illusion of movement; they appeared a bit slimmer and were slightly curved. Sometimes animators drew an opposite distortion in their pictures to compensate this. However, most animations were not intended to give a realistic representation and the distortion isn't very obvious in cartoonish pictures.

The distortion and the flicker caused by the rotating slits are not seen in most phénakisticope animations now found online (for instance the GIF animation on this page). These are usually animations created with software. These do not replicate the actual viewing experience of a phénakisticope, but they can present the work of the animators in an optimized fashion. Some miscalculated modern re-animations also have the slits rotating (which would appear motionless when viewed through an actual phénakisticope) and the figures moving across the discs where they were supposed to stand still (or standing still when they were supposed to move around).

Most commercially produced discs are lithographic prints that were colored by hand, but also multi-color lithography and other printing techniques have been used by some manufacturers.

Commercial production

According to Mathias Trentsensky, of art dealer and publishing company Trentsensky & Vieweg, Stampfer had prepared six double sided discs as early as February 1833 and had repeatedly demonstrated these to many friends. In April 1833 Trentsensky applied for an Austrian patent (k.k. Privilegium) together with Stampfer, which was granted on 7 May 1833. A first edition of four double-sided discs was soon published, but it sold out within four weeks and left them unable to ship orders. These discs probably had round holes as illustrated in an 1868 article and a 1922 reconstruction by William Day, but no original copies are known to still exist. Trentsensky & Vieweg published an improved and expanded set of eight double-sided discs with vertical slits in July 1833. English editions were published not much later with James Black and Joseph Myers & Co. A total of 28 different disc designs have been credited to Professor Stampfer.

Joseph Plateau never patented his invention, but he did design his own set of six discs for Ackermann & Co in London. These were published in July 1833 as Phantasmascope and later as Fantascope. Ackermann & Co soon published two more sets of six discs each, one designed by Thomas Talbot Bury and one by Thomas Mann Baynes.

In the meantime some other publishers had apparently been inspired by the first edition of Professor Stampfer's Stroboscopische Scheiben: Alphonse Giroux et Compagnie applied for a French import license on 28 May 1833 for 'Le Phénakisticope' and were granted one on 5 August 1833. They had a first set of 12 single sided discs available before the end of June 1833. Before the end of December 1833 they released two more sets.

Variations
Many versions of the phénakisticope used smaller illustrated uncut cardboard discs that had to be placed on a larger slotted disc. A common variant had the illustrated disc on one end of a brass axis and the slotted disc on the other end; this was slightly more unwieldy but needed no mirror and was claimed to produce clearer images.

Projection

The first known plan for a Phénakisticope projector with a transparent disc was made by Englishman T.W. Naylor in 1843 in the Mechanical's Magazine - Volume 38. His letter was illustrated with a detailed side view of the device. Naylor suggested tracing the pictures of available phenakisticopes onto glass with transparent paint and painting the rest black. Nothing else is known of Naylor or his machine.

Franz von Uchatius possibly read about Naylor's idea in German or Austrian technical journals and started to develop his own version around 1851. Instrument maker Wenzel Prokesch made a first model for him which could only project images of a few inches in diameter. A more successful second model by Prokesch had a stationary disc with transparent pictures with a separate lens for each picture focused on the same spot on a screen. A limelight revolved rapidly behind the disc to project the sequential images one by one in succession. This model was demonstrated to the Austrian Academy of Sciences in 1853. Prokesch marketed the machine and sold one to magician Ludwig Döbler who used it in his shows that also included other magic lantern techniques, like dissolving views.

From around 1853 until the 1890s J. Duboscq in Paris marketed different models of a projection phénakisticope. It had a glass disc with a diameter of 34 centimeters for the pictures and a separate disc with four lenses. The discs rotated at different speeds.

An "Optical Instrument" was patented in the U.S. in 1869 by O.B. Brown, using a phenakistiscope-like disc with a technique very close to the later cinematograph; with Maltese Cross motion; a star-wheel and pin being used for intermittent motion, and a two-sector shutter.

Scientific use

The phénakisticope was invented through scientific research into optical illusions and published as such, but soon the device was marketed very successfully as an entertaining novelty toy. After the novelty wore off it became mostly regarded as a toy for children, but it still proved to be a useful demonstration tool for some scientists.

The Czech physiologist Jan Purkyně used his version, called Phorolyt, in lectures since 1837. In 1861 one of the subjects he illustrated was the beating of a heart.

German physicist Johann Heinrich Jakob Müller published a set of 8 discs depicting several wave motions (waves of sound, air, water, etcetera) with J.V. Albert in Frankfurt in 1846.

The famous English pioneer of photographic motion studies Eadweard Muybridge built a phenakisticope projector for which he had his photographs rendered as contours on glass discs. The results were not always very scientific; he often edited his photographic sequences for aesthetic reasons and for the glass discs he sometimes even reworked images from multiple photographs into new combinations. An entertaining example is the sequence of a man somersaulting over a bull chased by a dog. For only one disc he chose a photographic representation; the sequence of a running horse skeleton, which was probably to detailed to be painted on glass. This disc was most likely the very first time a stop motion technique was successfully applied. Muybridge first called his apparatus Zoogyroscope, but soon settled on the name Zoöpraxiscope. He used it in countless lectures on human and animal locomotion between 1880 and 1895.

20th and 21st centuries

The Joseph Plateau Award, a trophy resembling a phénakisticope, was a Belgian movie award given yearly between 1985 and 2006.

Several vinyl music releases have phénakistiscope-like animations on the labels or on the vinyl itself. In 1956 Red Raven Movie Records started a series of 78 RPM 8" singles with animations to be viewed with a device with small mirrors similar to a praxinoscope to be placed on the center of the disc. Since 2010 audio-visual duo Sculpture has released several picture discs with very elaborate animations to be viewed under a stroboscope flashing exactly 25 times per second or filmed with a video camera shooting progressively at a very high shutter speed with a frame rate of 25fps.

Phénakisticope

Phénakistiscope

Read the Entire info here:

Phénakisticope English:

• https://en.wikipedia.org/wiki/Phenakistiscope

Phénakistiscope Français:

• Le phénakistiscope (mot formé du grec phenax -akos, « trompeur », et skopein, « examiner ») est un jouet optique donnant l'illusion du mouvement attribué à la persistance rétinienne. Il a été inventé par le Belge Joseph Plateau en 1832.

• https://fr.wikipedia.org/wiki/Ph%C3%A9nakistiscope

Illustration animée
Les animations ci-dessous sont meilleures que dans la réalité car les animations GIF sont constituées d'une série d'images fixes alors que dans le phénakistiscope, le disque est en mouvement et l'image vue à travers la fente subit un léger flou cinétique.

Autres précurseurs du cinéma

Le zootrope et le praxinoscope utilisent le même principe d'animation cyclique, mais étant mécaniquement différents ils peuvent être visionnés à plusieurs :

• le zootrope de William George Horner est un tambour tournant avec fentes datant de 1834 (il ne nécessite plus de miroir)
• le praxinoscope d'Émile Reynaud, de 1877, est un tambour sans fentes comportant en son centre un cylindre à facettes de miroirs. Il fonctionne sans obturation et permet une meilleure perception des mouvements. Il est le premier appareil de ce type disposant d'un brevet.

Liens externes

• Animation 3D présentant le fonctionnement du praxinoscope
• Du phénakistiscope au cinématographe

A woman viewing an animation in a mirror through the slits of a stroboscopic disc (detail of an illustration by E. Schule on the box label for Magic Disk - Disques Magiques, circa 1833)

Why Filmmakers 📽️Love New York City 🗽

📽️ Why Filmmakers 🎞️

 🗽  Love New York City  🗽

There's something about New York City that Hollywood can't resist, since the early 1900's the city has served as the setting for thousands of films.

Comments:

1. ABisopht: Can't believe you didn't mention Ghostbusters! Travesty.
2. George Lewycky: forgot about Central Park, lots of musical, classics plus Family & Children movies......too much testosterone
3. The New Yorker Railfan:  New York State. Home to Superman, Batman, Green Lantern, Wonder Woman, Spiderman, The Fantastic 4, The Avengers, The New Avengers, X-Men, and Teenage Mutant Ninja Turtles!
4. Austin Rodarte:   How in the hell did he forget to mention Superman (1978)? Christopher Nolan Reeve is the first superhero movie to soar high and it's setting was in New York City. Especially when the Twin Towers were present.
5. Alex Shuysky:   Monster Society Gotham is the nickname of NYC 

NYC’s Best Museums for Free

NYC’s Best Museums for Free

How to Use Your NYC Library Card
To Get Into 33 Museums and Attractions
For Free

NYC Library Card

More museums giving a 'Culture Pass.'

Here's the full list of museums outside of Staten Island where NYPL cardholders can go to for free.

1. Brooklyn Botanic Garden: 990 Washington Avenue.
2. Brooklyn Children's Museum: 145 Brooklyn Avenue.
3. Brooklyn Historical Society: 128 Pierrepont Street.
4. Brooklyn Museum: 200 Eastern Parkway.
5. Children's Museum of Manhattan: 212 W 83rd Street.
6. Children's Museum of the Arts: 103 Charlton Street.
7. Cooper Hewitt, Smithsonian Design Museum: 2 E 91st Street.
8. The Drawing Center: 35 Wooster Street.
9. The Frick Collection: 1 E 70th Street.
10. International Center of Photography:  250 Bowery.
11. Intrepid Sea, Air & Space Museum: Pier 86, West 46th Street & 12th Avenue.
12. The Jewish Museum: 1109 5th Avenue & E 92nd Street.
13. Louis Armstrong House: 34-56 107th Street.
14. The Metropolitan Museum of Art: 1000 5th Avenue.
15. The Morgan Library & Museum: 225 Madison Avenue.
16. Museum of Modern Art, MoMA PS1: 11 W 53rd Street.
17. Museum of Chinese in America: 215 Centre Street.
18. Museum of Jewish Heritage - A Living Memorial to the Holocaust: 36 Battery Place.
19. Museum of the City of New York: 1220 5th Avenue & 103rd Street.
20. New York Transit Museum: 99 Schermerhorn Street.
21. Noguchi Museum: 9-01 33rd Road
22. Queens Historical Society: 14335 37th Avenue.
23. Queens Museum: New York City Building, Flushing Meadows Corona Park.
24. Rubin Museum of Art: 150 W 17th Street.
25. SculptureCenter: 44-19 Purves Street.
26. Smithsonian National Museum of the American Indian: 1 Bowling Green.
27. Society of Illustrators: 128 E. 63rd Street.
28. Solomon R. Guggenheim Museum: 1071 5th Avenue.
29. Sugar Hill Children's Museum: 898 St Nicholas Avenue.
30. Wave Hill: 675 W 252nd Street.
31. Whitney Museum of American Art: 99 Gansevoort Street.

There’s literally never been a better time to get a New York City Library card.

Besides having free access to millions of books, New York Public Library cardholders can now use their cards to reserve a Culture Pass, which grants them free entry to dozens of cultural institutions around the city. The program is also available to cardholders for the Brooklyn Public Library and the Queens Library.

Green Acres vs 🗽NYC

NYC   vs.   Green Acres

Darling, I love you but give me Park Avenue

Darling, I love you but give me Park Avenue...

The History Boys 📚 What is history?

The History Boys (2006)
📚 Dir. Nicholas Hytner  📖
Based on the play by Alan Bennett

📙  What is history??   📘

The History Boys is a 2006 British comedy-drama film adapted by Alan Bennett from his play of the same name, which won the 2005 Olivier Award for Best New Play and the 2006 Tony Award for Best Play.
It was directed by Nicholas Hytner, who directed the original production at the Royal National Theatre in London, and features the original cast of the play.

The school scenes were filmed in Watford in two schools, Watford Grammar School for Boys and Watford Grammar School for Girls. The film uses the uniform of Watford Boys. Locations in Elland and Halifax, West Yorkshire are used to create the broader landscape of Sheffield in which the story is set.

“I’m reluctant at this stage in the game to expose you to new ideas, but having taught you all history on a strictly non-gender-orientated basis I just wonder whether it occurs to any of you how dispiriting this can be?
Can you for a moment imagine how depressing it is to teach five centuries of masculine ineptitude.
Why do you think there are no women historians on TV?
I’ll tell you why: 
Because history’s not such a frolic for women as it is for men. Why should it be? They never get around the conference table. 
In 1919, for instance, they just arranged the flowers, then gracefully retired. 
What is history? 
History is a commentary on the various and continuing incapabilities of men. 
History is women following behind with the bucket.
And I’m not asking you to espouse this point of view, but the occasional nod in its direction can do you no harm.”

–  Mrs. Lintott  (The History Boys 2006)

The best moments in reading are when you come across something - a thought, a feeling, a way of looking at things - that you’d thought special, particular to you. And here it is, set down by someone else, a person you’ve never met, maybe even someone long dead. And it’s as if a hand has come out, and taken yours.  —  The History Boys.

                                 

Mrs. Lintott: 

History is a commentary on the various and continuing incapabilities of men.

What is history? 

History is women following behind with the bucket.— Alan Bennett - The History Boys

https://en.wikipedia.org/wiki/The_History_Boys_(film)

 James Corden -  The History Boys