Relevant bibliographies by topics / Lantern slides

Academic literature on the topic 'Lantern slides'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Lantern slides"

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Christensen, A. Kent. "Preparation of 2″ X 2″ Projection Slides From EM And Other Negatives." Microscopy Today 2, no. 2 (March 1994): 6–7. http://dx.doi.org/10.1017/s1551929500062982.

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In the early days of biological electron microscopy (the 1950s and 1960s), projection slides of electron micrographs for talks or teaching were generally prepared as 3-1/2″ X 4″ lantern slides, which were shown using large lantern-slide projectors. It was felt by professional electron microscopists that the detail, tones, and general image quality of electron micrographs could be adequately portrayed only in this larger format.However the large lantern slides were very cumbersome, and most professionals began switching to 2″ X 2″ slides in the early 1970s. Some of us during that period put in a great deal of time trying to work out a procedure for printing EM negatives directly on 2″ X 2″ glass Kodak Projector Slide Plates, following the general approach by which we had previously made the 3-1/4″ X 4″ lantern slides.
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Lanters, José, and Edna O'Brien. "Lantern Slides." World Literature Today 65, no. 2 (1991): 303. http://dx.doi.org/10.2307/40147196.

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Moore, Dick. "The Lapierre circus magic lantern slides." Early Popular Visual Culture 16, no. 3 (July 3, 2018): 317–27. http://dx.doi.org/10.1080/17460654.2019.1569855.

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Butterworth, Mark. "Astronomy and the Magic Lantern." Culture and Cosmos 08, no. 0102 (October 2004): 15–32. http://dx.doi.org/10.46472/cc.01208.0207.

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The nineteenth century saw the introduction of the term ‘populariser of science’. The development of this phrase coincided with the increasing use of the magic lantern to illustrate science lectures and astronomy was one of the first disciplines to see its widespread application. The magic lantern was invented in the sixteenth century and spread throughout Europe as a form of home or family entertainment. Examples from the eighteenth century still exist of lantern slides showing astronomical subjects. The invention of limelight illumination in the early nineteenth century resulted in the widespread use of the lantern for public lectures and, again, astronomy was one of the first and most popular subjects. Slides were produced in a wide variety of formats and showed both simple and complex astronomical concepts and phenomena. By the end of the nineteenth century astronomical lectures were seen every year by thousands of members of the general public. With the invention of the moving image and the increasing complexity of astronomy as a science, magic lantern lectures declined in popularity and by the 1930s were only generally given in academic institutions.
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Gallagher, Kevin Thomas, Michael W. Russell, and George Smith. "Robert Burns: Reflections in The Victorian Lantern." Burns Chronicle 133, no. 1 (March 2024): 36–60. http://dx.doi.org/10.3366/burns.2024.0100.

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This article discusses a collection of Victorian ‘Magic Lantern’ slides and supporting paraphernalia concerning the poet Robert Burns. Utilising newly uncovered source materials, it investigates individuals concerned with the creation and ownership of the slides on Burns, including the firm of George Washington Wilson, and also examines the history of their presentation through the example of C. J. Parker, exploring their significance, determining what type of Burns was being propagated to Parker's audiences, and analysing how publically presented readings of Burns therein were constrained by dominant editorial interpretations from the period. Research has discovered that the Burns slides collection is the most complete, publicly held collection in Scotland. This article illustrates the collection's significant cultural and financial value as a fascinating relic of Burns's cultural memory and of early Scottish photography.
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Widmer, Alexandra. "The Order of the Magic Lantern Slides." Commoning Ethnography 2, no. 1 (December 19, 2019): 52. http://dx.doi.org/10.26686/ce.v2i1.5269.

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Dr Sylvester Lambert, an American public health doctor who worked for the International Health Board of the Rockefeller Foundation, created a magic lantern slide presentation to retell the arrest of a sorcerer that he had witnessed in 1925 on the island of Malakula in Vanuatu. In this article, I use creative non-fiction to envision other audiences and narrators of this storied event to present an expanded picture of life for Pacific Islanders at that time. I also reflect on how particular events make for good stories because they are contests about belief and incredulity. Reimagining medical stories of sorcery reminds us that medicine is part of larger contests over the nature of reality. This is an imaginative ethnographic experiment with decolonizing intentions which combines archival research, ethnographic research, colonial images and creative non-fiction. It aspires to untie the images from a single fixed colonial narrative and to revisit the images in ways that are open to multiple interpretations, audiences, and narrators.
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Callister, Sandy. "Being there: war, women and lantern slides." Rethinking History 12, no. 3 (September 2008): 317–37. http://dx.doi.org/10.1080/13642520802193197.

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Wood, Juliette. "Fairytales and the Magic Lantern: Henry Underhill's Lantern Slides in The Folklore Society Collection." Folklore 123, no. 3 (December 2012): 249–68. http://dx.doi.org/10.1080/0015587x.2012.716575.

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Rodrigues, Santos, Melo, Otero, and Vilarigues. "Magic Lantern Glass Slides Materials and Techniques: the First Multi-Analytical Study." Heritage 2, no. 3 (August 29, 2019): 2513–30. http://dx.doi.org/10.3390/heritage2030154.

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This paper presents the first systematic investigation of hand-painted magic lantern glass slides using multi-analytical techniques combined with a critical analysis of historical written sources of the painting materials and techniques used to produce them. The magic lantern was an optical instrument used from the seventeenth to the twentieth century that attained great success and impact on the entertainment industry, science, religion, and advertisement industry. The glass, colorants, and organic media of five magic lantern slides from the Museum of Natural History and Science of the University of Lisbon were studied. By means of energy-dispersive X-ray fluorescence spectrometry, the glass was characterized and the oxide quantification unveiled that the glass substrate was possibly produced between 1870 and 1930. Ultraviolet-Visible, Raman and Fourier transform infrared spectroscopies allowed the characterization of the colorants: Prussian blue, an anthraquinone red lake pigment of animal origin (such as cochineal), an unidentified organic yellow, and carbon black. The remaining colors were achieved through mixtures of the pure pigments. Infrared analysis detected a complex fingerprint in all colors, nevertheless, a terpenoid resin such as shellac was identified. Metal carboxylates were also detected, contributing to the assessment of the state of conservation of the paints.
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Gray, Lara Cain. "Magic Moments: Contextualising Cinema Advertising Slides from the Queensland Museum Collection." Queensland Review 18, no. 1 (2011): 73–84. http://dx.doi.org/10.1375/qr.18.1.73.

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The Queensland Museum's eclectic State Collection holds an extensive range of photographic and moving image equipment, as well as a collection of slides and photographs that tells all manner of stories about the history of Queensland. This collection goes back to the earliest technologies, such as daguerreotypes and hand-drawn magic lantern slides, and extends through to a digital image repository. Included in this collection are two captivating series of cinema advertising slides used at the Wintergarden cinemas in Maryborough and Ipswich during the 1940s and 1950s. These slides simultaneously illuminate a history of entertainment and cinema-going, a history of image technologies and the histories of the advertised products and events pertinent to regional Queenslanders at this time.
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Dissertations / Theses on the topic "Lantern slides"

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Hartrick, Elizabeth. "Consuming illusions : the magic lantern in Australia and Aotearoa/New Zealand 1850-1910 /." Connect to thesis, 2003. http://eprints.unimelb.edu.au/archive/00002203.

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Butler, Eliza A. "Making argument visible the magic lantern shows of Jacob A. Riis /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 63 p, 2008. http://proquest.umi.com/pqdweb?did=1597631581&sid=33&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Hayes, Emily Jane Eleanor Rhydderch. "Geographical projections : lantern-slides and the making of geographical knowledge at the Royal Geographical Society c.1885-1924." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/23096.

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This thesis is about the mobilities of geographical knowledge in the material form of lantern-slides and the forces exerted on these by technological and human factors. Owing to its concern with matter, human- and non-human, and its circulation, the thesis addresses the physics of geographical knowledge. The chapters below investigate the Royal Geographical Society’s (RGS) ongoing tradition of telling stories of science and exploration through words, objects and pictures in the final quarter of the nineteenth century and as geography professionalized and geographical science developed. These processes occurred within the context of a plethora of technological innovations, including the combination of the older medium of the magic lantern and photographic lantern-slides, integral to a wide range of entertainment, scientific and educational performances across Britain. In 1886 the RGS began to engage with the magic lantern. Via this technology and the interactive lecture performances in which it featured, I argue that the Society embraced the medium of photography, thereby engendering transformations in methods of knowledge making and to the RGS collections. I study how these transformations influenced the discipline of Geography as it was re-established at the University of Oxford in 1887. I demonstrate the evolution of the RGS’s Evening, Technical and Young Persons’ lectures, their contingent lantern-slide practices and, consequently, how these moulded, and were moulded by, the RGS Fellowship between c. 1885 and 1924. The chapters below explore how these innovations in visual technologies and practices arose, how they circulated knowledge and their effect on geographies of geographical knowledge making. By harnessing the lantern the RGS attracted an expanding and diversifying audience demographic. The thesis demonstrates the interactive nature of RGS lantern-slide lectures and audiences' important role in shaping the Society’s practices and geographical knowledge. The chapters below argue that it was via the use of the lantern that geography was disseminated to new places. The thesis therefore brings additional perspectives and dimensions to understandings of the circulation of geographical knowledge.
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Rodrigues, Beatriz Maria Barata. "From Production to Preservation: Hand-Painted Magic Lantern Slides from the National Museum of Natural History and Science." Master's thesis, 2019. http://hdl.handle.net/10362/93760.

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The present work arises as part of the first systematic investigation on hand-painted magic lantern glass slides resorting to multi-analytical techniques combined with critical analysis of historical written sources on the painting materials and techniques used to produce them. The magic lantern was an optical instrument, used to project images from the seventeenth to the twentieth centuries, that attained great success with high impact on entertainment, science, religion and advertisement. In the framework of this work, five hand-painted magic lantern glass slides from the National Museum of Natural History and Science (University of Lisbon) were studied. The glass support, the colourants and organic media were characterised. The glass was analysed by Micro-Energy Dispersive X-Ray Fluorescence, and the oxide quantification unveiled that the glass belongs to the soda-lime silicate type and was possibly produced between 1870 and 1930 in England. Additionally, considering the standardized size of the slides and the similarity of the subjects represented with other English slides from the nineteenth century, it was possible to narrow the production period of this collection between 1870 and 1900. Ultraviolet-Visible, Micro-Raman and Micro-Fourier Transform Infrared spectroscopies allowed the characterisation of the colourants. The colour palette is composed of Prussian blue, an anthraquinone red lake pigment of animal origin (such as cochineal carmine), an organic yellow whose identification was not yet possible and a carbon-based black pigment. The remaining colours – green, purple and brown – were achieved by mixing the pure pigments. Through infrared analysis, a terpenoid resin such as shellac was identified. The detection of metal carboxylates was essential to assess the state of conservation of the paints. The identification of the main risks that might endanger the collection in study was made, as well as a risk assessment scale. Preventive conservation guidelines were proposed taking into consideration the literature on the preservation of the different materials that compose the magic lantern slides, as well as the results of surveys submitted to national and international museums that hold similar collections.
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Books on the topic "Lantern slides"

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O'Brien, Edna. Lantern slides: Shortstories. London: Weidenfeld and Nicolson, 1990.

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Campagnoni, Donata Pesenti, and Laurent Mannoni. Lanterna magica e film dipinto: 400 anni di cinema. Torino: La Venaria Reale, 2010.

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Shin'ichi, Tsuchiya, and Miyuki Endō. Gentō suraido no hakubutsushi: Purojekushon, media no kōkogaku. Tōkyō: Seikyūsha, 2015.

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Georg, Füsslin, ed. Der Guckkasten: Einblick, Durchblick, Ausblick. Stuttgart: Füsslin, 1995.

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Jean-Jacques, Tatin-Gourier, ed. La lanterne magique: Pratiques et mise en écriture : actes. [Tours]: Université de Tours, U.F.R de lettres, 1997.

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William, James. William James' Toronto views: Lantern slides from 1906 to 1939. Toronto: James Lorimer & Co., 1999.

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Waddington, Damer. Panoramas, magic lanterns, cinemas: A century of "light" entertainment in Jersey 1814-1914. St. Lawrence, Jersey: Tocan, 2003.

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8

Shurcliff, Arthur A. Guide to the Arthur A. Shurcliff collection of glass lantern slides. Boston, Mass: The Society, 1986.

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Dennis, Crompton, Henry David, Herbert Stephen, and Magic Lantern Society of Great Britain., eds. Magic images: The art of hand-painted and photographic lantern slides. London: Magic Lantern Society of Great Britain, 1990.

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Kikakushitsu, Kokuritsu Gekijō Henshū. Eizō to katarigei: Gentōki ga unda to geinō. [Tokyo]: Dokuritsu Gyōsei Hōjin Nihon Geijutsu Bunka Shinkōkai, 2017.

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Book chapters on the topic "Lantern slides"

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Saint-Martin, Isabelle. "A Gospel by Lantern Slides: Christian Pedagogy and the Magic Lantern." In Faith in a Beam of Light, 19–38. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.techne-mph-eb.5.129092.

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Marino, Jacqueline, and Susan Jacobson. "From Magic Lantern Slides to Virtual Reality." In The Routledge Companion to American Literary Journalism, 465–81. London ; New York : Routledge, [2020] |: Routledge, 2019. http://dx.doi.org/10.4324/9781315526010-32.

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Griffiths, John. "T. J. Alldridge, ‘Exhibition of Lantern Slides’." In Empire and Popular Culture, 80–85. London: Routledge, 2021. http://dx.doi.org/10.4324/9781351024785-12.

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Jolly, Martyn, and Elisa deCourcy. "The Circus and the Magic Lantern: A Portfolio of Hand-Painted Mechanical Magic Lantern Slides." In Circus, Science and Technology, 123–41. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-43298-0_7.

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Meneghini, Sabrina. "Lantern Slides in Geography Lessons: Imperial Visual Education for Children in the British Colonial-Era." In Learning with Light and Shadows, 219–44. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.techne-mph-eb.5.131501.

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Egelmeers, Wouter. "Making Pupils See: The Use of Optical Lantern Slides in Geography Teaching in Belgian Catholic Schools." In Faith in a Beam of Light, 83–98. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.techne-mph-eb.5.129096.

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Florin, Bo, Nico De Klerk, and Patrick Vonderau. "Coming Soon! Lantern Slide Advertising in the Archive." In Films that Sell, 223–31. London: British Film Institute, 2017. http://dx.doi.org/10.1057/978-1-84457-894-8_15.

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Nasta, Dominique, and Bart G. Moens. "Religious Temperance Propaganda and Multimodal Aesthetics of Emotion. The Lantern Slide Set ‘Un poison mortel’ and Early Film Adaptations of Émile Zola’s L’Assommoir." In Faith in a Beam of Light, 155–68. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.techne-mph-eb.5.129101.

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Crangle, Richard. "Six (or Seven) Ways of Looking at a Lantern Slide." In Practices of Projection, 87–103. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190934118.003.0006.

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This chapter offers a consideration of the magic lantern slide from a series of viewpoints giving overlapping ways of thinking about what it is as an artefact, how it works as a component of a narrative and performance medium, and its significances in historical and contemporary contexts of creative use. With illustrations from the Lucerna web resource, institutional and private collections, and the work of the Million Pictures research project, the chapter considers the physicality of slides as objects; their relative cultural (and financial) valuations; their various roles and motivations in the transference and concealment of knowledge; their relationships with other portions of the projection process; and some parallels between historic usage of slides and modern media practices, especially in the complex mixture of ‘authority’ and ‘freedom’ that determines their use and interpretation. Conventional approaches to what is sometimes called the ‘historical art of projection’ can be prone to dwell on one or two of these aspects, often with an emphasis on the visual content of the slide image or the physical nature of the artefact. However, to begin to understand the overall cultural impact of this largely lost medium we need to open out the discussion beyond its component parts and consider its possible uses, both historical and current. This chapter therefore aims to describe lantern slide projection as an interactive, ephemeral performance medium, elusive and difficult to categorize, but rich in its creative possibilities.
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Stanulevich, Nadezhda. "Magic Lantern Slides by Sergey Prokudin-Gorskii." In A Million Pictures, 63–70. John Libbey Publishing, 2020. http://dx.doi.org/10.2307/j.ctv14rmqjp.9.

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Conference papers on the topic "Lantern slides"

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Dunham, Laura. "“The Moral of these Pictures:” New Zealand’s Early Urban Reform Movements in Lantern Lectures." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5018pv8ke.

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One of the threads linking together the early twentieth-century urban reform movements of city beautifying, garden city/suburb and town planning is the use of lantern slides and their ubiquitous projection device, the magic lantern. Along with newspapers, pamphlets and posters, lantern slides were an essential tool across each of these movements, presenting and framing the objectives promoted by their enthusiastic leaders and enabling the broad dissemination of their ideas via images projected to audiences in public lectures. Yet our understanding of how lantern media operated in these contexts has been restricted by the lack of extant lantern slide collections and a long-standing view of the medium’s redundancy compared to newer forms of projection media. Histories of how these campaigns were promoted in New Zealand are dominated by personalities such as Charles C. Reade, William R. Davidge and Samuel Hurst Seager, who are known to have frequently employed lantern slides for public lectures. However, the lantern lecture was utilised by a number of other figures and groups with common interests in these interrelated attempts to improve New Zealand’s urban landscape. Lantern lectures engendered, and were evidence of, the intersections of ideas, meanings and relationships between audiences, politicians, architects, planners and other advocates from beyond these professions, such as Reade, who held sway over the Australasian town planning movement for many years. Looking at three lantern lectures between 1913 and 1923, this paper traces the effectiveness of the magic lantern medium and its traditions in facilitating the translation and adaptation of progressive ideas in New Zealand’s urban landscape.
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