Stereoscopic Cinema and the Origins of 3-D Film, 1838-1952

Notes

Notes 1. Stereography Begins 1. Euclid, Optica, in Quae Supersunt Omnia, ed. David Gregory (Oxford: n.p., 1703), 619-20. 2. Brian Bowers, Sir Charles Wheatstone (New York: Crown, 1975), 192. 3. Galen on the Usefulness of the Parts of the Body (De usu partium), trans, with commentary by Margaret Tallmadge May (Ithaca, N.Y.: Cornell University Press, 1968), 495-96. 4. Leonardo da Vinci, The Art of Painting, ed. Alfred Werner (New York: Philosophical Library, 1957), 82. After making this statement, da Vinci launches into a complex explanation accompanying schematic drawings of the eyes viewing a sphere, which editor Alfred Werner interprets by saying that, in painting, "Leonardo objects to the use of both eyes . . . which renders the perspective false in the painting" (83). 5. Herbert Mayo, Outlines ofHuman Physiology, 3rd ed. (London: Burgess and Hill, 1833), 288. 6. Charles Wheatstone, "Contributions to the Physiology of Vision, Part the First: On Some Remarkable, and Hitherto Unobserved, Phenomena of Binocular Vision," Philosophical Transactions of the Royal Society of London 4 (June 21, 1838): 76-77. 7. Charles Wheatstone, "Contributions to the Physiology of Vision, Part the Second: On Some Remarkable, and Hitherto Unobserved, Phenomena of Binocular Vision," Philosophical Transactions of the Royal Society of London 142 (January 15, 1852): 6-7. 8. Ibid., 7. 9. Nicholas J. Wade, ed., Brewster and Wheatstone on Vision (London: Academic Press, 1983), iii. 10. Sir David Brewster, The Stereoscope: Lts History, Theory, and Construction (London: John Murray, 1856), 19. 192 Notes to Pages 10-19 11. Ibid., 20. 12. Ibid., 21. 13. Oliver Wendell Holmes, "The Stereoscope and the Stereograph," Atlantic Monthly 3 (June 1859), at http://www.stereoscopy.com/library/holmes-stereoscope -stereograph.html (accessed March 21, 2006). 14. Ibid. 15. Ibid. 16. Oliver Wendell Holmes, "Sun-Painting and Sun-Sculpture: With a Stereoscopic Trip across the Atlantic," Atlantic Monthly 8, no. 45 (1861), at http://www. yale.edu/amstud/infoev/stereo.html (accessed March 21, 2006). 17. Oliver Wendell Holmes, Philadelphia Photographer (January 1869), at http://www.yale.edu/amstud/infoev/stereo.html (accessed March 21, 2006). 18. Holmes, "Stereoscope and Stereograph." 19. Ibid. 20. William Culp Darrah, Stereo Views: A History of Stereographs in America and Their Collection (Gettysburg, Pa.: Times and News, 1964), 8. 21. Reese V. Jenkins, Images and Enterprise, Technology and the American Photographic Industry, 1839 to 1925 (Baltimore: Johns Hopkins University Press, 1975), 50, 49. 22. Laura Burd Schiavo, "From Phantom Image to Perfect Vision: Physiological Optics, Commercial Photography, and the Popularization of the Stereoscope," in New Media, 1740—1915, ed. Lisa Gitelman and Geoffrey B. Pingree (Cambridge : MIT Press, 2003), 119. 23. Ibid., 120. 24. Anthonys Photographic Bulletin (November 1, 1870), 208, as cited in ibid. 25. William Darrah, The World of Stereographs (Gettysburg, Pa.: W. C. Darrah, 1977), v. 26. Annette Michelson, The Art of Moving Shadows (Washington, D.C.: National Gallery of Art, 1989), 39. 27. John Fell, Film and the Narrative Tradition (Norman: University of Oklahoma Press, 1974), xv. 28. Published as H. Mark Gosser, Selected Attempts at Stereoscopic Moving Pictures and Their Relationship to the Development ofMotion Picture Technology, 18521903 (New York: Arno Press, 1977). 29. Ibid., 2. 30. Laurent Mannoni, "The 'Feeling of Life': The Birth of Stereoscopic Film," in Paris in 3D, ed. Françoise Reynaud, Catherine Tambrun, and Kim Timby (Paris: Booth-Clibborn, 2000), 136. 2. The Peep Show Tradition 1. Richard Balzer, Peepshows: A Visual History (New York: Harry N. Abrams, 1998), 20. Notes to Pages 20-28 193 2. Olive Cook, Movement in Two Dimensions (London: Hutchison, 1963), 23. 3. Charles Baudelaire, "The Modern Public and Photography," in Classic Essays on Photography, ed. Alan Trachtenberg (New Haven, Conn.: Leete's Island Books, 1980), 87. 4. Martin Quigley Jr., Magic Shadows: The Story of the Origin of Motion Pictures (NewYork: Quigley, 1960), 111. 5. C. W. Ceram, Archaeology of the Cinema (New York: Harcourt, Brace and World, n.d.), 60-61. 6. Paul Wing, Stereoscopes: The First Hundred Years (Nashua: Transition, 1996), 55. 7. Paul Wing, letter to the author, November 22, 2000. 8. David W. Wells, The Stereoscope in Ophthalmology with Special Reference to the Treatment of Heterophoria and Heterotropia (Boston: E. F. Mahady, 1928), ii. 9. Joseph Plateau, "Troisième note sur de nouvelles applications curieuses de la persistence des impressions de la retine," Bulletin de VAcadémie royale des sciences de Bruxelles 16, no. 7 (1849): 38-39. 10. "Bulletin de la Correspondance...