![]() My undergraduate adviser, Peter Bloom, supported this project from its earliest stages to its completion. That interest has changed in ways that continue not only to surprise me but also to remind me how much I owe to a group of people whose encouragements, insights, and criticisms made it possible for me to turn an interest into a book. ![]() This book began when I was an undergraduate student in film studies at the University of California, Santa Barbara (UCSB), where I developed an interest in the cinema’s relationship with animation, science, and technology. Through Digital Eyes: Reanimating Early CinemaĬonclusion: Other Obscurities and Illuminations Digital Prestidigitation: The Eclipse of the Cinema’s Mechanical MagicĦ. The Enchanted Screen: Performing the Cinema’s Illusion of Lifeĥ. Second Sight: Time Lapse and the Cinema as SeerĤ. Quicker than the Eye: Science, Cinema, and the Question of Visionģ. (De)Mystifying Tricks: The Wonder Response and the Emergence of the CinemaĢ. Manufactured in the United States of Americaįor my parents, Jim and Diane, and my wife, Ariel Contentsġ. The only exception to this prohibition is fair use as defined by U.S. Please contact Rutgers University Press, 106 Somerset Street, New Brunswick, NJ 08901. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, or by any information storage and retrieval system, without written permission from the publisher. Title.Ī British Cataloging-in-Publication record for this book is available from the British Library. Includes bibliographical references and index. Hidden in plain sight : an archaeology of magic and the cinema/Colin Williamson. Library of Congress Cataloging-in-Publication Data Joshua Yumibe, Moving Color: Early Film, Mass Culture, Modernism Murray Pomerance, The Eyes Have It: Cinema and the Reality EffectĬolin Williamson, Hidden in Plain Sight: An Archaeology of Magic and the Cinema Wheeler Winston Dixon, Death of the Moguls: The End of Classical Hollywood Historical and social background contextualize the subject of each volume. Books explore some defined aspect of cinema-work from a particular era, work in a particular genre, work by a particular filmmaker or team, work from a particular studio, or work on a particular theme-in light of some technique and/or technical achievement, such as cinematography, direction, acting, lighting, costuming, set design, legal arrangements, agenting, scripting, sound design and recording, and sound or picture editing. ![]() Volumes in the Techniques of the Moving Image series explore the relationship between what we see onscreen and the technical achievements undertaken in filmmaking to make this possible. Examining pre-cinematic visual culture, animation, nonfiction film, and the digital trickery of today’s CGI spectacles, Hidden in Plain Sight provides an eye-opening look at the powerful ways that magic has shaped our modes of perception and our experiences of the cinema. Williamson offers an insightful, wide-ranging investigation of how the cinema has functioned as a “device of wonder” for more than a century, while also exploring how several key filmmakers, from Orson Welles to Christopher Nolan and Martin Scorsese, employ the rhetoric of magic. Tracing the overlaps between the worlds of magic and filmmaking, Hidden in Plain Sight examines how professional illusionists and their tricks have been represented onscreen, while also considering stage magicians who have stepped behind the camera, from Georges Méliès to Ricky Jay. He thus considers how, even as they mystify audiences, cinematic illusions also inspire them to learn more about the technologies and techniques behind moving images. To answer these questions, Colin Williamson situates film within a long tradition of magical practices that combine art and science, involve deception and discovery, and evoke two forms of wonder-both awe at the illusion displayed and curiosity about how it was performed. What does it mean to describe cinematic effects as “movie magic,” to compare filmmakers to magicians, or to say that the cinema is all a “trick”? The heyday of stage illusionism was over a century ago, so why do such performances still serve as a key reference point for understanding filmmaking, especially now that so much of the cinema rests on the use of computers?
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