THE BIRTH OF A NATION BY D.W. GRIFFITH.

The invention of cinema at the end of the nineteenth century to the exhibition of the film The Birth of a Nation by D.W. Griffith

The invention of cinema at the end of the nineteenth century to the exhibition of the film The Birth of a Nation by D.W. Griffith

Thesis Statement

I will argue that Hansen's articulation of a complex multifaceted cinematic spectator representing articulation of a complex multifaceted cinematic spectator participating in a plurality of public spheres around cinema undoes up a critical space in which a movie like D.W. Griffith's A Birth of a territory (1915) can be viewed not easily as a self-autonomous racist text, but part of a bigger hegemonic discourse which co-ops proletarian spheres which endanger its output interests. In a plurality of public spheres around cinema opens up a critical space in which a film like D.W. Griffith's A Birth of a Nation (1915) can be viewed not simply as a self-autonomous racist text, but part of a larger hegemonic discourse which co-ops proletarian spheres which endanger its production interests. D.W. Griffith's “A Birth of a territory” issued in 1915 is a pertinent text to this argument as it can be viewed as an try to align the intermediate and the filmgoer with those exact interests. Though Griffith assertions its aim was to save the nation after what he saw as the recurrent traumas of the municipal conflict and the social changes that ensued which industrialization, among other things intensified. It can be read more as an try to soothe the fissures in the proletarian sphere conceived by such turbulent development.

1- What were the most significant precursors of motion picture technology? To which significant social and cultural pressures did the appearance of moving pictures respond?

Ans. There have been many inventors, scientists, manufacturers and scientists have observed the visual phenomenon that a series of individual still pictures set into motion created the illusion of movement - a concept termed persistence of vision. This illusion of shift was first described by British physician Peter Mark Roget in 1824, and was a first step in the development of the cinema. Anumber of technologies, easy optical playthings and mechanical creations related to shift and dream were evolved in the early to late 19th years that were antecendent to the birth of the motion image industry:

Avery early version of a "magic lantern" was created in the 17th century by Athanasius Kircher in Rome. It was a device with a lens that projected images from transparencies onto a screen, with a simple light source (such as a candle) Than came the invention of the Thaumatrope in 1824 (the earliest version of an optical illusion toy that exploited the concept of "persistence of vision" first presented by Peter Mark Roget in a scholarly article) by an English doctor named Dr. John Ayton Paris. In 1832 came the invention of the Fantascope (also called Phenakistiscope or "spindle viewer") by Belgian inventor Joseph Plateau, a device that simulated ...