![]() ![]() ![]() Collection of The New-York Historical Society. This is something that puts stars completely on a dome that. Briggs Company, 1881, Joseph Boggs Beale. The Carl Zeiss company invents a mechanical-optical projector and it transformed the field. as significant social landmarks through her admirable guide to deeper readings of their content.”Ĭover: Escape of Eliza and Child on the Ice, #3 of 10 magic lantern slides by C. Those who are interested in the various spectacles offered by Roman civilization will soon turn their attention to the many buildings of the Empire that. ![]() “The all-too-frequent view of nineteenth-century melodramas as little more than exaggerated actions, carried out by posturing cardboard characters spouting sentimental or romantic exclamations, is thoroughly debunked by Hughes instead, she positions these plays. Immaculately researched, fluent, lucid, and unpretentious, Hughes’s intense concentration on specific scenes, with emphasis on their cultural content and contexts, imparts a method of study which reaches well beyond this book to guide other scholarly enquiries… a mature cultural history, essential far beyond the theatre scholar’s bookshelf.” “A superb study of a significant facet of American melodrama…. citizens saw themselves and their world during a pivotal period in American history. Her book will interest not only theater historians, but also scholars and students of political, literary, and visual culture who are curious about how U.S. To be attuned to the dynamics of spectacle, Hughes argues, is to understand how we see. Additionally, Hughes argues that today’s producers and advertisers continue to exploit the affective dynamism of spectacle, reaching an even broader audience through film, television, and the Internet. These images also appeared in printed propaganda, suggesting that the coup de théâtre was an essential part of American reform culture. Hughes traces the cultural history of three famous sensation scenes-the drunkard with the delirium tremens, the fugitive slave escaping over a river, and the victim tied to the railroad tracks-assessing how these scenes conveyed, allayed, and denied concerns about the rights and responsibilities of citizenship. Hughes scrutinizes these peculiar intersections of spectacle and reform, revealing the crucial role that spectacle has played in American activism and how it has remained central to the dramaturgy of reform. Since there is no resemblance to the optical hazards of distant, collimated laser beams in light shows and only minimal hazards are posed by theater projectors to the audience, the standards and regulations applicable to "laser light shows" should not be applicable for these types of products.In the nineteenth century, long before film and television brought us explosions, car chases, and narrow escapes, it was America's theaters that thrilled audiences, with “sensation scenes” of speeding trains, burning buildings, and endangered bodies, often in melodramas extolling the virtues of temperance, abolition, and women's suffrage. It is shown that laser illuminated projectors have hazard distances comparable to traditional 35 mm movie-theater projectors of the order of 1 m. Projectors are classified by risk groups according to national and international standards, and recommendations for projector safety are provided. Ultraviolet and infrared measurements were also made for completeness of the hazard evaluation. Irradiance and source size measurements were made to determine the radiance of each of the projection systems for both thermal and blue light hazards to the retina. Results of a comparative evaluation of ocular hazards from various projection systems, with an emphasis on professional laser illuminated projection systems, are presented. The trend in digital projectors has led to increased luminance projection products. Smaller projectors employing tungsten-halogen lamps have been used for decades in home and office environments, and small arc-discharge lamps more recently have enjoyed widespread use in digital projectors. Questions have arisen with regard to safety of the new laser-based projectors and about the comparable safety to the xenon-arc projectors that they replace. Today, these arc-lamp film projectors are expected to be replaced by digital laser projectors. Traditional movie projectors employing carbon arcs were introduced to movie theaters more than a century ago, and they were replaced during the 1950s by xenon-arc projectors. ![]()
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