Peter Bogdanovich to Direct ‘The Inventor and the Tycoon’ Miniseries

Hot news out of the blue,  from The Wrap:

By Tim Kineally, June 5.

GETTY IMAGES

GETTY IMAGES

Project will explore the origins of cinema

“The Last Picture Show” director Peter Bogdanovich will explore the story of the first picture shows for his next project.

Bogdanovich has signed on to direct a TV miniseries adaptation of Edward Ball’s 2013 book “The Inventor and the Tycoon: A Gilded Age Murder and the Birth of Moving Pictures.”

The book explores the true story of motion-picture pioneer Edward Muybridge and industrialist-politician Leland Stanford, and their effect on the early days of cinema.

Bogdanovich is developing the project with Cohen Media Group, and is also serving as co-executive producer, along with Charles S. Cohen, Cohen Media Group president Daniel Battsek and Fred Roos (“The Godfather Part II”).

Bodganovich called “The Inventor and the Tycoon” a “fascinating story about the origins of cinema/beginning of movies and the amazing series of coincidences that led to that creation.”

Set in frontier-era California, Ball’s book explores how Muybridge — a murderer as well a technological pioneer — and his patron Stanford teamed to launch the age of visual media.

“Part of the screen art of Peter Bogdanovich is to make the American past look beautiful, feel intense, and to people it with rare characters,” Ball said of the adaptation. “Between Edward Muybridge, the murderer who gave us motion pictures, and Leland Stanford, the robber baron made in Gold Rush California, this 19th-century story has big American aura suited to his hands, and to CMG’s program for memorable, ambitious television.”

http://www.thewrap.com/peter-bogdanovich-to-direct-the-inventor-and-the-tycoon-miniseries/
How this news will affect the several plans for a feature film about Muybridge (one of which has already been filmed) remains to be seen.

Posted here by Stephen Herbert, with thanks and acknowledgement to The Wrap, and Getty Images.

 

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Eadweard – Cast & Creators on Global News tv (Canada)

global2Sara Canning, who plays Flora

Picture 14

“Just based on the photographs [of Muybridge] I’ve tried to fund an essence of who this madman was …  I’ve done a lot of just staring into his eyes….” says co-writer and producer Josh Epstein, explaining on Global News tv how he tried to get a hold on Muybridge’s character and personality.

The seven-minute tv clip is here:

http://globalnews.ca/video/717068/eadweard-muybridge-cast-creators

More location photos soon…..

global1

Posted here by Stephen Herbert

Early Popular Visual Culture

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I’m a little late in posting details of a Special Muybridge issue of the Routledge academic journal Early Popular Visual Culture, for which I was pleased to be guest editor. The contents, in no particular order, are as follows:

Early Popular Visual Culture
Volume 11, Issue 1, 2013

Eadweard Muybridge issue : Introduction
Stephen Herbert

A ‘roundup’ of Muybridge-related activity, 2010-2012.

Reflections on time, motion and photomechanics
Jonathan Shaw

This article is a reflection on my own practice and its connection to changing representations of time and movement within photography. In my work as an artist and photographer, I have endeavoured to develop a particular perspective on the relation between the heritage of photomechanical tools, new technologies, memory and space. In what follows, I describe a series of pivotal moments in the formation of this perspective as they exemplify a specific strand of photography, showing how they connect to wider transformations in the field of visual cultures.

Loops and joins: Muybridge and the optics of animation
Esther Leslie

Film is rightly understood to be an art of movement, but stasis plays a role too, from the first films which cranked into seeming life out of stillness to the mechanisms of contemporary animation, which is pervasive in cinema today. This article explores the relationship of stillness and movement in early cinema and pre-cinematic optical technologies, which demand a flick of the wrist to produce movement out of stasis. Muybridge’s sequential photographs found their way into some of these early and later technologies and provided the basis for such demonstration of the emergence of movement out of stillness. If mobility and stillness are concentrated oppositions in Muybridge’s work, so too are the related themes of animation and inanimateness, a partnering that relates less to the analytical dissection of life and more to the evocation of a spirited magic.

Muybridge, authorship, originality
Marta Braun

This article addresses questions concerning photographic authorship and originality, and how these issues relate to the work of Eadweard Muybridge. The subject of legitimacy concerning the scientific nature of many of Muybridge’s photographs is reviewed, considering his retouching, cropping, and rearrangement of images. The role of the University of Pennsylvania’s ‘Muybridge Committee’ is also discussed.

Eadweard Muybridge: Inverted modernism and the stereoscopic vision
Marek Pytel

Eadweard Muybridge’s stereoscopic photographs, published in large numbers before his famous motion sequence series were taken, have had much less exposure, and have been subject to far less research, than his chronophotographic images. This short study of just one of the more enigmatic examples of his stereographs considers some relevant aspects of visual perception, and the circular image, proposing connections between these aspects of Muybridge’s work and the Rotoreliefs of Marcel Duchamp.

Chronophotography in the context of moving pictures
Deac Rossell

This article, originally a talk given at Kingston Museum in 2010, considers the ‘four great chronophotographers’ – Eadweard Muybridge, Étienne-Jules Marey, Georges Demenÿ, and Ottomar Anschütz, and their reputations as ‘inventors of cinema’ – in the context of achievements by lesser known workers including Victor von Reitzner, George William de Bedts, Ernst Kohlrausch, Robert Dempsey Gray, and William Gilman Thompson, many of whom saw a different methodology for making series photographs turn into moving pictures, for different purposes. The article suggests ways in which the story of chronophotography in the context of moving pictures is currently incomplete.

Plus related book reviews.

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Phree Phantasmoscope

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Queensland Figaro, 14 July 1883. (National Library of Australia. Creative Commons)

Source: http://nla.gov.au/nla.news-article83677612

It’s 1883, you’re editor of the Queeensland Figaro, and looking around for a space filler. An old issue of the Scientific American is on a shelf by your desk. In the Supplement there’s a pretty cutout toy of a phenakistiscope (they call it a Phantasmoscope) with silhouettes of a Muybridge horse trotting endlessly. Snip out the piece, and paste it into your next issue. Better still, create an advert for your newspaper in a circle, and paste that in the middle. ‘Weekly, Wisely, & Wittily … 12/- a year in advance.’

phenakHorse4

Then every time one of these magic discs that your readers have cut out and pasted onto cardboard is handed to a friend to enjoy, they’ll read the advert and rush out and buy the paper, or better still subscribe. Brilliant, and all for free, courtesy Scientific American.

And the best bit is, 130 years later, it’s still for free, courtesy of that excellent resource, the National Library of Australia’s TROVE.

More about these paper discs, here.

Posted here by Stephen Herbert

The Eadweard Muybridge Experiment, 2012

EadweardMuybridgeExperiment

http://vimeo.com/51045208

The Eadweard Muybridge Experiment
from brian d. katz
4th Place Winner!
for Mofilm London contest, client HTC.
Cast: The Stouts: Samuel, Abigail, Darren, and Gretchen
Crew: Katz, Ian Campbell (DP), Alex Watson, Sebastian Heinrich, Azrael Ricky Daniels

Posted here by Stephen Herbert