Preceding film by thousands of years, plays and dances had elements common to film: scripts, sets, costumes, production, direction, actors, audiences, storyboards, and scores. Much terminology later used in film theory and criticism applied, such as mise en
scene (roughly, the entire visual picture at any one time). Moving visual and aural images were not recorded for replaying as in film.
Anthemius of Tralles used an early type of camera obscura in the 6th century] The camera obscura was further described by Alhazen in his Book of Optics (1021),]]] and later near the year 1600, it was perfected by Giambattista della Porta. Light is inverted through a small hole or lens from outside, and projected onto a surface or screen, creating a moving image, but it is not preserved in a recording.
In the 1860s, mechanisms for producing two-dimensional drawings in motion were demonstrated with devices such as the zoetrope, mutoscope and praxinoscope. These machines were outgrowths of simple optical devices (such as magic lanterns) and would display sequences of still pictures at sufficient speed for the images on the pictures to appear to be moving, a phenomenon called persistence of vision. Naturally the images needed to be carefully designed to achieve the desired effect, and the underlying principle became the basis for the development of film animation.
With the development of celluloid film for still photography, it became possible to directly capture objects in motion in real time. An 1878 experiment by Eadweard Muybridge in the United States using 24 cameras produced a series of stereoscopic images of a galloping horse, arguably the first “motion picture,” though it was not called by this name. This technology required a person to look into a viewing machine to see the pictures which were separate paper prints attached to a drum turned by a handcrank. The pictures were shown at a variable speed of about 5 to 10 pictures per second,
depending on how rapidly the crank was turned. Commercial versions of these machines were coin operated.

Historian man

Best comic strip dad, the father in ,i>Lio: Lio is a monster crazed boy in a comic strip in which there is no dialogue. We don’t know his father’s name. We know he is a widower. And he clearly loves his son and fully supports him in all his eccentricity. In other words, Lio’s dad let’s Lio be Lio.

“You call this a happy family? Why do we have to have all these kids? “