Drawing strongly on contemporary sources and illustrated with over 50 pictures this book provides an authoritative account of the history of the showmen and their contemporaries. It maps the history of the spectral opera shows developed by the Poole brothers and Anthony Young.

"Number nine in a series of monographs on pre-cinema and early film."

Tracing the cultural, material, and discursive history of an early manifestation of media culture in the making. Beginning in the late eighteenth century, huge circular panoramas presented their audiences with resplendent representations that ranged from historic battles to exotic locations. Such panoramas were immersive but static. There were other panoramas that moved—hundreds, and probably thousands of them. Their history has been largely forgotten. In Illusions in Motion, Erkki Huhtamo excavates this neglected early manifestation of media culture in the making. The moving panorama was a long painting that unscrolled behind a “window” by means of a mechanical cranking system, accompanied by a lecture, music, and sometimes sound and light effects. Showmen exhibited such panoramas in venues that ranged from opera houses to church halls, creating a market for mediated realities in both city and country. In the first history of this phenomenon, Huhtamo analyzes the moving panorama in all its complexity, investigating its relationship to other media and its role in the culture of its time. In his telling, the panorama becomes a window for observing media in operation. Huhtamo explores such topics as cultural forms that anticipated the moving panorama; theatrical panoramas; the diorama; the "panoramania" of the 1850s and the career of Albert Smith, the most successful showman of that era; competition with magic lantern shows; the final flowering of the panorama in the late nineteenth century; and the panorama's afterlife as a topos, traced through its evocation in literature, journalism, science, philosophy, and propaganda.

"Papers taken from the ... second Visual Delights conference held at the University of Sheffield in 2002"--P. [4] of cover.

This comprehensive list of allusions found in James Joyce's modern classic, Ulysses, is in itself a classic and is a feat of literary scholarship of unprecedented magnitude. In brief, this book is a copiously annotated list of Joyce's allusions in such areas as literature, philosophy, theology, history, and the fine arts. So awesome an undertaking would not have been possible without the prior work of such persons as Stuart Gilbert, Joseph Prescott, William York Tindall, M.J.C. Hodgart, Mabel Worthington, and many others. But the present list is more than a compilation of previously discovered allusions, for it contains many allusions that have never been suggested before, as well as some that have only been partially or mistakenly identified in earlier publications. In preparing this work, the author has kept its usefulness to the reader foremost in mind. He often refreshed the reader's memory in concerning the context of an allusion, since its context, in one sense or another, is always the guide to its function in the novel. The entire list is fully cross-referenced and keyed by page and line to both the old and new Modern Library editions of Ulysses. In addition, the index is prepared in such a way that it indexes not only the List but also the novel itself. The purpose of allusion in a literary work is essentially the same as that of all other types of metaphor -- the development and revelation of character, structure, and theme -- and, when skillfully used, it does all of these simultaneously. Joyce's use of allusion is distinguished from that of other authors not by its purposes, but by its extent and thoroughness. Ulysses involves dozens of allusive contexts, all continually intersecting, modifying, and qualifying one another. Here again Joyce's uniqueness and complexity lie not in his themes or characters, nor in his basic methods of developing them, but in his accepting the challenge of an Olympian use of his chosen methods. The value of this volume to Joyce scholars and students is obvious; however, its usefulness to anyone who reads Ulysses is as great, if not greater. It can truly be the key to this difficult but rewarding novel.

In this book, Keith Williams explores Victorian culture's emergent 'cinematicity' as a key creative driver of Joyce's experimental fiction, showing how Joyce's style and themes share the cinematograph's roots in Victorian optical entertainment and science.

Visible language is widespread and familiar in everyday life. We find it in shop signs, advertising billboards, street and place name signs, commercial logos and slogans, and visual arts. The field of linguistic landscapes draws on insights from sociolinguistics, language policy and semiotics to show how these public forms of language relate to multiple issues in language policy, language rights, language and education, language and culture, and globalization. Stretching from the earliest stone inscriptions, to posters and street signs, and to today's electronic media, linguistic landscapes sit at the crossroads of language, society, geography, and visual communication. Written by one of the pioneers of the field, this is the first book-length synthesis of this exciting, rapidly-developing field. Using photographic evidence from across three continents, it demonstrates the methodology and approaches used, and summarises its findings and developments so far. It also seeks to answer common questions from its critics, and to suggest new directions for further study.