First published in 2004. This set of 3 volumes collects together for the first time rare and scattered material on the history of pre-cinema. It includes articles on stereoscopic photography; the use of kaleidoscopes; optical illusions; theatre design; magic lanterns and mirrors; shadow theatre, and much more. The articles are taken from sources such as The Magazine of Science, The Art Journal, The British Journal of Photography, Scientific American, American Journal of Science and Arts, and The Mirror. Volume 2 includes the areas of Peepshows, panoramas and dioramas; Mirror projection, shadows, magic lanterns; and Various optical devices and effects.

This set reprints together for the first time rare and essential material on the history of pre-cinema.Volume 1: Olive Cook, Movement in Two Dimensions [1963]. Volume 2 features the first facsimile reprinting of the often-overlooked "British Journal of" "Photography," Volume 3 is comprised of a selection of articles originally published between 1827-1861.

A History of Pre-Cinema Volume 1 (and volumes 2 and 3) cover the optical devices used for entertainment and instruction that proliferated before the introduction of cinema. Volume 1 is divided into the following sections: The camera obscura; Photography; Stereoscopy; Moving photographs; Chronophotography; Optical, philosophical toys.

First published in 2004. This set of 3 volumes collects together for the first time rare and scattered material on the history of pre-cinema. It includes articles on stereoscopic photography; the use of kaleidoscopes; optical illusions; theatre design; magic lanterns and mirrors; shadow theatre, and much more. The articles are taken from sources such as The Magazine of Science, The Art Journal, The British Journal of Photography, Scientific American, American Journal of Science and Arts, and The Mirror. Volume 1 includes the areas of Camera Obscura to Chronophotography and Optical Toys and Devices Magic Mirrors.

Celebrities and movie stars, like everyone else, die from a variety of causes, including diseases (Vol.1 of this book) and cancers (Vol.2 of this book). When we ask if such causes of death are found encoded in the Torah along with the encoded names of who died from them, we find them all close together in one Torah Matrix (from Gen. 1:1 to 1 Samuel 10:17). For those uninitiated into the Bible Code mystery this might sound outlandish and impossible, but viewing the many Torah Matrices in this book, labeled clearly in black and white as secretly encoded facts staring us in the face might give pause to even the biggest skeptic. Volume 3 of this book will show the Torah-Bible Code Matrices of celebrities and movie stars deaths by accidents, murders, overdoses, and suicides their names found encoded in the Five Books of Moses, some with the year and location of their death; as another e-book through Author House, later in 2014. Thousands of similar results have been found by the author, covering many sorts of historical events ranging from the names of victims of natural disasters (e.g., Fukushima), ships sinking (e.g., Titanic), planes and trains and cars crashing (e.g. James Dean), assassinations worldwide over 4000 years (e.g., an Egyptian pharaoh, JFK, and John Lennon), Nazi Holocaust, mass shootings (Aurora, Columbine, Tucson, etc.), terror attacks (Benghazi, Boston Marathon, Fort Hood, 9/11), and war casualties (e.g., Vietnam, Gulf War, Iraq, Afghanistan). Even though there are only about 50 or fewer personalities identified by name in each of these three volumes, and shown encoded with how and where they died, each Volume could be expanded to hold many thousands of names and pages, one name per page of Matrix revealing those Torah-held secrets hidden for about 3400 years, and revealed here to the world for the first time in recorded history.

For three generations of Americans, World War II has been a touchstone for the understanding of conflict and of America’s role in global affairs. But if World War II helped shape the perception of war for Americans, American media in turn shape the understanding and memory of World War II. Concentrating on key popular films, television series, and digital games from the last two decades, this book explores the critical influence World War II continues to exert on a generation of Americans born over thirty years after the conflict ended. It explains how the war was configured in the media of the wartime generation and how it came to be repurposed by their progeny, the Baby Boomers. In doing so, it identifies the framework underpinning the mediation of World War II memory in the current generation’s media and develops a model that provides insight into the strategies of representation that shape the American perspective of war in general.

In the late 1970s, the adult film industry began the transition from celluloid to home video. Smutty Little Movies traces this change and examines the cultural and legal efforts to regulate, contain, limit, or eradicate pornography. Drawing on a wide variety of materials, Smutty Little Movies de-centers the film text in favor of industry histories and contexts. In so doing, the book argues that the struggles to contain and regulate pleasure represent a primary starting point for situating adult video’s place in a larger history, not just of pornography, but of media history as a whole.