The significance of panorama painting in the nineteenth century is frequently cited in contemporary debates about visuality and the emergence of the modern spectator. Stephan Oettermann's The Panorama is the first major historical study to appear in English of the rich phenomenon of the panorama, one of the most influential forms of visual entertainment in the nineteenth century. In this richly illustrated book Oettermann gives readers a concrete sense of the structural and experiential reality of the panorama, and the many forms it took throughout Europe and North America--a crucial task given that very few of the original nineteenth-century panoramas survive. At the same time, he outlines the many ways in which these remarkable and often immense 360-degree images were part of a larger transformation of the status of the observer and of popular culture. Thus, the panorama is treated not only as a new kind of image but also as an architectural and informational component of the new urban spaces and media networks.

In this book, Bernard Comment examines the wide variety of panoramas featuring both the old and the new worlds. Included among views of cities are Robert Baker's View of Edinburgh and depictions of Paris, Moscow and Lima.

Richard MacMurray, a cable news talking head, is paid handsomely to pontificate on the issues of the moment. On New Year's Day he is scheduled to be a guest on a prominent morning talk show. As he awaits the broadcast, the network interrupts with news that a jet airliner has crashed in Dallas and that everyone aboard has perished. Within an hour, amateur videotape surfaces of the plane's last moments, transforming the crash into a living image: familiar, constant, and horrifying. Richard learns that his sister, Mary Beth, was aboard the doomed flight, leaving behind her six-year-old son, Gabriel. Richard is the boy's only living relative. When he is given an opportunity to bring Gabriel home, it may be that the loss of his sister will provide him with the second chapter he never knew he wanted. In this powerful debut, Steve Kistulentz captures the sprawl of contemporary America -- its culture, its values, the workaday existence of its people -- with kaleidoscopic sweep and controlled intensity. Yet within the expansive scope of Panorama lies an intimate portrait of human loss rendered with precision, humanity, and humor.

When the Altreides family is banished to the desert planet of Dune, they are forced to battle an evil Emperor. Features punch-out characters and vehicles to reenact scenes that pop up as the pages are turned.

A wide-ranging study of the painted panorama’s influence on art, photography, and film This ambitious volume presents a multifaceted account of the legacy of the circular painted panorama and its far-reaching influence on art, photography, film, and architecture. From its 18th-century origins, the panorama quickly became a global mass-cultural phenomenon, often linked to an imperial worldview. Yet it also transformed modes of viewing and exerted a lasting, visible impact on filmmaking techniques, museum displays, and contemporary installation art. On the Viewing Platform offers close readings of works ranging from proto-panoramic Renaissance cityscapes and 19th-century paintings and photographs to experimental films and a wide array of contemporary art. Extensively researched and spectacularly illustrated, this volume proposes an expansive new framework for understanding the histories of art, film, and spectatorship.

Creative charts combine with text in this survey of scriptural revelation of the angelic hosts and the doctrine of "demonology." Illustrated.

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.