Reflecting on Proto-Animation Techniques in the Mandalic Forms of Persian Traditional Arts
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Histories of cinema as an artform tend to start in the early nineteenth century and consider cinema as the convergence of two different practices that developed in parallel, only coming together at the end of the century. The first is the capture of still photoreal images in a chemical medium, known as photography. The second is the exploration of making graphic images appear to move, encapsulated in a series of amusement devices, which became known as philosophical or optical toys (Wyver, 1989 and Nowell-Smith, 1997). The Daguerrotype and Niepce images (see Figures 1 and 2) depict the way that the formative history of cinema is usually portrayed. However, I argue that concepts of storytelling through the moving image can be seen in art much earlier than the late nineteenth century.
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Animation Studies
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13
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© The Author(s) 2018. This is an Open Access article distributed under the terms of the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported (CC BY-NC-ND 3.0) License (http://creativecommons.org/licenses/by-nc-nd/3.0/) which permits unrestricted, non-commercial use, distribution and reproduction in any medium, providing that the work is properly cited.
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Asian History
Computer Gaming and Animation
Design Practice and Management
Film, Television and Digital Media