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ducktracy · 4 years ago

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188. porky’s poppa (1938)

release date: january 15th, 1938

series: looney tunes

director: bob clampett

starring: mel blanc (porky, porky’s poppa, narrator), bob clampett (duck)

it’s safe to say that 1938 was porky’s best year. speaking in terms of solo cartoons, that is. his cartoons were genuinely funny, stimulating, and he looked great appearance wise. 1939 the porky burnout started, and he was slowly reduced to a smiling stock character whose adversaries and costars were much more alive than he was.

as daffy (and later bugs) rose to popularity, porky slipped into the sidekick role, paired primarily with the duck. with that said, the porky/daffy cartoons are some of the funniest around, and i firmly believe the best cartoons for the both of them are the ones where they’re paired together—with a few exceptions, of course.

however, let’s not get ahead of ourselves: a great year of pig stardom awaits. porky’s father, who made a few appearances during the joe dougherty era, makes his final return. in a story that has loose similarities to the premise of porky’s railroad, porky struggles to convince his father that their cow, bessie, is a much better fit for the farm than the newfangled mechanical cow his father has his eyes on.

the introduction is one of the funniest aspects of the cartoon itself. a hand erases the title credits, scrawled on a blackboard, and fills in “PORKY’S POPPA... HAS A FARM”, mirroring the underscore of “old macdonald” (with substitute lyrics) below it.

a layout of the farm cuts to our pint-sized hero, grinning at the camera as the vocals sing “...and on this farm he had a pig: porky pig, you know.” bobe cannon animates porky struggling to sing along with the lyrics, his “oh buh-beh-boy!”s lagging with the beat. the music halts just in time for porky to pump his fists in frustration, not stuttering once as he grumbles “oh, skip it!”

repeatedly cutting back to the layout of the farm in conjunction with the lyrics is practically a gag within itself. the song grows increasingly absurd, with a goose honking horns, a cow showing off her legs as the vocals sing “with a little calf here, with a little calf there...”, struggling to keep up with the rapid pace of the song. bob clampett lends his own voice to a random duck (no relation to daffy!), following a hand pointing at certain areas of the farm and quacking (”with a little quack here, with a little quack there...”)

finally, the duck in his psuedo-donald duck voice instructs “EVERYBODY SING!”, complete with some fun and unique typography. the entire song falls to pieces--before, the cutting back to the farm’s layout added an incongruous feeling of calm to balance out the wacky antics of the animals and the song. now, everything happens at once. the duck zips across the screen in a quacking frenzy, the mother cow shows off her baby calves, thrusting them to the beat of the music, the goose is a one man band of assorted horns, etc. blissful chaos.

things slow down as we cut back to porky, who smugly whips out a phonograph behind his back. the record is just him saying “oh boy!”, playing correctly to the beat of the music. he’s got this song number figured out... or does he?

even technology can’t conceal his stutter. the record begins to skip, mimicking the sound of his stutter, and porky smashes the phonograph to pieces as he slams it against the ground. the wordless yet furious stare he gives the audience as the dying record croaks out a distorted “oooooooh..... boooooooooy....” is nothing short of priceless. though he didn’t say a word himself during this scene, his motives, thoughts, and emotions are clearly visible. you can FEEL his pride at his solution, as well of the subsequent fury of his solution blowing up in his face. a wonderful end to a hilarious song sequence.

“but on his farm, he has a mortgage... woe, oh woe, oh woe!” the score turns in to a mournful, minor key dirge, with anthropomorphic mortgage papers posing proudly on the farm. some very clever posing and metaphorical play as we fade to porky’s dad, moping around on the farm, the mortgage aligning with his silhouette and becoming a physical weight on his back. more playing with typography as the narrator reads aloud the words on the screen:

this is a parody of the march of time, a radio program who would often announce the death of a notorious person by declaring “and so, today, as it must to all men, death came to [name], [age].” even without the context, the gag is rather amusing, bringing a different change of pace to the cartoon with the addition of a narrator and the typography. knowing the source of the gag makes it hit just the right spot.

porky’s dad mutters about ruination, how he has no milk and no money, etc. mel blanc does a fine job of mimicking joe dougherty, maintaining the stutter and the low voice--in the dougherty cartoons, porky’s father was just dougherty’s natural speaking voice, whereas porky was sped up considerably. you can hear both at once here for comparison.

we pan over to the cause of one of these stresses: their cow, bessie, has been quarantined (how timely!) for “hoof ‘n mouth trouble”, a play on hand-foot-and-mouth disease. clampett opts to take things just a step further--we truck inside the stall to see bessie posing for the camera, grinning with her foot INSIDE her mouth, batting her eyelashes and all. the “bull bontana” (bull montana) poster plastered inside of her stall is a clever touch.

after seeing that bessie’s production chart has dipped overwhelmingly into the negatives--a roll of paper unfurling at porky’s father’s feet, indicating just how poor the farm is doing--he places an “out of order” sign on the stall door.

suddenly, porky’s father grows aggravated. “i need to send you to the hamburger factory!” cue a close-up of bessie tearfully picturing her fate--a pile of burgers and hotdogs make up her figure. clampett would reprise this gag (albeit in a much more cruel manner) in porky’s last stand 2 years later, where daffy eagerly envisions a steaming hot hamburger in place of an innocent little calf.

this is the second cartoon to make an ACME reference, the first being buddy’s bug hunt back in 1935. porky’s father phones up ACME mail order company, asking for “one cow--airmail”. context clues are just as important to the gag than the reveal itself: porky, his father, and bessie all become alert to the sounds of an airplane making a cacophony overhead. suddenly, a package bursts through the barn ceiling, floating to the ground with a neatly tied parachute. the animation appears to be the work of john carey, from the tall, pill-shaped eyes to the slow, drawn out way that porky blinks.

norm mccabe takes over to animate the grand reveal. lots of wonderful little subtleties: porky and his father are timed slightly differently, giving them both a natural sense of interaction and movement. there’s a lovely little accent on porky’s father opening the package by pulling a string--he jerks his head up slightly as he plucks the string, allowing the audience to feel the physical impact and snap of the pluck. it’s subtle, but very well done.

instead of a flesh and blood cow, a mechanical hunk of metal slowly unfurls to life as the package opens. as porky’s father reads the label (The New 1938 CREAMLINED COW), porky himself objects to the new addition. “aww, eh-the-there ain’t no such animal!”

indeed there is: porky’s father loads a pile of hay into a chute, pressing down on the cow’s paintbrush tail. the cow pumps along to a brassy score of “old macdonald”, churning out milk from its metal udders, the milk pouring straight into an assembly line of bottles below. bob clampett’s puns are plentiful in this cartoon (notice how there’s no writer’s credit--he often said that he would write some of his earliest cartoons himself. i assume he wrote this one as well? i wonder how much input chuck jones had in the story?), but delivered nonchalantly, so they can actually be enjoyed. the cow caps the milk bottles by putting literal newsboy caps on top of the bottles, the paintbrush tail painting “cream paint” to the outside of the bottles and forming the illusion of cream. interesting business practices!

bobe cannon animates a delightful scene with porky. fun animation and fun dialogue make for a great combo. some very fluid, light, and fun animation of porky giving his pep talk as he hops around, swinging his arms, nonchalantly pushing his hat out of his face after getting so excited. “c’mon, eh-beh-beh-beh-bessie! we won’t let that old eh-neh-nuh-new fangled eh-ceh-co--heifer beat us. you just eat your uh-wuh-wee-weh-whea--eh-ha-hay, and show that eh-teh-eeh-eh-tin-can cow who can make the most...”

porky lowers bessie’s foot from her mouth by climbing on it, preparing to shovel a forkful of hay into her mouth, however, she shoves her foot right back in it, much to porky’s annoyance. “aww, every time you open your muh-mee-muh-me-eh-mou--kisser, ya put your eh-feh-eh-foot in it! eh-bee-bessie, you gotta eat! you eh-deh-dee-eh-don’t wanna be eh-seh-seeah-seeah-smothered in onions, eh-do ya?”

treg brown’s sound effects of doors creaking as her leg is lowered is the perfect touch to the gag. porky struggles to feed bessie, eventually getting stuck in her mouth himself as he attempts to hold both legs down to no avail. he frees himself, just in time to hatch an ingenious idea.

his plan works: porky places the entire pile of hay onto bessie’s legs, who swallows it up whole, her mouth comically huge as she attempts to swallow it. porky is overjoyed, clapping at her efforts before rushing off to give her some privacy.

instead of porky just milking her like a regular farmer, clampett pushes the entire scenario further. porky paces around in the manner of an expectant father, accompanied by a soft score of “lullaby on broadway”. the sound of a baby crying prompts porky to do a gorgeously animated head shake of surprise--bessie hands him a milk bottle, which porky carefully swaddles and places in a basket.

the charade continues, with clampett lulling us into a false sense of security with an already absurd gag. cue a gag that would have been incredibly risque in 1938: at about the fifth bottle, porky reaches out and finds that bessie hands him a bottle labeled “CHOC. MALT”, accompanied by an underscore of “i wish i was in dixie”. porky and bessie both grow bashful, but porky’s nonchalant whistling is cut to a half as bessie delivers yet another bottle. “gosh--eh-ceh-ceh-quin-eh-qui-eh--quart-tuplets!”

porky rushes over to his farther to share the good news. however, dad is too preoccupied with the fancy mechanics of the cow to pay bessie any mind. he shows porky a barrage of dairy-related puns churned out by the creamlined cow:

cottage cheese (cheese in the shapes of houses--and an outhouse for good measure--don the conveyer belt), limburger cheese (cheese slices with clothes pins pinned to their “noses” to ward off the stench), and swiss cheese (a cuckoo bird pops out of the cow’s mechanical side and sprays the cheese wheels with bullets, which turn into yodeling mouths). interestingly, mel’s voice for porky’s father changes in this scene--it’s still him, but the nasally undertones are absent. i wonder if he did this on a different day?

nevertheless, the staging of the next gag is genius. the majority of the screen is black, save for a small window revealing porky holding onto bessie’s udders. “c’mon, eh-beh-bessie! hurry eh... hurry eh... step on it!” the window expands to reveal bessie pouring a bucket of milk into a line of funnels (rather than udders), which are then evenly distributed to the bottles. “’ats a guh-geh-gee-eh-girl!”

mechanical cow seems to be doing just fine, plopping cherries on top of elaborate ice cream sundaes and milk shakes. the only fault in the system is the cow’s own personal whiskey bottle rolling down the assembly line, which it confiscates promptly.

porky, on the other hand, is making do. with an ice block on her head, bessie churns out ice cream cones to the best of her ability. as the cones grow smaller and smaller in size, porky orders her to eat more hay, which she happily does so.

now, it’s cow vs. cow. the mechanical cow opts to play some dirty tricks on bessie, pouring a jar of vanishing cream it produced onto the hay bessie is eating. and, thanks to the law of cartoon physics, the milk bottles she hands porky disappear by the minute. though the effect of the bottles disappearing may not seem like much today, for 1938 the ink and paint department did a wonderful job of demonstrating the illusion that the bottles suddenly disappeared.

with the rest of the hay now gone thanks to a hefty glob of vanishing cream, porky and bessie engage in a wild goose (cow?) chase to find more hay. the mechanical cow gobbles up every square inch of hay in sight--at one point, bessie heaves a dubious shrug to the audience. i love how they made her hooves look like hands, but still remain identifiable hooves. the scramble animation she does as she dashes out of frame (with porky clinging to her like a horse) is wonderfully done as well.

both porky and bessie and the creamlined cow exit the barn, chasing each other around the farm. the mechanical cow physically turns into a vacuum cleaner, threatening to suck up the last remaining pile of hay. in a gag that’s reminiscent of the harman-ising days (is it the inclusion of the outhouse?), the cow-turned-vacuum rushes into a shed filled to the brim with hay. the audience merely watches the shed itself shrink in size as the cow gobbles up all of the hay, the final result a puny little outhouse.

at last, the enemies reach a face-off. the last pile of hay--or, as porky puts it in his punny little way, “eh-thee-the-thee-that’s the last straw.” in a relatively tashlin-esque maneuver, clampett makes some fast cuts to heighten the suspense of the action. cut between porky and bessie to the mechanical cow to the pile of straw (facetiously labeled “MILK WEED”). the cuts grow quicker and quicker, the music crescendo-ing...

until BLAM! in a loose parallel to the finale of rover’s rival, everything explodes at once. nuts and bolts rain in the sky, as do neat little bundles of hay. however, clampett doesn’t allow the audience to rest just yet--with bessie nowhere in sight, the mechanical cow continues to charge forth, seeking refuge in a hay to release a humongous pile of milk bottles. so high, in fact, that the shed (and cow) are elevated several feet into the air. porky’s a goner.

porky’s father, who had been absent for the past few minutes, reappears to declare the tin-can cow a winner, much to porky’s visible dissatisfaction.

yet it’s not a clampett cartoon without a twist! bessie pokes her head out of the mechanical cow’s mouth, mooing the ever popular catchphrase from the ken murray show: “mmmmmmwooooooooooah, yeeeeaaaaaah!” porky gives a celebratory “oh, boy!” as we iris out--the goose and duck from earlier poke their heads into the scene just before the iris fully closes.

this is an early porky cartoon that’s just plain fun. bobe cannon’s animation of porky serves as one of the many highlights, from porky getting aggravated with his phonograph to his excited pep talk towards bessie. corny as the opening number is, it’s a lot of fun at the same time--the intensity in increasing chaos is a prevalent theme to clampett’s cartoons. just look at the climax/ending of baby bottleneck!

i don’t have many complaints towards this cartoon, if any at all. it’s not my favorite porky entry, sure, but it’s most certainly an enjoyable watch and one of his better cartoons of the ‘30s. the visual puns aren’t nearly as hamfisted as ben hardaway’s (as we’ll soon discover), making them more enjoyable than some of the jokes present in, say, daffy duck & egghead. regardless, there are a lot of unique gags, fun animation, and amusing dialogue to constitute a watch.

the cartoon is up on HBOmax, but you can also watch it here!

#lt #looney tunes #porky’s poppa #clampett #reviews #long post

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agentbrunhilde · 6 years ago

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THOSE MOMENTS OF CHANGE. PART 2.

The night began in the drawing room, as the soft fuzzy hum of classical music wafted from a phonograph. The bright cold light of midday during a Russian winter blared through the sheer curtains. The slight pine scented draft tickled the back of her neck. She regretted putting her hair up, as the low neckline of her dress did nothing to keep her warm.

No matter how much she tried to anticipate the weather, in Russia, she was always cold. Sitting alone on a faded pink chair, she ran her fingers over cold metal studs which kept the upholstery intact. She felt the impulse to dig her fingernails under the tacks and pry them out. For no particular reason other than the fact that her neurotic behavior had spiked recently as the season changed. Additionally, she had receive news earlier that month that her assignment to Russia was indefinite, and she had little change of escape.

When James entered the room any thought of leaving Russia flitted away, and suddenly she was Anya again. She was the young woman in love, happy, and overjoyed to be in a manor so dredged in snow that one had to exit through the second floor balcony. It had been nearly a year since she’d met James, and each of his visits were nearer together but felt further apart. Just a week before he announced that he would be staying in the countryside for the winter, which was met with much confusion as only the summer months were vaguely enjoyable.

She smiled up at him, the expression sitting well on her pale features.

“Dinner soon?” she inquired.

He shook his head, his hands in his pockets and his posture tense. She could tell he was anxious, and his lack of words instantly sent her into a spiral. All possibilities of terror entered her mind, and she was inclined to reach for the gun at her thigh. But she hesitated, realizing that this may be a personal problem and it was unlikely that any spy activity was going on at the location or time.

“Is there something bothering you?” she asked, eyeing him as he stayed in the door frame.

A nervous chuckle danced out of his lips and his eyes fell to the richly carpeted floor, “No, not at all. Cold, I suppose.”

“I’d think you’d be used to it by now,” she replied.

“I try to never get used to anything. That would be dreadfully boring,” he replied, his posture easing up at bit as her comforting presence reminded him that he could relax.

“Ever the source of insight,” she responded, the sing-song quality of her voice lilting in the air.

A silence hung between them as he did not respond to her compliment. Usually he was gracious towards her flattery, taking the compliments with short and humble responses. But a trace of distraction played over his face.

“I wanted to ask you something,” he said, his eyes fixed on the window.

“Yes?”

Another pause this one longer and filled with the buzzing tension of anticipation. A few times he shifted his feet and opened his mouth as if he was about to begin a sentence, but no words came out.

“I had a whole speech prepared,” he old her, his eyes glancing over to her while another chuckle graced the room. She could feel the tremor in her voice, like he was trying not to crumble completely.

Lena had seen this many times before. There was only one question that could make a sure man shake. However, this time was different. All the occurrences before she had revelled in watching the gregarious or pompous suitors attempt to choke th words out. She loved the thrill of power, knowing that with one word she could change the course of this person’s life. And with a simple ‘No’ she could defeat them in way that they would never recover: always questioning ‘Why not?’.

But looking at James, his hands curled together so tightly that they were white as a marble statue, she felt her heart sink. It hurt her to see him in pain, even just the fleeting emotional strife of not knowing but hoping.

She stood, stepping close to him, and placing her hand on his arm. Lena felt the soft white fabric crinkle under her touch until she could feel the warmth of the person underneath. He looked down to her, his pale eyes filled with pleading. Then he reached into his pocket and pulled into view a small gold band with a glittering white diamond. It was simple and understated but undeniable expensive. It was a ring that only a rich man could buy, but it was intended to avoid the flashy or trendy faux pas. In the silver light of day it was the most beautiful object Lena had ever laid eyes on.

Her heart beat in a slow and steady rhythm, no flourish of excitement or anxiety. She was so sure, more sure than she had felt in her life. Without the need for words she extended her hand and let him slide the ring on to her finger.

She had said ‘No’ to every man before. None of them were good enough for her, none of them played the game she wanted them to. But James. . . James pulled her out of the twisted and painful habits she had of turning everyone else into her puppet. She was entirely at his will because she knew he would never take advantage.

Lena was content for the first time in over two years. After fighting to get home to be ‘Lena’ once again, she realized that was not the life she actually wanted. If she couldn’t be Betty Lou anymore, then Anya was a second best. Even if she had to live the rest of her life as a lie, it was a lesser of two evils. She would prefer to die hand in hand with the man who called her the wrong name but loved her for the truth of what she was, than to die a pawn in a system that relegated her to glorified listening device.

She knew she would be happy as his bride.

No words, no clever remarks or quick jabs to manipulate. All she could think was ‘Yes. Finally. Yes.’

#coda.task

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opensourcedaycare · 4 years ago

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She doing good :D

#mod🍄#oso #open source objects #open source daycare #phonograph oso

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gelatinbfb · 5 years ago

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#open source objects #oso #phonograph oso #roulette wheel oso #coin oso #g.jpeg #i dotnt have the link for the original since i jsut screenshotted it. whatever its still funny asf #q

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vintagehomesofwhatcomcounty · 5 years ago

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Bellingham Then & Now: the Mount Baker Theatre (1927)

A long, cream-colored building accented in dark red dominates a street corner in downtown Bellingham. Uplighting on the tower changes color with each major performance at the venue, and rumor has it, a ghost of a bygone era resides within the walls and dark passageways. It’s the Mount Baker Theatre, the anchor of the downtown Arts District, and the only surviving jazz-era movie palace in the region.

In 1927, the era of swingers and flappers, Ford Model As and home radios, speakeasies and phonograph records, the Mount Baker Theatre was built, one of five local vaudeville movie palaces of its day. Moviegoers walked through the doors on Commercial Street and entered a new world, a cinematic world of fantasy - a world where they could forget memories of World War I and the Depression.

The lobby with its carved banisters, and the gilded accents and painted patterns throughout the building, still reflect the sumptuous style of the era - a Spanish-Moorish design aesthetic. Before the curtains open across the wide proscenium stage, the focal point of the 1517-seat auditorium is the imposing, multi-colored dome and chandelier holding court over the entire space.

Today, the building and property is owned by the City of Bellingham and managed by a nonprofit organization, as part of a community effort in the 1980s to keep the theatre’s legacy alive. Comedy shows, plays, concerts, ballets, and musicals are held on the main stage or next door in the Walden Theatre. Many a young person today experiences the magic of the Theatre firsthand by participating in the Missoula Children’s Theatre hosted each summer.

Every theatre worth its history has a resident phantom, right? Cold shivers, soft voices calling names, objects moved while the building is closed, and locked safes standing open are attributed to the ghost of Judy - a young woman who supposedly died in a boarding house where the stage now stands.

Whether or not Judy truly whispers your name in the dark orchestra pit, or breathes a cold breath down your spine when the lights go down, one thing is for certain. The sumptuous finishes, the decades-long legacy, and the efforts of the local arts community keep this amazing place a central and recognizable landmark of Bellingham culture. Originally published here, with link sources & credits.

#Bellingham #Bellinghamthen&now #vintagehouse #vintagehousesofwhatcomcounty #whatcomcounty #realestateblog

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bokaishu · 7 years ago

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Making sense of the Subject. 【Research】

For the second assignment, I was very confused about the scope I wanted to express before I started. In the PPT presentation for the ninth week, I thought about several questions listed by IAN.

A ‘new’ subject?

A heterogeneous subject?

A continuous subject?

A changing subject?

Are 'subjects' possible in a new media world?

When I saw the two keywords of time and history, I was thinking about whether to make a timeline to express the history of digital media. However, when I saw the possible strategies, I found that there were also many development directions for the timeline.

Taxonomic

Technologies [distribution, storage, manipulation]

Significance

Individuals

Canonical works

Narratives

Style/genre/format

Geography/Time

Analytic

Ethnographic

Social/economic function

Antecedent/ Parent disciplines

Amalgamated single-media domains

Interestingly, in class, I found the development of digital media very interesting after the 1980s, and there was a lot of academic literature for reference, so my first idea was to choose "film and animation" as a specific direction to make a development of film and animation in the development of digital media.

So I started to study, but as I went deeper, I found that all the cash technology, the advanced film technology, and the animation technology, were based on some very early invent.

I think my timeline should be more detailed, and I'm proud that Chinese movable-type printing also played an important role in later development. Chinese films, like animation, play an important role in the development of world media, so I think the development of Chinese and European animations and films can be shown in the timeline.

It's not over,

While exploring the development of science fiction films, I found that the cyberspace created by William Gibson in 1984 played a key role in the development of science fiction films. But I'm thinking, science fiction film is synonymous with the film industry, and I worry about blindly explore the film industry will break away from in the history of digital media, this is one of the key information reminded me, that is the development of cyberpunk, I found that most about cyberpunk film and animation, character design elements were influenced by the development of science cause technology were change at the time, I think it is a very interesting topic, so I added three goals to my timeline:

The history of digital media

The cyberpunk concept design has changed with the development of Science fiction and technology

The development of film and animation in China and Europe

I found some sources and books to perfect my timeline (sources below)

A (provisional) chronology

Before the nineteenth century

In about 593, engraving and printing appeared in China (carving a whole block of engraving with a knife and then printing ink on the paper)

In about 1045, Bi Sheng invented movable type printing, which replaced block printing.

movable type printing in 2008 The opening ceremony of the Beijing Olympic Games (54min)

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1455 printing press Gutenberg and Caxton movable type printing.

1780 Franklin discovers electricity

1882 Charles Babbage designs the Difference Engine

1833 Babbage designs Analytical Machine, often considered to be the first general-purpose computer.

Lady Byron writes programs for the machine.

1837 Telegraph receiver and transmitter

1839 Daguerreotype: photographs produced using a paper negative.

1854 George Boole: develops a binary mathematical language of 1’s and 0’s (Boolean Algebra)

1858 Transatlantic cable laid

1867 Remington Manual Typewriter

1876 telephone

1879 Granted a phonograph patent

“Above all, it enables the original to meet the beholder halfway, be it in the form of aphotograph or a phonograph record. The cathedral leaves its locale to be received in the studio of a lover of art; the choral production, performed in an auditorium or in the open air, resounds in the drawing room.

The situations into which the product of mechanical reproduction can be brought may not touch the actual work of art, yet the quality of its presence is always depreciated. This holds not only for the artwork but also, for instance, for a landscape which passes in review before the spectator in a movie. In the case of the art object, a most sensitive nucleus - namely, its authenticity - is interfered with whereas no natural object is vulnerable on that score. The authenticity of a thing is the essence of all that is transmissible from its beginning, ranging from its substantive duration to its testimony to the history which it has experienced. Since the historical testimony rests on the authenticity, the former, too, is jeopardized by reproduction when substantive duration ceases to matter. And what is really jeopardized when the historical testimony is affected is the authority of the object.”

Benjamin W

The situation in which a mechanically reproduced product can be brought into may not touch the real work of art, but the quality of its existence is always devalued. This applies not only to works of art but also to, for example, landscapes that pass in front of an audience in a movie. As far as artistic objects are concerned, the most sensitive core - their authenticity - is disturbed

I think this point is very interesting, traditional and respect the artistic value of artworks. Here I started to think about whether the Internet is so developed nowadays and famous masterpieces can be seen everywhere. Will the current network environment have an impact on the value of art?

1886 Burroughs: First commercially successful adding machine

1888 Mood Music for Film: Musical scores sent along for organ accompaniment

Gramophone: disks manually rotated @ 70 rpm

First Film: Roundhay Garden Scene( Sequential photographs with sprockets manually pulled through a projector)

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1890 Tabulating Machine for the U.S. Gov.Census using punch cards. The tabulating machine later became IBM.

1896 The Lumière brothers shot a scene from the back of a train in 1896.

Cinema was introduced in China in 1896

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Middle Ages

#Project #HTML #Research and Enquiry

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