18 (Autumn 1995) - Schuchard, "Wiliam Blake and the Promiscuous Baboons: a Cagliostrean Seance Gone Awry"

Loutherbourg's spectral transformations and evocations of exotic sublime for hit patomime Omai - cited by Iain McCalman in Romantic Metropolis.

Peepshow box Martin Engelbrecht 1750

Phantasmagorian magic lantern

vol. 1 read by German Romantics according to The Power of the Charlatan

over all volumes - explains Laterna magica, described electrical, magnetic, optical, chemical, mechanical tricks

tricks described = tricks performed by traveling exhibitors at fairs, according to tPotC

intro to vol. 1 - "Magic, in its widest sense, is thus the art of producing phenomena which appear to exceed the natural forces of a human being."

unheimlich?

Wandering among Obelisks: Goethe and the Idea of the Monument
Clark S. Muenzer
Modern Language Studies, Vol. 31, No. 1, Remembering Goethe: Essays for the 250th Anniversary (Spring, 2001), pp. 5-34

traces history of magic lantern. also shadow plays

"...Diderot meant his 'dream' of a phantasmagoric - one is tempted to say cinematic (ft 78)- Coresus et Callirhoe to be understood as corresponding to the painting's most salient features and overall atmosphere, in particular to the partial dissolution of solid form under the influence of a colored chiaroscuro..." 143

ft 78 (p. 234-5) - There is an obvious affinity between Diderot's account of the projection of speaking colored images on a screen - an idea doubtless extrapolated from his acquaintance with magic lanterns - and the modern cinema. But I am thinking as well of the similarity between other aspects of his commentary on the Coresus et Callirhoe - e.g., his use of the fiction of dreaming, his description of his physical immobilization in the cave (a detail clearly derived from Plato), and his characterization of the projected images as fantomes...See Cavell, The World Viewed: Reflections on the Ontology of Film, esp. pp. 25-7, where the 'helplessness' of the viewer is said to be 'mchanically assured'; pp. 101-2, where movies are compared with and distinguished from dreams and fantasies...also discussed in a long essay by Cavell, "More of The World Viewed" The Georgia Review, 28 (1974). also Francis Macdonald Cornford remarks in his translation of The Republic of Plato "A modern Plato would compare his Cave to an underground cinema, where the audience watch the play of shadows thrown by the film passing before a light at their backs."

magic lantern p. 247

magic lantern and more

manufacture

"What can one say to a natural history or geogony set to music, where the objects pass before us as in a magic lantern...." (200)

Griesinger first in AmZ 11 (23 August 1809), includes extended quotation from Critique of Judgment on the unconscious nature of artistic genius 

See review of Beethoven's Piano Trios op. 70 - imagery of a garden and a painting. (Mark Evan Bonds 58)

Peter Brunette's Commentary: "What David Hemmings is doing here is putting photographs together to makes some kind of narrative to figure
out what the story was, which of course is the definition of a movie, putting together still photographs that run in some kind of narrative way through some kind of temporal sequence to makes some kind of meaning. And that's exactly what's happening here."

FA Carrel 307.

On needing to know narrative to make sense of images, pp. 143-7.

Title: Inwardness of Mental Life

Quotes Tristam Shandy on magic lantern.

Proust enchanted by magic lantern - impalpable irridescence, supernatural phenomena, makes wall window.

Cited by Gitelman Always Already New.

searchable

III, 405-10

letter 67

Has nothing to do with magic lantern.