Thesis (Ph.D.)--University of Melbourne, the Australian Centre, 2004. / Typescript (photocopy). Includes bibliographical references (leaves 294-320 (v. 1)).

Orientador(a): Rosangella da Silva Leote / Banca: Josette Maria Alves de Souza Monzani / Banca: Marcus Vinicius Fainer Bastos / Banca: Agnaldo Valente Germano da Silva / Banca: Rita Luciana Berti Bredariolli / Resumo: Esta pesquisa investigou a aplicação dos efeitos visuais em tempo real na construção narrativa de espetáculos com projeção. Partindo de estudos para a construção de um dispositivo direcionado para a aplicação de efeitos visuais em tempo real, pretendíamos localizar como é possível fazer tal aplicação dentro de três modalidades diferentes de espetáculos, que se enquadram no escopo de trabalhos realizados pelo grupo artístico RE(C)organize, do qual fazemos parte, sendo eles: um show musical, um espetáculo performático (sendo que esses devem integrar em seus projetos a videoprojeção) e uma apresentação de vídeo mapping, que seja total ou parcialmente, realizada de forma ao vivo. A opção por essas modalidades foi feita de acordo com a afinidade profissional do grupo. Buscamos, através de um processo teórico e prático, identificar os efeitos que evidenciam um discurso narrativo, de forma simbólica e/ou metafórica, além de detectar aqueles que possuíssem a potencialidade de atender as exigências do espetáculo ao vivo, que a nosso ver são: a urgência (no sentido de que a obra precisa acontecer naquele instante único) e a evidência (no sentido de caracterizar o momento específico de forma clara) - o que é abordado de forma detalhada ao longo deste projeto / Abstract: This research investigated the application of visual effects in real time in the narrative construction of spectacles with projection. Starting from studies to construct a device directed to the application of visual effects in real time, we wanted to locate how it is possible to make such application in three different modalities of spectacles, that fall within the scope of works realized by the artistic group RE(C)organize, of which we are part, being: a musical show, a performance spectacle (being that these must integrate in their projects the videoprojection) and a presentation of video mapping, that is totally or partially, realized in a live form. The option for these modalities was made according to the professional affinity of the group. We seek, through a theoretical and practical process, to identify the effects that evidence a narrative discourse, in a symbolic and / or metaphorical way, as well as to detect those who had the potential to meet the demands of the live show, which we believe are: the urgency (in the sense that the work must happen in that unique instant) and the evidence (in the sense of characterizing the specific moment in a clear way) - which is discussed in detail throughout this project / Resumen: Esta investigación estudió la aplicación de los efectos visuales en tiempo real en la construcción narrativa de espectáculos con proyección. A partir de analisis para la construcción de un dispositivo dirigido a la aplicación de efectos visuales en tiempo real, pretendíamos localizar cómo es posible hacer la aplicación de efectos dentro de tres modalidades diferentes de espectáculos, que se encuadran en el ámbito de trabajos realizados por el grupo artístico RE(C)organize, de lo cual formamos parte, siendo ellos: un show musical, un espectáculo performático (siendo que éstos deben integrar en sus proyectos la videoproyección) y una presentación de video mapping, que sea total o parcialmente, realizada de forma en vivo. La opción por estas modalidades se hizo de acuerdo con la afinidad profesional del grupo. Buscamos, a través de un proceso teórico y práctico, identificar los efectos que evidencian un discurso narrativo, de forma simbólica y / o metafórica, además de detectar aquellos que poseían la potencialidad de atender las exigencias del espectáculo en vivo, que a nuestro ver son: la urgencia (en el sentido de que la obra necesita suceder en aquel instante único) y la evidencia (en el sentido de caracterizar el momento específico de forma clara) - lo que se aborda de forma detallada al largo de este proyecto / Doutor

This thesis maps the existence, extent and diverse applications of the magic lantern in the Australasian colonies and brings to light a cultural practice that had remained largely invisible in histories of photography, cinema, and popular culture in nineteenth century Australasia. The thesis demonstrates that the magic lantern was popular as entertainment on both a private, domestic and a public scale. It traces its widespread adoption in two broad institutional contexts, the educational and the religious, and shows how this wide-ranging practice and consumption was supported by developing social and commercial infrastructure in the colonies and a network of touring lanternists. It argues that the magic lantern located the Australasian colonial culture within a global one centred around the consumption of visual technology and an international exchange of images. Colonial audiences were not, however, merely the passive recipients of a globalised imagery or culture. They were active contributors to it, constructing their own meanings in response to imported images. The thesis argues that, while the magic lantern functioned to affirm a sense of imperial identity in both colonisers and the colonised, it was adapted locally to the creation of colonial, intercolonial and regional identities, as an alternative to a dominant Eurocentric mass-mediated world view. Colonial practitioners applied this powerful medium to the generation of images at a local level that reveal an enthusiasm for colonial events and stories, a sense of place, and a celebration of local identity on the big screen.

This thesis maps the existence, extent and diverse applications of the magic lantern in the Australasian colonies and brings to light a cultural practice that had remained largely invisible in histories of photography, cinema, and popular culture in nineteenth century Australasia. The thesis demonstrates that the magic lantern was popular as entertainment on both a private, domestic and a public scale. It traces its widespread adoption in two broad institutional contexts, the educational and the religious, and shows how this wide-ranging practice and consumption was supported by developing social and commercial infrastructure in the colonies and a network of touring lanternists. It argues that the magic lantern located the Australasian colonial culture within a global one centred around the consumption of visual technology and an international exchange of images. Colonial audiences were not, however, merely the passive recipients of a globalised imagery or culture. They were active contributors to it, constructing their own meanings in response to imported images. The thesis argues that, while the magic lantern functioned to affirm a sense of imperial identity in both colonisers and the colonised, it was adapted locally to the creation of colonial, intercolonial and regional identities, as an alternative to a dominant Eurocentric mass-mediated world view. Colonial practitioners applied this powerful medium to the generation of images at a local level that reveal an enthusiasm for colonial events and stories, a sense of place, and a celebration of local identity on the big screen.