ABSTRACT

This essay considers the conceptual and historical implications of trick automatons, three-dimensional material simulations of lifelike movement that were both mechanical and performed, for an expanded vision of film and media history. Although they have mostly been excluded from accounts of the origins of cinema, trick automatons, like cinema, appear to be automated and autonomous, but in fact completely rely on human ingenuity, manipulation, and direction for creation of their lifelike illusions. The essay offers a case study of the trick automaton trapeze artist Antonio Diavolo, a remotely operated marionette masquerading as an autonomous machine created by magician Jean Eugène Robert-Houdin and later purchased with the Théâtre Robert-Houdin by Georges Méliès, who sometimes presented Antonio Diavolo on the same programs as screenings of his films.

摘要

本文考虑了特技自动机的概念和历史意义，这是对机械和表演的逼真运动的三维材料模拟，以扩大电影和媒体历史的视野。尽管它们大多被排除在电影起源的叙述之外，但像电影一样的特技机器人似乎是自动化的和自主的，但实际上完全依靠人类的聪明才智、操纵和方向来创造它们栩栩如生的幻觉。这篇文章提供了一个关于特技自动空中飞人艺术家Antonio Diavolo的案例研究，这是一个伪装成自动机器的遥控木偶，由魔术师 Jean Eugène Robert-Houdin 创建，后来被 Georges Méliès 与 Théâtre Robert-Houdin 一起购买，他有时会展示安东尼奥·迪亚沃罗（ Antonio Diavolo）与放映他的电影的节目相同。