月精听营讲义题目原文

【2月精听营上间：1月16日，1月19日，1月24日，25289:00—13:00】。YYYY8683，找到精听营2月的子频道，频道开课会通知，Q群及群公告都可以看【电脑先YY语音软件→安装之后→账号→登录→改YY8683→ENTER左长难句等录屏，以及词汇：基础词汇、小伴侣。先浏览作业说明并按照要求给交作业 联系，还未的宝宝赶紧哦。：jiegetingli townsinWhatistheleciuremainlyRecentlydiscoveredarchaeologicalsitesfromVikingAgeAnewtheoryabouttheproductionofgoodsinVikingAgeAnewwayofthinkingaboutthedevelopmentoftownsinVikingAgeTheriseandfalloftradenetworksinVikingAgeWhydoestheprofessormentionToillustratetheconceptofanodalToexintheoriginalapplicationofTocontrastmoderncommercewithmedievalToemphasizetheroleoftechnologyintradingAccordingtotheprofessor,whatartifactswerefoundatonlysevenVikingtradingsites?Clickon2AlargetyofcoppercoinsfromSeveralpiecesofjewelrymadefromAlargetyofimportedEvidenceoftheproductionofbronzeAccordingtotheprofessor,inwhatwaywereearlyScandinaviantownsdifferentfromlatersettlement?EarlyScandinaviantownswerelesslikelytobeEarlyScandinaviantownshadmorecontactwithThesurrounding0EarlyScandinaviantownswerefartherapartfromoneEarlyScandinaviantownswerelesslikelytobeinvolvedininternationalWhatdoestheprofessorimplyisaproblemwiththecentral-ceItassumesthatallearlyVikingtownswerelong-distancetrading0ItassumesthatallearlyVikingtownshadmilitaryItassumesthatalloftheearlyVikingtownswereaboutthesameItassumesthatallcentracesgrewintolargeListenagaintopartofthelecture.Thenanswerthequestion.Whatdoestheprofessorimplywhenshesaysthis:Thetheoryisoften0ThetheoryappliesmainlytoThetheoryhasevolvedoverThetheoryisknownbyanotherListentopartofalectureinanarchaeologyWeweretalkinglasttimeabouttheVikingageofScandinaviawhichlastedfromabout700CEtoroughly1100CE.AndintheearlypartoftheVikingage,itcertainlywasn'twhatyoucallanurbansociety,butthereisevidencethatquiteafewtownsemergedaroundthattime.Andscholarshavebeentryingtofigureoutwhy.Whatwerethedynamicsthatledtotheirexistence?Onetheory,forsimplicity'ssake,wecallittheCentralceTheory,saysthatthesefawnsbeganascentralpiaceswithindifferentregionsacrosstheScandinavianlandscape.Inthisview,thefirsttownswereregionalcenterseachonetimeeconomicallytothelocalsurroundingcountryside.Asalocalmarketreally,itisexercisingpoliticalcontroloverthearea.Weli,recentlyanarchaeologistnamedSSdecidedthattherewasanotherwaytolookattheprocessofurbanization,howthesetownsdevelopedintheVikingage.Hesaysthatweshouldn'tlookatailtheseearlytownsinthesameway,thatnotallofthemhadtheirprimaryrelationwiththesurroundingcountryside.Hesaysfhatsomeoftheseearlytowns.Whatcausedthemtogrowwastheireconomicconnectionswithothertowns,someofwhichwerequitefaraway,inotherwords;long-distancetrade.HethinksweshouldlookatsomeearlyScandinaviantownsasanetwork.Now,hisnotionofnetworkcomesfromnetworktheory.Networktheoryisamathematicalconceptthat'sbeenusedtoexinalotofdifferentprocessesinmanydifferentfields.Um,basicallyit'sthestudyofthestructureoftherelationshipsbetweentheelementsofasystem.Nowakeyaspectofnetworktheoryistheconceptofnodalpointsornotes.NodGlpointsarethoseviewpointsinanetworkthatgetthemosttraffic.Theyarethemosthighlyconnected,like,like,likethelargestairportsthathavethemostconnectionflights.SoSdecidedtofigureoutwhichtownsinmedievalScandinaviacouldbeclassifiedasnodalpointsforlong-distancetrafficinthenetworkofearlyVikingtowns.Hedidthisbyyzingartifactsthathadbeengatheredfromarchaeological-sitesfromtheeadyVikingera.Sowhathedidwastolooknotjustatthefyofartifactsthatwerefoundindifferentsites,butalsotoclassifythemaccordingtothetypesofartifactsthatwerefound.Todeterminewhetheratownhadlong-distanceconnections,helookedatthetyofimportedgoodsfoundafthesite,asopposedtolook,atavailablegoods.OneexampleofanimportantgoodshefoundIsatypeofceramicsthatwasn'tproducedinScandinavia,butinDeutschland,um,inwhatisnowGermany.TheseGermanceramicsarefoundinabundanceinonlysevensitesinearlyVikingageScandinavia.Thosesamesevensitesarealsotheonlysitesthatcontainevidenceoftheproductionof/bronzes.Newmakingbronzerequiredrawmaterials,likecopperalloy,whichwasn'tavailablelocally.Itwouldhavehadtohavecomefromdlongdistanceawayandpassedtothehandsoftraders.Becauseofthis,Scalledthesesitestradingsites.It'sthatlong-distanceconnectionthatdistinguishesatradingsitefromotherkindsoftownsandmakesitanodalpointinthenetwork.WhyisnetworktheoryamoreusefulapproachtofhestudyofScandinavianurbanizationthantheCentralceTheory?Well,unliketheCentralceTheory,NetworkTheorydoesn’tmakeuniformassumptionsaboutthetowns,assumptionsthatmaynotbetrue.AccordingtotheCentralceTheory,townsexertedpoliticalcontroloverthesurroundingregionandthatwouldhaverequiredmilitary.Butinfact,until900s,fewScandinaviantownswerefortified.Networktheorymakesnoassumptionsaboutpoliticalcontrol.Theonlycharacteristicthatatownneedsinordertoqualifyasanodeinthenetworkisthatitwouldbeasuitablestartingoffpointinfhelong-distancetradeandshipmentofgoods.P2WhatisthelecturemainlyTheCaliforniagroundsquirrel'stwomostdangerousDifferentstrategiesusedbyCaliforniagroundsquirrelsagainstCharacteristicsoftheheatsensingorgansofcertainvenomousReasonsthatrattlesnakesarenotdangeroustoacertainspeciesofWhatpointdoestheprofessormakewhenshementionsthenoisethatsquirrelsNoiseisnotaneffectivedeterrentagainstCommunicationbetweenmembersofaspeciesisasimportantaspredator-preyMostanimalsusesuchnoisestodiscourageMostpredator-preycommunicationiswellWhattraitallowsadultgroundsquirrelstoconfrontTheycandeterminewhetherasnakeisdangerousbyitsTheyhavetheabilitytomakethemselvesTheyhaveanimmunitytorattlesnakeTheycanmovemorequicklythanHowdidresearchersdeterminetherattlesnakes'reactiontotail-TheyusedtechnologyinalaboratorysettingtosimulateconditionsintheTheyobservedtherattlesnakes’behaviorwhentheyapproachedgroundsquirrels'Theyobservedin ctionsbetweenrattlesnakesandgroundsquirrelsinalaboratorysettingTheycomparedrattlesnakes'reactionstoCaliforniasquirrelsandothersquirrelWhyisthegroundsquirrel'sstrategyusedonlyforagainstRattlesnakescansenseheatbetterthangophersnakesRattlesnakesarelargerthangopherGophersnakeshavebettervisionthanGophersnakesaremuchlessaggressivethanAccordingtotheprofessor,whyistail-flaggingofspecialinteresttoItisararecaseoftwo-waycommunicationbetweenapreyspeciesanditsIthashelpedresearchersunderstandhowrattlesnakesusetheirheat-sensitiveItisacommunicationstrategythatmanyspeciesusetodiscourageItisthefirstknownexampleofanantipredatorbehaviorthatinvolvesachangeinbodytemperature.ListentopartofalectureinananimalbehaviorOkay.Todaywe’regoingtocontinueourdiscussionofanimalcommunication.Aswe’vetalkedabout,themodeormethodofcommunicationhastobeperceptibletothetargetofcommunication.Betweenmembersofonespeciesthereisusuallynoproblemastheyspeakthesamelanguageyoumightsay.Buthowaboutbetweenpredatorsandprey,animalsofdifferentspecies?Well,let’slookattheCaliforniagroundsquirrel.ThesesquirrelswhichliveonthewestcoastoftheUnitedStateshavemorethanonetypeofpredatorandtheyusedifferentstrategiestowardthemoff.Ifgroundsquirrelsarethreatenedbybirdsormls,theyusuallymakelotsofnoise,alarmcalls.Butanotherpredator,snakes,can'thear,sogroundsquirrelshavedevelopeddifferentphysiologicalandbehavioralstrategiestodefendthemselvesintheiroffspringagainstsnakes,mostcommonlyrattlesnakes,andgophersnakeswhicharenon-venomoussnakes.First,adultgroundsquirrelshavedevelopedanimmunitytorattlesnakes’venom.Thisenablesthemtoaggressivelydefendtheirnestswhethertheattacker'svenomousornot.Theywillkickdirtandpebblesinthesnakes'faces,andevenattackthem,bitingenemy,takingaswipeatsnakes.Inotherwords,thegroundsquirrelturnsthefablesontherattlesnakeandputsitonthedefensiveside.ThebehaviorIwanttoconcentrateoniscalledtailflagging.Tailflaggingiswhenthesquirrelmakesits'bushierandflagsitstail,wavesitbackandforth.Itisveryeffectiveinscaringoffsnakes.It'sbeenproposedthatthiswavingtailremindsthesnakesofpastencountersthattheyhavewithgroundsquirrels.Recentlyonegroupofscientistshasdiscoveredthatthereisanadditionalcomponenttotailflaggingbehaviorwhenthepredatorisarattlesnakeratherthanagophersnake.Nowaboutrattlesnakes’sensoryabilities,inadditiontotheirvisualabilities,rattlesnakeshaveheatsensitiveorgansonthesidesoftheirheads.Theseenablethesnakestosensethepresenceofwarm-bloodedanimalsbecauseoftheheattheygiveoff.Okay.Thisgroupofresearchersdiscoveredthatgroundsquirrelshavedevelopedthisabilitytowarmuptheirtailsbyseveraldegreesinfact,anddosowhenthreatenedbyarattlesnake.Theyprobablydothisbyincreasingthebloodflowofthetail,nottheirwholebody.Justthetail.Andtheeffectontherattlesnake?Well,researchersconductedtheseriesoftrialsusingroboticsquirrelsandtheyfoundtheswitchfrompredatorytodefensivebehaviorintherattlesnakeswasmuchmorepronouncedwhentheroboticsquirrels'tailswereheatedthanwhenweren't.They'renotentirelysurewhy,buttheyspeculatedthattheheatmakesthesquirrelseemlargerandthereforeamoredifficultadversary.Thisresponseisneverusedwhenthegroundsquirrelisthreatenedbygophersnakesbecausewell,theydon’thavethesameorgans.Theresponseseemstohaveevolvedjustasadeterrenttorattlesnakepredatorsandmostinterestinglyisthefirstknownexampleofanti-predatorbehaviorthatincludesathermocomponent.P3WhatisthediscussionmainlyObjectsthatC¨¦zanneoftendepictedinhisDetailsabouthowthebraininterpretsvisualExnationsofC¨¦zanne'spaintingAtheorythatprogressinneuroscienceinfluencednineteenth-centuryAccordingtotheprofessor,whatdidnineteenth-centurypaintersconsidertobeaweaknessofphotographyCamerasatthetimecouldnotcapturefast-movingPhotographsdidnotreflectrealityasitisactuallyImagesinearlyphotographsoftenhadblurryCamerascouldonlybeusedundercertainlightingWhydoestheprofessortalkaboutapaintingdepictingaharborsceneatTocompareitwithaphotographofthesameToexinatechniqueusedbypainterstoconveythepassageofToexinthedifferencebetweenC¨¦zanne'spaintingsandthepaintingsofotherTointroduceatypeofpaintingthatImpressionistpaintersrebelledAccordingtotheprofessor,whathasmodernneurosciencerevealedabouthumanvisionsoftenprocessvisualimagesdifferentlythanotherpeopleThebrainhasdifficultyprocessingvisualimagesthataretooTheeyefunctionslikeacamerathatsendsexactimagestotheImagesofsharplyoutlinedobjectsarearesultofbrainWhatisthestudent'sopinionofthebookhereadaboutHedoesnotthinktheauthorprovidesadequatesupportfortheHethinkstheauthormisunderstandsbasicHethinksthebook'sideasapplytoearlierImpressionistsaswellastoHefindstheauthor'sconclusionsWhatopiniondoestheprofessorexpressconcerningC¨¦zanne'smovetowardItwasanaturalextensionoftheprinciplesunderlyingItwasmotivatedbyC¨¦zanne'sdislikeofImpressionistItwasaresultofC¨¦zanne'sexperimentationwithItwasinspiredbyC¨¦zanne'sfamiliaritywithneuroscienceListentopartofthediscussioninanArtHistoryProfessor:So,wejustgetstartedwiththeFrenchpainterPaulSizaninourlastclass.Sizanhecreatedmostofhispaintingsinthelate19thcentury.Though,inmanyways,hisworkisancombinationoftheimpressionistmovementthatbeganseveraldecadesearlier.Amovementthatwasspurred,inpart,bythegrowingpopularityofphotography.Student:But,didn’ts,painters,feelthreatenedbyProfessor:Theydid.Andthat’soneofthereasonspaintersofthemidtolate19thcenturyworksohardtodistinguishtheirpaintingsfromthetypesofimagesthatarecapturedinphotographs.Hereisoneargumenttheyused:theyarguedthatthecameracouldonlycaptureasinglemomentintime,butforthemthatwasn’thowpeopleactuallyperceivereality.“Ourperceptionofrealityisnotasnapshot.It’sformedovertime.”they’dsay.So,thetechnicsthesepaintersusedtosuggestthepassingoftimemovedawayfromtheconventionaltechnicsofrealisticrepresentation.Youknow,sharpdetail,sharpoutlines.Outlinesofobjectsintheirpaintingsbecameincreasinglyblurredandtheyexperimentedwithcolortocreatemood.ThatpaintingtitledimpressionSunrisethatwediscussedafewclassesagowasagoodexample.Theonewiththeharborscene.Therewasasenseoftimepassingofthedayjustawakening.Thecolorisrunintooneanothertherewerenorealdistinctionsbetweenobjects.Theviewergotasenseofyoflightofsurfacesshimmering.Thisblurringoutlinesbecamethesignatureofthisnewstyleofpainting.David?Student:ThiskindofremindsmeofsomethingIreadinabookrecentlyaboutSizanandtheblurringoftheoutlinesandtheprocessofsite?Ithinkitwas...Professor:IknowwhichbookyouaretalkingaboutandI’mnotsureI...thoughitdosecertainlyfitinwithwhatwearetalkingabout.Letmeexinabitaboutthebooktotheclass.Now,rememberwhatIsaidabouttheimpressionistmovementleadinguptoSizan?Well,Sizantookthetechnicofblurringoutlinesevenfurther.Hispaintings,particularlythelateroneslackboundaries.Theyare .Theyconsistofpatchofcolorthatblendintooneanotherandyoucanhardlylwhattheobjectsare.Now,theauthorofthebookthatDavid’stalkingaboutproposedthereisaconnectionbetweenSizan’sstyleandthewayourvisualperceptionworksingeneral.modrenneuralsciencelsusthatvisualperceptionisbasicallyatwo-stageprocess.Informationatthehumaneyeinitiallytransmitstothebrainisthisprettyorganizedbunchoflinesandpatchesofcolor.That’sthefirststage.Butinthenextstage,thebrainprocessesthisblurredandsomewhatchaoticimagetocreatethefinalpictureofsharpoutlinesanddistinctobjects.Theseofcourseallhappensautomaticallyandweareonlyawareofthefinalresult.ButthisbookarguethatSizansomehowintuitedthatbeforethefinalsharpimageformed.Thereisthisstagewherecolorsandlinesareblurredandthat’swhatherepresentedinhispaintings.HesupposedlydidthisdecadesbeforescientistsactuallyunderstoodthisStudent:SoSizanjustgivesustheinitialchaoticimpressionandit’suptoourbrainstomakemeaningoutofwhatoureyessee.Professor:Right,what’swhatthebookargues.ThatSizansomehowunderstoodthathowourvisionworked.SoSizanwiththis styleissimplyforcingustogothroughthesameprocessofmakingsenseofwhatweseeastheprocessthatthebraingoesthroughtomakesenseoftheinformationitreceivesfromtheeyes.Seemslikeaprettystrongcasetome.Well,youcancertainlymaketheargument,buttome,it’sastretch.Yousee,thistwostageprocesshappensautomaticallyinourbrains.Imean,howcouldSizanbeawareofthis.IthinksimplythecaseofSizanjustcontinuingthetraditionofthisnewpaintingstylethatdidawaywithoutlinesandexperimentingwithittoseehowfarhecantakeitandwhatkindofvisualexperienceitwouldgivetheviewer.Tome,thatdoesn’tmakeaneuralscientist.WhatisthelecturemainlyTheportraitthatwasthebasisforanauthenticsculptureofWilliamTheengravingonthecoverofafamouswriter'sfirstpublishedAdebatesurroundingthesubjectofaportraitpaintedintheAsculpture,engraving,andpaintingfoundwithinafamily'sprivateartWhatdoestheprofessorimplyabouttestingthatwasdoneonaTheresultsshowedthatShakespearewasbornlaterthanoriginallyThetestingwascarriedoutagainstthewishesoftheThewoodbasewaseasiertotestthantheoilTheresultsverifiedthattheportraitwaspaintedduringShakespeare’sWhydoestheprofessormentionthequeen'sTocriticizetherestrictiveclothingregulationsoftheToexinwhysomepeoplethinkthemaninthepaintingcouldnothavebeenaToillustratethequeen'ssupportoftheartsand tureduringherToexinthatonlycertainclassesofsocietywereallowedtoposeforAccordingtotheprofessor,whatisanotablecharacteristicofportraitspaintedduringtheearly1600s?Portraitswereoftenmodifiedafter 'sThetypeofframeindicatedthesocialstatusofthePortraitsofordinarypeoplebecamePortraitsoftendidnotshowpeople’sunattractiveWhathasbeenconfirmedaboutthefirstownerofacontroversialpainting?Clickon2answersTheownersupportedShakespeareTheownermadealivingasaportraitTheownerwasamemberofShakespeare’sTheownersharedthesamepoliticalbeliefsasSirThomasWhatistheprofessor’sopinionofanarthistorian’stheorythattheCobbeportraitisnotofShakespeareHeagreeswiththeconclusionsoftheHebelievesthatthereisevidencethatdisprovestheHefeelsthatonlycertainpartsoftheoryareHethinksmoreysesareneededbeforethetheoryconbetakenListentopartofalectureinanarthistoryOkay.Todaywe'regoingtospythingsoutabitbydealingintotheheartofacontroversy.It'sburningintheartworldandtheliry'world.Youseeapainting'sbeendiscoveredfromwithinafamily'sprivatecollection.It'sknownastheCobbeportrait,andsomeverywellrespectedscholarsbelievethatthispainting:isanauthenticportraitofthefamouswriterWilliamShakespeare,madeduringhislifetime.NowpresentlythereareonlytwoimagesofShakespearethatscholarsconsideredtobeauthentic,buttheyarenotpairings.There'sthefuneralsculptureofhisheadandthenthere'stheengravingofhisheadonthecoverofhiscollectionofpublishedworks.NowthefirsttaskinauthenticatingtheCobbeportraitasaportraitofShakespearewastoestablishwhethertheportraitwasfromthecorrecthistoricalperiod.Throughexpensivetesting,weknowthatthewoodpanelonwhichtheCobbeportraitwaspaintedcomesfromtreescutdownduringthelateRenaissanceandthattheoilpaintsusedarealsocharacteristicofthatera.Sotheportraithasbeenshowntodatefromaround1610.In1610Shakespearewas46yearsold.Thenextpieceofthepuzzlewastodeterminethepainting'soriginalowner.Thefamilythatprivayownedtheportraithadaveryimpressiveconnection.Itturnsoutthatthecurrentownerisadirectdescendentofthevery whogaveShakespearebothvisiblepublicsupportandmoneytowritehisys.That wastheEarlofSotwopiecesofevidencesupporttheclaimthattheCobbeportraitisofShakespeare,butnoteveryoneagrees.Somescholarsquestiontheclothingwornbythemanintheportrait.Takealookatit.Somepointtothefactthathey,Shakespearewasaywrightandaywrightwouldn'tbewearingsuchfancyattire.ywrightsdidn'thavehighsocialstatus,andatthattimetherewasstrictlawsestablishedbytherulingqueen.QueenElizabeth,thatregulatedwhocouldwearwhat.Thisappliedtospecificspecificcolorsandtypesofclothing.Penaltieslikefinescouldbelegallyimposedfordressingaboveonesocialposition.Thatistrue,butby1610thoselawsweremorerelaxedandpeopleweredemonstratingmoresocialflexibility.Soit'sentirelypossiblethatShakespearecouldhavechosentoweartheoutfitforaspecialoccasion.Anotherpointpeoplebringupisthatthemaninthepaintingappearsveryyouthful-looking,couldthismanintheimagereallybe46?Especiallyconsideringthattimeperiod.Lifewasnoteasyandthisimagecertainlydoesn'tlookliketheimageoftheheavierandslightlybaldingmaninboththefuneralstatueandthepublishedengraving.Shakespeareonlyliveduntilhewas52yearsold,socouldhehaveagedsoveryrapidlyinonlysixyears?Well,infactthepaintingstylefromthattimeperiodisquiteidealized.Painterscreatedportraitsthatwereverycomplementaryandpeoplesometimesendeduplookingnothingliketheirrealselves,afactwhichdoesn'tmakethisinvestigativeprocesseasier.Now,onearthistorianisverydoubtfuloftheclaimsthatthisisShakespeare.However,shehasdifferentreasonsthanthetonesIpointedout.Tothehistorians'wayofthinking,andminetoo,1mightaddthisportraitismostlikelyofacompleydifferentindividual.You’reprobablythinking,waitaminute,yousaidtheEarlofSouthhamptonwastheoriginalownerofthisportraitandthathewasaverypublicsupporterofShakespeare.Oh,yes,that'strue.However,here'sthetwist.ApparentlytheEarlofSouthamptonwasalsoaverylocalsupporterofSirThomasOverbury,oneofhispoliticalallies.Duringthatfineperiod,itwouldn'tbeatallunusualtohaveanally’sportraitinyourcollection. edportraitsofSirThomasOverburylookedincrediblysimilartothecontroversialpainting.Theyareamatchwithregardtoage,facialshape,attire,andtheybothshareanintriguingdetail.IntheedportraitsofOverburyhisleftearhasacharacteristicshape.Youcan'treallyseeitwhileintheimageIshowedyou.ButtheearofthemanintheCobbePortraithasthesamepeculiarshape.P5motionWhatisthemainpurposeoftheTodescribetwoapproachestomakingfiinearlyfilmmakingToexinwhytheLumierebrothersaremoreimportantinthehistoryoffilmGeorgeToexintheimpactoftechnologyonearlyfilmTodescribetheorigins aryWhatdoestheprofessorimplyabouttheinventionofthemotionTheLumierebrothersshouldbecreditedwiththeinventionofthemotionThemotionpicturewasinventedbycombiningseveralofThomasEdison'sTheinventionofthemotionpicturewasinsomewayssimilartotheinventionofthesewingmachine.No canbecreditedwithinventingthemotionWhatpointdoestheprofessormakeabouttheItwasthefirstdeviceeverinventedbyThomasItcouldbeusedbyonly ataIfshowedlonger thanthe firstmadebytheLumiereTheLumierebrotherspurchasedtheKinetoscopefromThomasWhentheprofessordiscussesthefi oftheLumierebrothers,whydoeshementionahorseandadog?ToemphasizethescientificnatureoftheirToemphasizethattheLumierebrothersdidnottrytocontroltheactionthattheyToshowonewaythattheLumierebrotherstriedtocreateastorywiththeirToexinwhatGeorgeMeliesfoundmostinterestingabouttheWhatweretwocharacteristicsofMelies'fi thatwerenotsharedbythe oftheLumiere Melies'fishowedspontaneouseventsofMelies’fiweremadeprimarilyMelies'fimadeuseofMelies'fididnotportraytheworldinarealisticWhatdoestheprofessorimplyaboutthelossofpopularityoftheLumierebrothers’fi Thelossofpopularitydiscouragedinnovationinfilmmaking.ThelossofpopularityoccurredbecausetheLumierebrothersdidnottrytocreatefithatwouldbeentertaining.Thelossofpopularityoccurredbecausepeoplewerenotinterestedinseeingmovingpictures.TheaudienceforfiwasnotlargeenoughtosupportfimadebybothMeliesandtheLumierebrothers.ListentopartofalectureinafilmhistoryYoucan'treallydatetheinventionofmovies,motionpicturesinawayyoucanwiththeinventionofthesewingmachine.Themotionpictureevolvedthroughaprocessthatinvolvedlotsofpeopleanddeviceswithmanygradualstepsalongtheway.Whatwecan'tassignadatetooiswhenthefirstexperimentswithmovingimageswerecarriedout.Inthelate19thcenturyandwhenthefirstpublicscreeningofamotionpictureoccurredwhichwasin1895atthegroundcoffeeinParis.Withallof33peopleinattendance.AndthepeopleresponsibleforthatscreeningworkLumierebrothers:AugusteandLumi.Sincetheyheldthefirstpublicscreening,theLumierebrothersareoftencreditedwithdevelothefirstrealmotionpicture.Butevenbeforethem,aswetalkedabout,peoplehaveproducedmachinesfhafcouldmakepicturesmove.LikeThomasAndersonandhisKinetoscope.Kipefoscopeisasortofboxordesignedforanindividualviewer.Youlookthroughtheeyepieceinthecabinetandwatchhershortfilm,maybe16secondsofaboxingmatchoracomedyroutine.LegendhasitthatAntoineLumiere,aphotographerandthefatheroftheLumierebrothers,sawoneofthese.KinetoscopeonatriptoParisandcamebackveryexcitedandinstructedhissonstoquote"gettheimageout-of-the-box”unquote.MeaningtheyfigureouthowtoprotectimagesontotheExactly.TheKinetoscopecouldn'tprojectit.ItwastheLumiereswhocreatedthefirstmotionfilmprojectorthatenabledcollectiveviewing.Soanaudienceofmanypeoplecouldallwatchthesameimageprojectedontoasinglescreen.Sotheyinventedthisprojectorandmadefiforit,whichbringsusbacktothathistoricfirstshowinginthegrandcafe.ThefitheLumiereshowedthatnightincludedthefirstmovieevermade.WorkersleavingtheLumierefactory.Forthisfilm,theypositionedacameraoutsidethefactoryentrance.Theynevermovedthecameraitselfandtheyrecordedworkersleavingabuilding,likewhatyoumightseeinaaryfilm.Youseerealpeopleastheycrowdoutofthefactory.Andatonepointadogandahorsewanderintotheframe.Anotherfilmtheyshowedarrivalofthetrain,showsatrainpullinginfoastationandthepassengersdisembarkif.Thesewerefilmedinrealtimeandspace,andtheyprovidedakindofcamerathatisbothobjectiveandunpredictable.Objectivebecausetheyrecordedthingsastheywere.Andunpredictablebecausetheyweren’tcontrolledorstaged.Now,oneofthepeopleinattendanceatthatgroundcafescreenhappentobeGeorgeMelies,thedirectorofaParismagictheaterwherehehimselfperformedasamagician.Melieswassotakenwithwhathewitnessedthatnightthatprettysoonhetoowastryinghishandatmakingmotionpictures.Andagoodthingtoo.sinceby1897theenthusiasmthathadgreetedthefirstcoupleofLumierefi,hugecrowdshoweduptoseethesenewmovingpictures,hadallbutdisappeared.BecauseoflostinterestinsomethingsoWell,Isupposethetechnologyitselfwasn'tenough.AndtheLumiereeitherdidn'tseeoreareaboutthepotentialoffilmasartorentertainment.Theyvaluedfilmasascientificandteachingtool.ButMeliessawthepotentialoffilmasatoo!forcreatingfantasticandimaginaryworld.Hisfiinvolvedtheuseofelaboratesets,costumesandstoryline.WhiletheLumierehasshotfiofgeneralactivityinpublicspacesusuallyouldoors.Meliesincdefioncreativesetsthatwereclosertotheaterandthatborrowedheavilyfromtheconventionso(stagedramas.Andtheywereextremelypopular,strikingachordthattheLumierefisimplyhappened.Soatthebeginning,cinemchadwhatcriticstodaydescribedastwomaintrends:onerealistandassociatedwiththeLumierebrothersandtheotherassociatedwithGeorgeMeliesthatwas