Anything but (Javanese and Balinese) Wayang Kulit Performance?
“Wayang” = Cinema
“For the history of early cinema in expanded field can, as indicated, provide many names of inventors, showmen, and bricoleurs, whose ways of thinking about moving images, about sound-and-image combinations, about simultaneity and interactivity landed them in dead-ends, at least from the retrospective teleology of the traditional “birth” of cinema” (Elsaesser: 2005, 22).
In old film history, the history was written by the winners only. But in so-called new film history, “the losers” can once more have a place, and even rediscover losers in the past who turn out to have become if not the winners, then the great-grandfathers of the winners (Elsaesser: 2005, 22).
Edwin S Porter vs D.W. Griffith (Noel Burch’s 1978 essay)
Edison or Lumiere the headline of Der Komet, September 26, 1896
Lumiere Brothers: The Father of Documentary or The Father of Documentary?
How about Skladanowsky, Oscar Messter (Germany), William Friese Greene (Britain), Francis Jenkins, Latham family (USA), etc?
Elsaessers and Wayang
“One of the most persistent assumptions—and perhaps the foundational gesture on which all histories of the cinema has been based—is that of inevitability of cinema. Like a baton relay, or the pieces of a jigsaw puzzle, from Plato’s parable of cave and Balinese shadow-plays, from Leonardo’studies of water in motion to Alberti’s treatise on the laws of perspective, from camera obscuras and mechanical drawing aids to magic lanterns, fog pictures and fantasmagorias, from dioramas and phenakistoscopes to thaumatropes and chronophotography, historians have beet at pains to line up, indifferently, philosophical speculation, scientific experiments, aids to observation and drawing as well as optical toys, in order to give the appearance of logic and cogency to the cinema’s creation myth: the moment when on Marc 21st 1895 the Lumiere Brothers projected their first film….(Elsaesser and Hoffman: 1997, 46).
Wayang Kulit & Media Archaeology
No appropriate research and exploration on Wayang Kulit performance
To what extent can we consider Wayang Kulit Performance as Part of pre-Cinema History?
Focus: Projection and Screen
Wayang kulit performance vs Layar Tancap
Terry Castle:” Phantasmagoria: Spectral Technology and the Metaphorics of Modern Reverie”
broadening meaning of Phantasmagoria: as mental activity and a cultural practice, and psyhological term
The importance role of projection in Phantasmagoria
Screen in Wayang Kulit shows varies greatly in size
Manovich's Theory on screen
Screen in Wayang Kulit:
A usual screen display in, a flat,rectangular surface, intended for frontal viewing = Classical Screen
it can displays images changing over time = Dynamic screen
it is more closer to television viewing than cinema viewing = the show can become a social gathering, the spectators can choose either to completely merge with the screen’s space or do any other activities (chatting, smoking,etc)
doesn’t fit real-time screen
Manovich's Theory on Screen
Wayang’s screen does not fit any of the definitions: