Dickson Greeting
Dickson saw the potential of using the moving image to tell a story, primarily through performance. Judging from the body language, he is clearly performing for the camera, aware of the effect this might have over the spectator. It is fair then to assume that the greeting into the world of motion pictures was fully intended by the filmmaker.
Roundhay Garden Scene
Life is reproduced for us and we are part of it, not as participants to the action, but as active voyeurs. Artistic intentionality and the possibility of constructing a conscious course of action, which is also lasting and identical, are the two attributes which Le Prince achieved in 1888 and film, as an art form, has adopted until the present day.
Sallie Gardner at a Gallop
Muybridge’s work allowed audiences to see for the first time images that they were unable to distinguish with the bare eye. The discovery thus laid-down the foundation for all the visual tricks the cinematic world is to bring throughout its history in order to distort our perception so that we confuse it for reality.