In these I explore the specific functions of such different entities as groups of studio employees, the studios themselves, entrepreneurs and manufacturers, associations and organizations, devices and sets, patents and other publications, and finally images. Therefore, I will deploy individual case studies. I will draw on Actor-Network-Theory as a methodological framework as it provides an approach that tries to avoid presumptions that inform the analytical descriptions. As a result I will show that there are no single privileged sources of agency but rather chains of translation that involve humans as much as non-humans. My work collects original publications by participants and critically relates them to each other and akin areas of film production. This field has gained a new relevance as a forerunner to contemporary digital effects and image processing, a fact that in part also explains the marginal presence optical effects in existing scholarship. Drawing on a wide range of new archival material, my dissertation presents previously unknown reasons for the developments of different techniques of image compositing such as traveling mattes, color-based processes, rear projection, and optical printing. It identifies and focuses on optical effects as a practice of montage within moving images as opposed to the montage of like images in time. This dissertation provides a historical account of a previously neglected field of moving image production.
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