The Vanishing Lady (illusion)

154:'s, in 1895 to lead window decoration. In the late 1890s, he designed themed shop windows that resembled miniature theaters facing the sidewalk. The staging was so elaborate that the unveiling of six red-themed window displays in 1897 sparked a "red epidemic". According to Cesare Silla, the shop windows of this period were perceived as veritable stages, on which the drama of social life was portrayed, due to their representation of social life and a new urban identity. This led shopkeepers to draw inspiration from the mechanical means used by the theater. The analogy with theater is made by the frequent use of curtains, which are raised in the morning to allow a view of the display and lowered in the evening. The analogy with theater is made by the frequent use of curtains, which are raised in the morning to allow a view of the display and lowered in the evening. The theatrical practice also inspires the staging techniques of the showcase, which incorporates some of the developments of Victorian theater, which, thanks to a design emphasizing flexibility, aims to strike the audience with frequent changes of scenery, in particular through the use of mechanical means to create illusion, such as rail-mounted scenery or trapdoors. 350:'s comparison of the department store with a "machine, operating at high pressure, and whose movement would have reached as far as the stalls" which, "with mechanical rigor", stunned customers with merchandise and threw them into the checkout. From the outset, the development of window displays in American stores was associated with the use of mechanical devices. In 1876, Albert Fischer filed a patent for a rotating window display whose main purpose was to attract the attention of passers-by with its mechanism. In 1881, the New York store Ehrich presented a striking Christmas window display with a doll circus theme - probably the first mechanized window display in the United States. In 1883, Macy's in turn presented a steam-powered toy window for Christmas. In the years that followed, window displays using mechanical animation developed, with the triple aim of attracting passers-by with their movement, arousing their curiosity to understand how they worked, and, in the case of rotating devices, showing different aspects of the products in the same window. In 1893, Robert Faries sold a rotating bust platform to shopkeepers, which "gives the appearance of life to a shop window" and "never fails to attract attention ". 1238:, a mysterious title that suggests the use of new technologies while evoking magic. It's a two-hour show combining parts played by actors, including Baum himself in the role of narrator, musical accompaniment in the auditorium, magic lantern views and colorized film footage. Although it is impossible to reconstruct the content of this traveling show, some details were known from an interview with Baum published in 1909 by the New York Herald. Baum's knowledge of Méliès' trick techniques, in particular substitution and superimposition, suggests a strong influence on the project, particularly from his short films Le Livre magique and Les Cartes vivantes (1904), with which the filmed parts (and colorized in Paris like the films of Méliès, who entrusted this work to Madame Thuilier) share the author's intervention as magician-demiurge and the idea of bringing the characters out of a "living book". The show turned out to be a financial drain: Baum had to stop performing after three months and sell the film adaptation rights to some of his books to 1217:

the existence of "migratory behavior" on the part of audiences, who move from one media to another to pursue the entertainment experiences they have come to enjoy; and on the supply side, the existence of a "multi-platform promotional strategy" designed to encourage consumers to move from one media domain to another in order to enrich their entertainment experience. In this analysis, Baum is described as a "cultural entrepreneur" who, drawing on his reflections on advertising developed in connection with the Art of Showcasing, promotes the Oz universe through different media - books, musicals and cinema - in order to encourage the public to increase consumption of the cultural products he offers, with each medium enriching and complementing the experience offered. According to this analysis, the promotional tools used by Baum, notably promotional comics and Oz pseudo-newspapers, play the same role of attraction as a store window.

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than men disappear in Méliès films. On the other hand, Williams points out that Méliès, even before acquiring in 1888 the theater of Jean-Eugène Robert-Houdin, himself a famous automaton builder, had built several between 1885 and 1888 in imitation of Robert-Houdin. According to Williams, there is something "fascinating" in the fact that Méliès, behind the camera, cinematically simulates the mechanical simulations of his predecessors, the object of which, she argues, is to give the automaton designer "complete control" over the appearance and movements of his creation, as Méliès cinematically perfects the "mastery of the threatening presence of an actual body, by investing his pleasure in an infinitely repeatable trickery". For Williams, trickery enabled Méliès to "master the threat of castration posed by the illusory presence of women", by staging the "dismemberment and reintegration" of a body and celebrating "the

831:"At short intervals, the young woman would disappear into the pedestal (or so it seemed) and then reappear with a new hat, shirt and gloves, and so on. This went on and on, with a new hat every ten minutes, and so on. A platform is built into the showcase. It is surrounded by three panels, draped with green plush Two mirrors are arranged according to the diagram opposite, right. They reflect the side panels, giving the impression of seeing all around. A trapdoor in the floor allows the woman to disappear by means of a rudimentary elevator, which takes her to the basement where she changes her hat, tie, etc., only to reappear This showcase was a great success. On the second day, we had to put an iron railing in front of the window, lest it be broken by the crowd. The young lady was very pretty, all the hats were fitting and the outfit changes went on all day. We sold a lot of hats this way. 588:"The spectator is placed in front of a small stage closed by a curtain. When the curtain rises, a woman's head hangs in the middle of the stage. To prove that the head is indeed alive, the barnum presents a candle to blow out, and the candlestick is put back under the head to prove that it is not supported by anything. In reality, the audience is the victim of a complete illusion. A mirror cuts through the empty space along the diagonal of the stage. This mirror is pierced by an opening through which the subject, hidden behind the mirror, sticks his head. The door that the audience thinks they can open under the head, and the candle that appears to be presented straight to the subject, were concealed in the hanger of the small stage and above the curtain. Needless to say, the lighting system is designed so that no light is reflected in the mirror." 629: 1329:

trick by a male actor on a female subject, which she sees as founding a certain cinematographic vision of women. She notes that this "cliché" is part of a theatrical magic tradition, and suggests that illusionists who make their female assistants disappear were complying with a tradition that is not arbitrary, but that they were "articulating a discourse on attitudes towards women": by making them disappear or reappear at will, the illusionists "demonstrate their power" over them; by dematerializing and "decorporanting" them, they reduce them to the rank of spirits, with an unfathomable mystery. Fischer further suggests that this "masculine need to exert his power" reflects an opposite sentiment: "if our male magician was so sure of his power over women, why should he subject us ceaselessly to repeated demonstrations of it?"

644:. Michael Leja observes that, as the 1898 poster for this circus shows, spectators at these entresorts were contained behind barriers and forced to observe the illusions head-on: Roltair's illusions were designed for a mass audience in entresorts, they were fixed, continuous installations rather than performances, and they were not characterized by the skill of a prestidigitator, they were "spectacular illusions and not the performances of an illusionist". Leja also notes that the success of Roltair's illusions highlights the versatility of the notion of illusionism in the late nineteenth century: it was as much about "realistic deception" as "frank fantasy", with the term illusion marking "fields of experience in which the distinctions between true and false, real and unreal, fact and fantasy were carefully obscured". 1481:. According to Harris, "Barnum understood that the possibility of debating the falsity , of understanding how the deception came about, was basically as interesting a subject as the presentation of authentic curiosities". Leach points out that American tricksters of the 1890s "manipulated materials, technologies, ideas, objects and other people to create impressions, illusions, phantasmagoria and machines"; and that "not only did the American expect artifice and deception, but they also consciously looked behind the stage (or behind the machine) to try to understand how they had been deceived". As Michael Leja and Tom Gunning also point out, the success of optical illusions and early cinema in late nineteenth-century America was not necessarily due to naiveté, but rather to a fascination with the mechanisms at work. 809:, Charles Morton claimed authorship. Since 1887, Morton had been head window dresser at Weinstock's department store in Sacramento, and was a regular contributor to Baum's magazine, as well as being president of the American Association of Window Dressers. Morton's work included a sensational animation for the central window of the Sacramento store in 1891. In 1891, for example, he designed a sensational animation for the Sacramento store's central window: the floor would suddenly open and a huge rose would emerge; the petals would slowly spread and a little girl, dressed as a fairy and holding a magic wand in her hand, would emerge and flutter around, trying on hats and including products in her little show, then after about twenty minutes she would re-enter the rose, which would sink back down into the floor. 922:"He spreads a large-format newspaper, the Times, on the stage floor. On this newspaper he places a chair of some kind; on this chair he seats a young woman, his own; he covers the subject with a light, almost transparent silk, which he drapes tightly over her, molding her from head to toe. The operation lasts scarcely a few seconds, after which t he operator, in the midst of a gloomy silence, under the glare of all eyes anxiously focused on the narrow space where he is maneuvering, takes hold of the fabric between his two forefingers and two thumbs, blows on it with force, violently removes it and... neither seen nor known. No more woman! The newspaper has not moved a line, and on its four feet, whose footprints are unchanging, the chair alone appears, empty of its elegant burden!" 262:, a sixty-page monthly magazine for window dressers that he considered an art journal. It was illustrated with numerous photographs, many taken by Baum. The following year, in 1898, he founded the first national association of window dressers, which quickly grew to two hundred members making him a nationally recognized authority on the subject, long before he became even more notorious for his books for children. Baum explains to his readers that the function of a shop window is not to illuminate the interior, but to sell the products. One of the first pieces of advice he gives his readers is to hire an actor, playing the role of a wealthy flâneur, who, by stopping in front of the window to observe it, will attract the imitation of other passers-by. 1369:

simultaneously became the object of visual "consumption" by male flâneurs and, as flâneuses, the "foragers" of the "phantasmagoria" produced for them in the windows of department stores, the latter simultaneously offering them a "safe place" of consumption sheltered from male covetousness. Friedberg also points out that Baum's conception of the shop window, illustrated by his praise of the Vanishing Lady installation, is based on a "clear analogy" with the cinema screen: "the shop window delimits a picture; by putting it behind glass and making it inaccessible, it arouses desire it succeeds the mirror as a place for the construction of identity, then - gradually - it is displaced towards and incorporated into the cinema screen".

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constitute the "essential tool" of the window dresser, "a machine that simultaneously attracts the gaze of passers-by and directs it towards the products on display" by telling them a "legible story". Despite Baum's assertion that mechanical devices sell products, he nevertheless acknowledges, at least implicitly, according to Culver, that there may be an "impossibility of maintaining the additional presence of theatrical machinery properly in the service of the needs of commerce", as these devices primarily promote themselves. Culver sees an admission of this when Baum recommends that window dressers advertise their forthcoming mechanical windows in advance, for example by displaying a sign saying: "Watch this window".

1500:"dramatizes the relationship between consumer desire and modern beliefs about human identity" and is "a unique, perhaps even bizarre, attempt to explain how the mannequin works in advertising art by representing the conditions under which it might come to life", "not because it possesses some crucial spiritual qualities, but rather because it feels a certain desire". Culver likens this problem to that of the window dresser, for whom the mannequin is "a mechanical substitute designed to arouse the consumer's desire and steer him in the direction of a certain product category", a substitute that will only work if it projects the image of a complete body while representing its lack and without erasing its desire. 1128:

to conceal something else: maintaining the spatial frame allows us to believe in temporal continuity, in the fact that the trick is actually performed over an uninterrupted minute, while concealing the existence of trickery by substitution and editing. By drawing the viewer's gaze to the newspaper on the floor, Méliès is no longer trying to conceal the existence of a trapdoor, but rather the traces of gluing between shots, located in the upper part of the screen. As Tom Gunning sums up, Buatier's apparent fidelity to the conventions of illusion is not the sign of a kind of primitive servility, but rather a carefully constructed new illusion designed to conceal the cinematographic process at work.

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displays can be counted among the cultural phenomena symptomatic of turn-of-the-century American mass culture, centered on the justification of amusement for its own sake". Maxwell adds that "theater, vaudeville, ballrooms, circuses, amusement parks and storefronts all contributed to a mass culture characterized by audience participation, mechanical amusements, exotic settings and a sense of wonder". She concludes that "far from highlighting a culture based on the acceptance and promotion of greed, the shop windows reveal a consumer culture intertwined with a sense of artistry and a taste for amusement, functioning as much as a form of popular entertainment as a form of advertising".

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within the framework of a scenic device specially designed for the purpose, of which the illusion showcase is the heir. As James Cook notes, the opposition between illusionism and prestidigitation at the end of the 19th century encompassed several aspects: disenchantment, an explicit detachment from the supernatural, the apprehension of illusionism as a form of scientific research, and a preference for urban public amusements over those traditionally confined to a more intimate circle. The aesthetics of illusionism were also central to the development of cinema styles and techniques, which it influences in parallel with showcase art and shares some of the latter's issues.

1014:"Against the matte black background of the stage, we could see the bust of a living woman, resting on an escarpolette held in place by very shiny metal chains is quite simple. The woman, whose bust rested on a mannequin simulating the part of the body that extends from the chest to the waist, was lying almost horizontally on a kind of hammock that could follow the oscillations of the escarpolette. But this whole part of her body was hidden by the matte-black draperies that formed the backdrop to the scene, made more obscure by contrast with the shiny chains of the escarpolette. The latter, like the bust, was brightly." 1389:"On the one hand, it attempts to contain the female body by controlling its mobility. On the other hand, it attempts to contain the female body by controlling its mobility, dismembering it and securing it on one foot to reassure spectators that this woman, elusive as she seems to be, isn't going anywhere. But on the other hand, the show simultaneously participates in a misogynistic discourse that fantasizes the complete eradication of all women. The fate of the lower part of her body has already been settled, and each new disappearance implies that what's left of the body will follow the same fate as the legs." 781:, described by Stuart Culver as a "drama of desire captivating passers-by". According to Baum, it constitutes an "amplification" of the illusion previously described. André Gaudreault, who uses the term "attraction" to characterize early cinema, recalls that as early as 1835, this term was used to designate what "attracts and fascinates the public", before more specifically denoting fairground entertainment, in particular merry-go-rounds. He identifies certain "attractional modalities" that characterize optical attractions, and which were all aspects of this amplification: rotation, repetition and circularity. 1006:, Buatier filed a patent in France in November 1886 fora new way of appearing and disappearing spectres or other real beings, based on the use of a uniform, dark drapery on all stage walls, floor and ceiling. This patent was used in December of the same year in a show given in London entitled Modern Black Magic, to which several authors trace the modern practice of "black theater", based on the two techniques of background masking (an object becomes invisible because it is hidden behind a mask of the same material as the background) and background blending (the mask is invisible because it is camouflaged). 1394: 134:

consumption, were transforming their appearance and adopting new technologies that emphasized color and light, thanks in particular to the use of glass and electricity. As William Leach points out, mirrors of all kinds made their appearance, helping to create an illusion of abundance by infinitely multiplying the reflection of goods and customers. Additionally, exterior window displays were enhanced by the use of color and electric lighting, which benefited from new glass manufacturing techniques that enabled the production of less expensive, larger, stronger, and clearer panes.

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ever compiled for window dressers. From 1893 onwards, Harry Harman published the first American periodical entirely dedicated to window dressers in Louisville. Emily Orr observed that the trade was then almost exclusively male. She noted a gendered dichotomy between male producers of window displays and female consumers of the products displayed there. This development of the art of display was part of a boom in product presentation techniques that lasted until the late 1890s, including the artistic poster, the painted billboard, and the electric sign. Arthur Fraser was hired by

675: 507:"It consists of a beautiful young woman whose lower body is invisible to the spectators and whose upper body seems to rest on a pedestal and have an independent existence. The effect of the illusion is very striking. It is produced in a very simple manner: A wooden pedestal is arranged according to the diagram , the upper part consisting of a hollow bowl resting on a solid pilaster and a sufficient portion of the upper part of the bowl being cut away, so as to allow the young woman who is part of the illusion to stand behind the pilaster and in the upper part of the pedestal." 85:

combined with references to the film industry, which was emerging at the time, using well-known illusions. This convergence indicates the technical exchange that existed at the time between the performing arts, cinema, and shop window design. It raises the question of whether the consumers of urban spectacle at the time were naive or fascinated by the processes used. Baum's interest in this attraction also reveals the connection between this commercial aspect of his work, before he gained recognition as a specialist in children's fairy tales, and his later works, particularly

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spectacle not only of monstrosities and oddities, but also of trickery and optical illusions, with the "American Museum" founded in 1841 by Phineas Taylor Barnum becoming one of the country's most popular attractions. In this regard, Courtine evokes Walter Benjamin's analysis of the development of the "pilgrimage of merchandise", particularly in the context of universal exhibitions such as the one in Chicago in 1893, which, along with the entresorts, form a moment in the development of the "pleasure industry", between the funfair and the film industry.

1303:. This trickery, borrowed from Méliès who himself adapted black theater techniques to the cinema, is for Ann Morey "the richest promise of fantasy because its effect is not cancelled out by the everydayness of the American landscape that clouds our perception of the 'reality' of Oz". At the same time, it expresses a dependence on outdated visual codes: looking directly at the audience, it is closer to the "premier" cinema of pre-1906 than to the narrative cinema of its time. Morey also notes that this emblem betrays a form of genre confusion: 114: 176: 27: 699: 1307:"Ozma's head, toasting and welcoming the audience, is the best possible example of the ambiguity of Baum's films. Because she is a woman and looks directly at the camera, her image promises an exhibitionist spectacle. However, the incomplete nature of this image neutralizes this project by suggesting a kind of child without a body, a figure so innocent that it has no bodily form at all, leaving nothing for those hoping for an exhibition to examine - or rather, leaving them with only a magical image that modifies their pleasure." 1037: 687: 570: 663: 722: 651: 770: 711: 859: 872: 1317: 932: 164: 1454: 730:

table. In "The Devil's Head on a Fork", Satan's head rests on one of two prongs. "The Living Mermaid" evokes the famous Fiji Mermaid, showing a woman's bust attached to that of a fish in a jar. "Nuit et Matin" shows a man's trunk emerging from the lower part of a skeleton. "La Nymphe d'eau" shows a woman's bust emerging from a fountain. Finally, located in the center of the room, "Bluebeard's Room", shows Bluebeard seated, facing seven severed and bloody female heads.

740: 1465:, Baum points out that "the time has come to renew the genre of the fairy tale", that "contemporary children seek only entertainment in fairy tales", and that this work "aspires to be a modernized fairy tale". William Leach considers that one of the main components of this modernization, along with the anchoring in New Thought and the importance of the role assigned to color, is the use of the trickster figure, widely diffused in the United States at the time 1025: 293: 613: 850: 525: 309: 1209: 559: 207: 547: 982: 1065: 496: 247: 1273:"This gesture, which would later be seen as spoiling the realistic illusion produced by cinema, then brilliantly establishes contact with the audience. From the grimacing of actors towards the camera to the constant curtsies and gesticulations of conjurers in magic films, this cinema flaunts its visibility and accepts to sacrifice the apparent autonomy of the fictional universe if it allows it to solicit the spectator's attention." 905: 452: 432: 793: 788:"It occupies only a small space in the center of the showcase, showing only the bust and head of a pretty young woman, supported by a slender pedestal topped by a large bowl. Below the waist, the young woman is not visible; at the same time, you can see all around the pedestal, which is supported by two large sandbags. When the young woman rises, a bolt wedges the beam, to prevent the platform from flying off." 1101:

both narratively (notably with the skeleton sequence) and technically: not only does Méliès use the substitution trick rather than a trapdoor, but he maintains the shape of the veil for a few seconds before lifting it to reveal the disappearance, emphasizing that the newspaper is a real newspaper and the chair has a real back, thus creating a sense of strangeness for viewers familiar with Buatier's process:

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are doubly determined as non-magicians, in that they are salaried helpers and do not belong to the rarefied circle of magicians within which knowledge is shared and transmitted, and in that they are determined in magical performance as hypnotized, asleep, unconscious or empty-minded - literally as lacking the intellectual means to perform the magician's work"

1246: 233:. In 1888, L. Frank Baum opened Baum's Bazaar, a low-priced goods store in Aberdeen, South Dakota, modeled after Woolworth's, which was founded in 1879 in Utica. By 1891, a Dakota economic recession led him to move to Chicago and take a job as a salesman. He often helped rural hardware dealers improve the presentation of the products they were selling. 126: 5516:

one could only enter and leave81. Jules Vallès gives the following definition of an entresort: "the theater, canvas or plank, carriage or shack in which the monsters stand You go in, you come out, that's it". Agnès Pierron, on the other hand, considers the circus to be a sideshow, in which one simply enters and exits, with no provision for sitting.

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screen". More generally, she believes that the elisions created by illusion open up the question of what might have been lost to view: "the spectacle of disappearance is politically useful because it intimates a greater visual acuity on the part of the spectator, arousing anxiety and curiosity about the status of other people's bodies."

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According to Beckman, the Vanishing Lady's subsequent popularity in cinema can be explained by the fact that, by making a spectacle of her body's disappearance, she becomes a "perfect emblem of the cinematic image, which constantly struggles with the difficulty of fixing the image of the woman on the

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In particular, Fischer's analysis has been challenged by Linda Williams. According to her, while Fischer is "right to emphasize the significance of magic exerting power over women's bodies, disembodying them and reducing them to the status of decorative objects", it is wrong to assert that more women

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The revival of certain features of illusionary spectacle in early films, features also found in the window illusion described by Baum, has been noted by several authors. Tom Gunning defines early cinema as a cinema of attraction, characterized in particular by the prevalence of references to illusion

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and two years before Morton's showcase, in 1896 Georges Méliès created a film version of the trick, Escamotage d'une dame au théâtre Robert-Houdin. Frédéric Tabet observes that, while at first glance Méliès' film strip seems to take up Buatier's illusion, to which its title refers, it departs from it

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The printed characters of the rubber newspaper conceal a slot (1). The seat of the chair swivels forward and its back conceals a wire structure (2). The wire structure pivots and retains the shape of the head under the veil (3). The woman slides into a trapdoor in the floor through the opening in the

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Baum uses the term sideshow to designate the tents that accompanied circuses and barracks at fairs, carnivals or amusement parks. This term corresponds to the French term entresort, which designates the barracks where the phenomena offered to the curiosity of onlookers were presented, and from which

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Large-scale window displays, known as "French windows", were introduced to the United States in 1846 by the New York department store A.T. Stewart, nicknamed the Marble Palace. Stewart's department store, known as the Marble Palace, where they were one of the main attractions, and which Philip Hone,

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Although Baum was the son-in-law of a militant feminist, Matilda Joslyn Gage, and his biographers attribute feminist conceptions to him, several authors, struck by the recurrence of the theme of the disappearance of women in the performing arts from the 19th century onwards, have questioned the role

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Baum's interest in illusion is not confined to window art and the Wizard of Oz, but is reflected in various aspects of a multi-media deployment of the Oz wonderland that has been analyzed in terms of transmediality. This analysis is based on two theses developed by Henry Jenkins: on the demand side,

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For his part, Pierre Jenn emphasizes the seminal character of this film, Méliès's first trick film, noting that Méliès retained the appearances of Buatier's trick not so much to produce filmed theater, nor to respect theatrical convention, but to use the effect of reality provided by this convention

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Although Buatier's trick is not based on an optical illusion, it is nonetheless based on a new approach, illusionism. Blavet notes that Buatier calls himself an "illusionist" and that he "does not boast of magic: his aim is to give the illusion of it, not by prodigies of dexterity, but by scientific

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earned Charles Morton a "diamond medal" and a $ 500 prize from the American Association of Window Displays in 1899. Interviewed in 1921 by a trade periodical, he nevertheless relativized the success of his 1898 creation, seeing it in retrospect as representative of a period when window displays were

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These mirror-based illusions were popularized in the U.S. by English illusionist Henry Roltair, regarded at the turn of the 20th century as "the world's greatest illusionist", who, around 1891, transformed his traveling magic show into entresorts, presented notably in a temporary building at the San

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In 1903 a manual for window dressers points out that these illusions were drawn from the register of the magic show and consist of an arrangement of screens and mirrors designed to deceive the observer's gaze and that, "since they always form an attraction of great interest", they were often used as

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These innovations led to the development of the new profession of window dresser, which was supposed to combine "artistic feeling" with "inventive genius" and "mechanical skill", not to mention "business sense". In 1889, J. H. Wilson Marriott published what he claimed to be the first American manual

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Baum presents this device as a model of what a display window should be, and it is also a frequently cited example of spontaneous intermediality the adoption of pre-existing cultural series by an emerging medium to create new attractions. This text examines the use of stage illusions in storefronts,

1511:"It's hard not to recognize in this ghostly figure the appearance of the Woman, the "complete" woman who could fill man's lack, be his complement and not his supplement, his ideal partner with whom a sexual relationship would finally be possible - in short, the Woman who precisely does not exist." 895:

and presented worldwide by other magicians, such as Dr. Lynn in Melbourne and Adolph Seeman in Chicago. In 1890, the English lecturer Angelo John Lewis, known by his pen name "Professor Hoffmann", gave a full description in More Magic, noting that the very success of this "capital" trick had led to

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Several of the entresorts featured on the poster depict human heads suspended in a strange way: "The Tree of Life" shows seven heads between its branches, of various ages from infancy to old age. In "The Living Sphinx", a head wearing a Pharaoh's headdress, like that of Colonel Stodare, stands on a

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points out that the use of such devices is characteristic of "the fragmentation and objectification of women in department stores organized into departments" and Stuart Culver notes that "fragments of human form", in particular mechanical mannequins, are a recurring feature of Baum's treatise; they

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Francesca Coppa develops these analyses by considering that theatrical illusion divides performers into two categories, "capital (male) and labor (female), exaggerating the distinction in such a way that male magicians are defined as possessors of restricted magical knowledge and female assistants

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According to Baum, one of the best ways of attracting shoppers' attention is to present an illusionary centerpiece in the window, a process he traces back to dime museums and fairground attractions (entresorts). In the nineteenth century, fairground attractions were a "feast for the eyes", for the

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By contrast, by the early 1890s, window displays, especially in department stores, were designed with architectural precision to be appropriately arranged, according to an 1892 trade publication. This transformation was part of a wider context: department stores, aiming to become places of festive

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This film could have been inspired by either of two homonymous films that have since disappeared, Robert W. Paul's 1897 film, starring magician Charles Bertram, who created Buatier's illusion in London in 1886, or the one produced by American Mutoscope, also in 1897, with Paul Gilmore in the same

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Jehanne d'Alcy, a very small and supple acrobat, was the subject of numerous escamotages, particularly in an unofficial version of La Femme enlevée presented in July 1886. On the other hand, Charles Bertram, who created the "official" transposition of Buatier's whole in London in 1886, noted, not

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described by Baum as a particularly significant example "of desire and repudiation". Beckman sees this installation as a "strange moment" on the border between two centuries, beckoning "nostalgically" towards the vanishing tradition of entresorts and show magic, but also "impatiently" towards the

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Tom Gunning notes that a characteristic feature of pre-1906 attraction cinema is what he calls its exhibitionist aspect, marked by the actors' recurrent gaze in the direction of the camera, which also characterizes the relationship of the women who disappear into the entresorts to their audience:

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André Gaudreault has described this circulation of illusion - which is also that of the disappearing woman - between entresorts, shop windows and the nascent cinema as spontaneous intermediality, pointing out that, before it was recognized as a new medium, "the cinematograph was considered, among

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Baum's description of the device omits a fundamental point: the use of two mirrors and the application of the optical principle whereby the angle of reflection is equal to the angle of incidence. It is in fact two mirrors inclined at 45 degrees, reflecting the side walls so as to hide the central

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in the literal sense. The observer becomes "the locus and producer of the sensation". It is no longer a question of applying the principle of "misleading the mind", of diverting attention, advocated by Robert-Houdin, but of creating a repeatable illusion, thanks to a "perceptual out-of-field" and

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Until the late 1880s, visual advertising was not widely accepted and was often associated with the circus. Before 1885, there were no window displays to speak of. Electric lighting was poor, glass quality was low, and products were piled up in shop windows or, weather permitting, in the street in

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In an article published in 1979, Lucy Fischer provides one of the first analyses of this problematic. Fischer notes that the escamotage of a lady is the first occurrence of a substitution trick recurrent in Méliès and constitutive of a "cinematographic archetype", the performance of a marvellous

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He did, however, make another attempt to adapt the Oz universe for the screen, producing three films based on it with his own studio between 1914 and 1915, which, despite impressive publicity claims, were technically uninnovative and commercially unsuccessful. As Ann Morey points out, the aim of

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remains to this day "one of the most iconic stage illusions". In her view, this celebrity is due to the fact that, like the derivative illusion produced in 1896 by Méliès (see below), "the technology or machinery that produces the effect remains imperceptible to the audience". She considers this

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A complete dictionary of dry goods and history of silk, cotton, linen, wool and other fibrous substances, including a full explanation of the modern processes of spinning, dyeing and weaving, with an appendix containing a treatise on window trimming, German words and phrases, with their English

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Fiona Maxwell notes that while the development of window displays was primarily driven by commercial imperatives, they were nonetheless perceived by contemporaries as a new form of "practical art", combining the pursuit of profit with that of artistic value, and considers that "the first window

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Finally, the convergence of the theme of the disappearing woman across several media raised questions about the meaning of this theme, as well as interpretations of the relationship to women inherent in illusion and cinema performances. This is particularly evident in Baum's work, known for his

93:. Several critics have noted the internal coherence between Baum's concept of window art and the themes he later developed in his practice of intermediality, notably in his cinematic experiments, and transmediality, which involves the coherent development of a single theme across several media. 5525:

In 1865, the Hanlon brothers, famous English acrobats, bought the trick from Colonel Stodare for 5,000 francs, with the intention of presenting it in the United States in shows organized by Barnum. Barnum, to whom they presented the attraction, showed interest, believing at first that it was a

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According to Baum's son, the latter "was the Wizard of Oz", Leach analyzes the tale as a tribute to the "modern ability to create magic, illusions and theater" and "to all those new activities and strategies of manipulation and artifice - merchandising, advertising, new commercial theater, new

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and the "consumer paradise" that Baum believed the shop window designer should strive to represent. Richard Flynn continues this analysis, pointing out that Baum, having established his credibility in the children's book market with his first publications, adopted a commercial vision of the Oz

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these films was to "pictorialize" the fictional world of Oz, to "make its magic real enough to be filmable". But to do this, Baum relied on tricks such as those created by Méliès fifteen years earlier, which could only amaze a very young audience, as the informed public had lost its taste for

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movement designed to stimulate year-round consumer desire. In this context, he was instrumental in changing the way products were presented. On page after page, he recommended new tactics to grab consumers' attention, particularly those that were Baum's strong personal preference, electrified

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Baum was motivated to find a job that would allow him to settle down and stop traveling. As a salesman, he realized that many shopkeepers had not yet grasped the concept of effectively presenting their products through 'staging', proclaimed himself the "grand master" of the new art of window

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contextualizes the window illusion described by Baum. Friedberg refers to Walter Benjamin's analysis of the urban flâneur, the consumer-spectator to whom the city opens up like a landscape while enclosing him like a room. She points out that, in the second half of the 19th century, women

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Katharina Rein emphasized the special status of the newspaper under the chair, which not only camouflaged the trapdoor, but also served to "demonstrate" that there is no trapdoor, even though spectators aware of the existence of this means, assume there is one, thus playing the role of a

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The publication of this book was part of a promotional strategy comparable to that used later for window art. Baum began by creating an association of Hamburg hen enthusiasts, which enabled him to compile lists of enthusiasts and sell the product of his own breeding. He then launched

1132: 393:"Clever and observant window dressers have found that the secret of successful window displays is to have a mechanical device in the background that attracts attention, and then to present the products in such an ingenious way that people notice their excellence and want to buy them." 628: 536:

Joseph Stoddart, known as Colonel Stodare, in a trick called "The Sphinx", in which two mirrors tilted at 45 degrees conceal the body of the spectator, whose head is all that can be seen. This illusion has given rise to numerous adaptations, including the "talking head" and the

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self-referential "epistemological loop", "showing that the illusionist is aware that the spectators were aware that they were witnessing an illusion", while at the same time proving himself capable of surprising them. In this, she applied the analysis of German philosopher

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many years earlier. While Méliès's cinematic processes were perfectly suited to Baum's universe, they also confined the film to a register that excludes adult viewers, who feel cheated by the screening of a "children's" film and ask for their tickets to be refunded.

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and a fascination with tricks, and contrasts it with the narrative cinema that follows it. Frédéric Tabet, using the example of black theater, notes the existence of a "technical circulation" between the spectacle of illusion and the cinema of Méliès, for example in

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Buatier and Méliès probably met between 1888 and 1890, the latter writing: "Buatier de Kolta, who had given a few auditions on our stage , used as he was to the big music-hall stages, did not find sufficient space on ours to show the great illusions that made his

1192: 1189: 1445:, his most famous fairy tale. As William Leach notes, "jewels, lights, colors, mannequins, shop windows, images, photographs and display tricksterism flowed into the crucible of The Wizard of Oz's design". He also stresses the coherence between the 1339: 1337: 1334: 1283: 1280: 1250: 976:

Disguise: the fact that the trick's accessories were designed not as hiding places but as camouflage, as innocuous-looking objects that no-one would associate with cheating. Such is the case with the chair and newspaper, which appear to be normal

1338: 1281: 968:"disappearance of the means" to be a fundamental characteristic of modern magic, in the "highly mechanized" form it took from the second half of the 19th century onwards. She identifies two fundamental characteristics illustrated by this trick: 5505:

Louisa Iarocci also notes that the use of partial figures offering a fragmentary representation of the body is characteristic of this early period of display techniques, particularly in millinery and hosiery, with priority given to variety and

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In 1889, J. H. Wilson Marriott published what he claimed to be the first American manual ever compiled for window dressers, and from 1893 onwards, Harry Harman published in Louisville the first American periodical aimed entirely at the window

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Simulation: giving an existence to things that don't exist, or a presence to things that were absent. The woman appears to be still present under the veil, whereas she has already disappeared into the trapdoor, and only the wire simulates her

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other things, as a means of providing entertainment in well-established 'genres' such as magic and enchantment. Henry Jenkins, for his part, sees a convergence of media, an effect he considers characteristic of a period of emerging new media.

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Georges Méliès thus achieves a double movement: a rapprochement of the scene and simultaneously a dissociation, presenting a different fall . The continuity is "constructed", masking the new trickery with an obvious reference to Buatier's

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Headless mannequins to represent the shape of clothes were in use as early as the mid-nineteenth century, but it wasn't until manufacturers exhibited them at the 1894 World's Fair that mannequins with faces, eyelashes and hair began to be

994:, according to whom media (in this case, the illusionist's stage) "function like panes of glass: the more transparent they remain, the more discreetly they remain under the threshold of our consciousness, the better they do their job". 214:

Frank Baum was born in 1856 in a village in New York State. Unattracted by his father's industrial and financial activities, he developed a passion for the theater in his youth, writing plays, producing them and acting in their leading

1191: 1437:, his first success with a children's audience and the first of his books to be illustrated by Denslow. In 1900, at the same time as assembling a compilation of the best texts from The Show Window magazine for the publication of 1336: 1282: 5445:

Baum's interest in the theatricalization of shop windows is often compared with that of architect Frederick Kiesler, another man of the theater, who, in a 1930 book, evokes the "dream of a kinetic shop window "44 driven by the

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According to Fiona Maxwell, on the other hand, such an approach is too schematic: not all target consumers are women, and there are women window-shoppers, albeit fewer in number than men, particularly in city-center department

1178: 1176: 1173: 1177: 378:" effects, akin to the "irruption of theater" into the streetscape. According to Baum, the shop window's function is to tell a "readable story" to the "crowd of passers-by" to "arouse their greed" and "induce a sale". 1138: 1136: 1133: 1137: 1009:

However, modern use of the process was attested to a few years before Buatier by the Australian illusionist Hugh Washington Simmons, calling himself Dr Lynn, who presented his Thauma trick at the Folies Bergère in

5467:, itself understood as a Midwestern shop window; the witch Glinda could be a mannequin; but most exegetes see instead the Scarecrow or the Tin Woodsman as mannequins inspired by the shop windows described by Baum. 80:

At the first level, the attraction described by Baum bears witness to changing consumer trends at the end of the 19th century, particularly in the United States, and to the status of women in society at the time.

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Baum's illusion showcase is based on a fairground tradition of illusions, originating with the "Sphinx", a trick created in the UK in 1865 and popularized in the USA as a fixed fairground installation by Henry

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Installation diagram: A platform (a) is surrounded by three panels (b). At its center is a pedestal (c) surrounded by two mirrors (d). The elevator (e) moves and stops thanks to counterweights (f) and a cleat

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Illustration by John Neill for Ozma, Princess of Oz (1907). According to Mary Ann Doane, the cinematic image is for the spectator "both window and mirror, the former being a means of access to the latter

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front of the stores. In many cases, stores displayed nothing in their windows because they believed that showing their products there might have an undesirable effect or did not know how to arrange them.

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without pride, that his companion Mlle Patrice - who would later become known as "the beautiful magician" - was "in no way small, a fact which significantly enhanced the effect of her disappearance".

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Conférences sur la cinématographie organisées par le Syndicat des auteurs et des gens de lettres. 7, Trucs et illusions: applications de l'optique et de la mécanique au cinématographe / par E. Kress

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Silla, Cesare (2019). "The (Theatrical) Mediation of Urban Daily Life and the Genealogy of the Media City: Show Windows as Urban Screens at the Rise of Consumer Capitalism in America (1880‒1930)".

1135: 1155:(1898), where the painted bust is transformed into a living character thanks to a camera stop, and where the empty space between the tripod legs, also painted, merges with the black background. 63:" illusion created in London in 1865, the installation is based on an optical illusion using mirrors. The popular stage illusion of the same name, created in Paris in 1886 and later revived by 105:

Baum's transition from theater to commerce to display science came when there was a growing interest in window displays in the U.S., and he adopted these techniques from the theater world.

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mechanical head whose voice came from a tube. He then bought an identical trick directly in England and introduced it in New York, with the Hanlon brothers operating it outside the city.

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Baum gives this window display as an example of "clever" decoration, believing that Denslow's illustrations "lend themselves particularly well to display because of their vivid colors "

5417:, a specialist periodical that established his competence and enabled him to promote his hens. His articles were later included in a monographic work that established him as an expert. 5476:

In the United States, the term dry goods refers to textile products, clothing and, more generally, products that do not contain liquids and are not sold in hardware or grocery stores.

279:'spectacular' displays of spinning stars, "disappearing women", mechanical butterflies, spinning wheels, glowing globes of light - anything to make the customer 'look at the window'!" 401:"People are naturally curious. They will always stop to examine something that moves and take pleasure in studying the mechanism or trying to understand how the effect was achieved." 243:

This transformation was characterized by the use of electric lighting and larger sheets of glass for shop windows. Glass began to be used in department stores like Marshall Field's.

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and the emergence in the United States in the second half of the 19th century of an attraction to "operational aesthetics", an interest in the operative processes at work in

59:

The illusion consists of a bust of a living woman, appearing above a pedestal, then seeming to disappear inside it, only reappearing wearing a new outfit. Similar to the "

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Elizabeth Carlson notes that the proliferation of mirrors in department stores at the end of the 19th century was based on their "phantasmagorical" theatrical function.

482:"special features" of the window display layout. The term illusionist is opposed to prestidigitateur: the practice is detached from the dexterity of the operator, from 3191: 1767: 1190: 266:, described by Harry Gordon Selfridge as "indispensable" reading, reached a print run of tens of thousands of copies within a few months. As William Leach summarizes, 1335: 1279: 3195: 2984: 1771: 5427:

the former mayor of New York, considered an "extravagance". At the time, shopkeepers felt that the advantage of displaying their products in windows was uncertain.

3176:(en) Steven Heller et Louise Fili, Counter Culture: The Allure of Mini-Mannequins, new York, Princeton ArchituralPress, 2001, p. 33., Steven; Fili, Louise (2001). 374:

Using diagrams, photographs, and descriptions, Baum presents the means available to the window dresser to achieve what academic Stuart Culver analyzed in 1988 as "

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part, that make this illusion possible. Incidentally, as Rebecca Loncraine points out, the context of this illusion is explained by Baum himself in an article in

5553:

The World Encyclopedia of Puppetry defines black theater as "a theatrical technique for making certain characters or objects appear while concealing others".

641: 632: 2702:"Miscellaneous merchandise; Decorations; Collection of artistic displays; Illumination and motion in displays; Fixtures and useful information; Ideas ..." 1493:

spiritual therapies and the whole spectacle of American technological inventiveness - that constituted so much of the new American economy and culture".

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Buatier de Kolta's La Femme enlevée (The Vanishing Lady) was performed in 1902 at the Eden Museum in New York with his wife, Alice Mumford.

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The chair used by Nevil Maskelyne for this trick is preserved at the International Museum and Library of the Conjuring Arts in Las Vegas.

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In The Wizard of Oz, Dorothy's decision not to bring a porcelain figurine back to Kansas proves the seductive power of the "shop window".

1376:

Cartoon on Russia's "escamotage" of Bulgaria in 1886 manifesting, according to Beckman, the misogynistic violence inherent in the trick.

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The Oz universe map allows consumers to link the various cultural products offered by Baum, using a color-coded advertising technique.

777:

As striking as the window illusion described in the section above is, it is nonetheless, according to Baum, surpassed by that of the

650: 5693: 4888:"Appearing + reappearing in Emilie Pitoiset's 'The Vanishing Lady' window display at KLEMM'S, Mar 11 - Apr 22 | atractivoquenobello" 516:, where he refers to the famous trick of the "talking head", which appears to be placed on a table under which no body can be seen. 292: 710: 308: 283:

All in all, this editorial project expresses Baum's perception of in-store shopping as a form of entertainment, a cultural event.

4911: 1457:

Denslow's illustration for The Wizard of Oz: "Exactly!" declared the little man, rubbing his hands together "I'm a charlatan ".

175: 5103:"Séances in the City: The "Operational Aesthetic" and "Modern Spiritualism" in the Popular Culture of New York City, 1865–1870" 3084:"La circularité et la répétitivité au cœur de l'attraction: les jouets optiques et l'émergence d'une nouvelle série culturelle" 739: 240: 1200:

Two versions of Méliès's film, in which the escamotage theme hybridizes with that of Coppelia, half-model and half-automaton.

1234: 5730:

Culver, Stuart (Winter 1988). "What Manikins Want: The Wonderful Wizard of Oz and The Art of Decorating Dry Goods Windows".

1343:

According to Linda Williams, this scene from Illusions funambulesques (1903) illustrates Méliès' "mastery of dismemberment".

1117:(1898), a particularly popular tape by James Stuart Blackton, with cameraman and illusionist Albert E. Smith as the magician 389:

As Stuart Culver points out, Baum equates the aesthetic interest of showcases with the use of mechanical devices. He states:

5582:

Before making films, Albert E. Smith and James Stuart Blackton were illusionists, first separately and then in a joint act.

4331:"Transmedia Critical| Advertising the Yellow Brick Road: Historicizing the Industrial Emergence of Transmedia Storytelling" 1299:, a recurring character in the series, which is supposed to act as a brand logo and entice viewers to buy books about the 879:

As Amy Reading points out, the name given to this window illusion refers to one of the most famous tricks in stage magic,

353: 1036: 546: 558: 5888: 1450:

universe, seeking to develop derivative products through various media, including musicals and film, but also toys.

1320:

In 1869, Rubini, Stodare's successor at the Egyptian Hall, beheaded his female companion with "discreet nonchalance".

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Several explanations have been proposed for the link between The Art of Window Decoration and The Wizard of Oz. The

5436:

The magazine still exists at the beginning of the 21st century. It is published under the title VMSD in Cincinnati.

1536: 892: 363: 299: 52: 1295:

Ann Morley points out that Baum's films are introduced and concluded by a sequence depicting the bodiless head of

1024: 163: 5903: 5685: 612: 2407:"The Traveling Sidewalk: The Mobile Architecture of American Shop Windows at the Turn of the Twentieth Century" 1970:

The Book of the Hamburgs; a brief treatise upon the mating, rearing and management of the varieties of Hamburgs

5768:

Leach, William (1984). "Transformations in a Culture of Consumption: Women and Department Stores, 1890-1925".

1507:, cited by Karen Beckman in connection with the cinematic theme of the disappearing woman. According to Žižek, 1397:

The Vanishing Lady by Émilie Pitoiset (2017), presented in Berlin in 2017 as part of the eponymous exhibition.

1393: 405:

Rachel Bowlby, referring to the headless mannequins in the window of the department store described by Zola's

113: 1989: 959:

is quite a program. The man who inaugurated it has no pretension of being a sorcerer: he's just deluding us."

1470: 26: 4400: 1056:

refers, was famously revived by Méliès, who in turn inspired Baum's cinematic creations a few years later.

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Morton's diagram is the same as Baum's. The diagram on the right is taken from a book published in 1903.

3304: 3272: 3156: 1427: 769: 751: 858: 569: 4772:"Fantasmagorie et fabrication de l'illusion: pour une culture optique du dispositif cinématographique" 4771: 3292: 3260: 3144: 912:

When the illusion was first presented in Paris in April 1886, Émile Blavet described it as follows in

431: 5102: 1522: 1086: 338: 64: 4963:

Minders of Make-believe: Idealists, Entrepreneurs, and the Shaping of American Children's Literature

2712: 1668:"The Commercialization of the Calendar: American Holidays and the Culture of Consumption, 1870-1930" 532:

This device, designed by Thomas Tobin, was first used in London in 1865 by the English magician and

931: 577:

This mirror effect is not the only one possible. A development of the Sphinx illusion is known as "

315: 151: 4249: 2701: 871: 5893: 5785: 5747: 5349: 5250: 5167:

Gunning, Tom (1989). "An Aesthetic of Astonishment: Early Film and the (In)credulous Spectator".

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Baum gives a rather unclear description of the device, accompanied by a diagram (opposite, left):

69: 20: 1653:

Nearly Three Hundred Ways to Dress Show Windows: Also Suggestions and Ideas for Store Decoration

1504: 1316: 4681: 4500: 4171: 3935: 3426: 3236: 2799: 2210:"Branding consumerism: Cross-media characters and story-worlds at the turn of the 20th century" 1818: 849: 5689: 5374: 5341: 5242: 5201: 5122: 5035: 4967: 4845: 4791: 4726: 4701: 4630: 4624: 4547: 4522: 4481: 4425: 4379: 4342: 4290: 4265: 4230: 4191: 4152: 4102: 4067: 4021: 3980: 3974: 3955: 3914: 3866: 3774: 3733: 3706: 3700: 3603: 3554: 3367: 3350: 3216: 3099: 2883: 2877: 2856: 2819: 2778: 2617: 2611: 2422: 2385: 2379: 2337: 2229: 2173: 2134: 2075: 1902: 1896: 1863: 1857: 1838: 1687: 1208: 1090: 991: 603: 5368: 5195: 4961: 4720: 4541: 4373: 4210: 3908: 3727: 3597: 3210: 2850: 2772: 2167: 2128: 2069: 951:"ingenious", borrowed from English by Buatier, to whom an American nationality is attributed: 5777: 5739: 5460: 5234: 5114: 5027: 4837: 4783: 4693: 4512: 4473: 4437: 4284: 4257: 4222: 4183: 4144: 4094: 4059: 4013: 3947: 3858: 3766: 3546: 3300: 3268: 3152: 3091: 2811: 2708: 2414: 2329: 2221: 1830: 1679: 1453: 888: 86: 4261: 2209: 371:

often considered, wrongly, to be the first American work entirely devoted to this subject.

50:

celebrated it in 1900 in a book of window decorations published the same year as his novel

3400: 1352:

function of the device itself, particularly in its ability to reproduce the female body".

524: 495: 483: 336:

Baum's interest in mechanical window displays was aligned with the tastes of his time. In

246: 230: 141:

Shopkeeper Oscar Lunddkvist composing a window display. Swedish press illustration (1919).

5464: 419: 3976:

Méliès, carrefour des attractions: Suivi de Correspondance de Georges Méliès (1904-1937)

3120: 2249:

A New Era of Shopping: The Promotion of Women's Pleasure in London's West End, 1909–1914

1584: 1255:

Overlay trickery in the frozen heart scene from His Majesty, the Scarecrow of Oz (1914).

904: 451: 206: 5843:

Designing the Department Store: Display and Retail at the Turn of the Twentieth Century

5678: 4087:"Entre art magique et cinématographe: un cas de circulation technique, le Théâtre Noir" 1365: 343: 5592:

role. In France, Méliès' film was imitated by Alice Guy in Scène d'escamotage in 1898.

4052:"Le Cinéma d'attraction: le film des premiers temps, son spectateur, et l'avant-garde" 981: 792: 5882: 5669: 5644:

When Ladies Go A'Thieving: Middle-Class Shoplifters in the Victorian Department Store

3910:

Disappearing Tricks: Silent Film, Houdini, and the New Magic of the Twentieth Century

3800: 1296: 1239: 533: 347: 275: 47: 4330: 4172:"Productive intermediality and the expert audiences of magic theatre and early film" 3580: 385:

In this installation by Baum, motor-driven busts are endlessly reflected in mirrors.

328: 5629:

The English term trickster refers to the deceiver, the one who deceives or betrays.

5456: 3293:"The old and the new magic, by Henry Ridgely Evans. Introduction by Dr. Paul Carus" 2944:"Bulletin de la Société archéologique, historique & artistique le Vieux papier" 1474: 1413: 1355: 805:

is not his invention. In an article published in November 1898 in Baum's magazine,

473: 5118: 3027:

The fantastic fair: the story of the California Midwinter International Exposition

2968: 2943: 1484: 3499: 3462: 3237:"Sacramento Daily Union 31 August 1899 — California Digital Newspaper Collection" 3178:(en) Steven Heller et Louise Fili, Counter Culture: The Allure of Mini-Mannequins 229:

Married in 1882, he published his first book in 1886, devoted to the breeding of

225:, Charles Morton's window display for Weinstock's department store in Sacramento. 4825: 3550: 1752:

Lloyd Wendt et Herman Kogan, Chicago, Rand McNally, 1952; Kogan, Herman (1952).

1261: 186: 4841: 1372: 193:

Charles Morton's window display for Weinstock's department store in Sacramento.

4697: 4187: 3951: 3538: 3384: 3324: 2815: 1895:

Lasc, Anca I.; Lara-Betancourt, Patricia; Petty, Margaret Maile (2017-09-11).

1834: 1819:"TRICKS, TRAPS AND TRANSFORMATIONS: Illusion in Victorian spectacular theatre" 1446: 1300: 943: 812: 381: 375: 239:

was a pioneer in the consumerist transformation during the preparation of the

218: 137: 5761:

Magic; Stage Illusions and Scientific Diversions, Including Trick Photography

5345: 5246: 5126: 5039: 4849: 4795: 4776:

Cinémas: Revue d'études cinématographiques / Cinémas: Journal of Film Studies

4705: 4526: 4485: 4346: 4269: 4234: 4195: 4156: 4106: 4086: 4071: 4051: 4025: 3959: 3870: 3778: 3103: 3083: 2823: 2426: 2341: 2233: 2225: 1842: 1691: 640:

Francisco International Exposition in 1894 and later by the traveling circus

5826:"All the Window's a Stage: Theatricality and Show Window Display, 1897-1917" 4461: 1349: 948: 914: 5015: 4626:

A Belle Epoque?: Women and Feminism in French Society and Culture 1890-1914

4441: 5238: 5031: 4517: 4226: 4133: 3894:

Georges Méliès cinéaste: le montage cinématographique chez Georges Méliès

2418: 816:

Weinstock's department store in Sacramento before it burned down in 1903.

581:", a variation of which Georges Méliès presented in 1892 under the name " 5799:

Land of Desire: Merchants, Power, and the Rise of a New American Culture

5353: 5329: 4148: 3352:

Leaves from Conjurers' Scrap Books, Or, Modern Magicians and Their Works

3025:

Chandler, Arthur; (en) Arthur Chandler et Marvin Nathan, Nathan (1993).

2406: 5789: 5751: 4477: 4375:

Adapting The Wizard of Oz: Musical Versions from Baum to MGM and Beyond

4250:"Henry Jenkins, La Culture de la convergence. Des médias au transmédia" 4033: 4001: 3878: 3846: 3786: 3754: 3582:

Our magic: the art in magic, the theory of magic, the practice of magic

3543:

Media Archaeology and Intermedial Performance: Deep Time of the Theatre

2365:

Holidays on Display, Hudson, Princeton Architectural Press, 2007, p. 23

1754:

Give the Lady What She Wants: The Story of Marshall Field & Company

1699: 1667: 956: 236: 125: 5370:

Looking Awry: An Introduction to Jacques Lacan through Popular Culture

5254: 5222: 4098: 4063: 3095: 2349: 2317: 985:

Harry Kellar is considered the most likely model for the Wizard of Oz.

4787: 1478: 60: 5781: 5743: 4211:"La fin du merveilleux: premier cinéma et merveilleux fin-de-siècle" 4017: 3862: 3770: 2800:"The queen Christina tie-ups: Convergence of show window and screen" 2289: 1683: 1590:. University of California Libraries. Chicago: W.B. Conkey company]. 1587:

pronunciation and signification, together with various useful tables

5808:

Looking Askance: Skepticism and American Art from Eakins to Duchamp

2333: 210:

Frank Baum in 1882, in a play of his composition, The Maid of Arran

2071:

Inventing the Modern Artist: Art and Culture in Gilded Age America

1483: 1412: 1371: 1331: 1276: 1219: 1207: 1103: 980: 903: 840:

ingenious and attractive, but of dubious commercial effectiveness.

811: 768: 720: 568: 472: 352: 217: 185: 136: 124: 112: 25: 3729:

Buccaneer: James Stuart Blackton and the Birth of American Movies

367:, the work that would make him famous, Frank Baum also published 5459:

could be a huge shop window; it could have been inspired by the

3702:

Artificial Darkness: An Obscure History of Modern Art and Media

3115: 3113: 5723:

The Arts of Deception: Playing with Fraud in the Age of Barnum

4604:

Williams, Linda. "Film Body and Implantation of Perversions".

2051:"What do window displays and the Wizard of Oz have in common?" 896:

its "ruin", with most spectators now familiar with the trick.

3936:"Méliès the Magician: The magical magic of the magic image 1" 2381:

Consumer Rites: The Buying & Selling of American Holidays

2318:"Les Flâneurs du Mal(l): Cinema and the Postmodern Condition" 1898:

Architectures of Display: Department Stores and Modern Retail

19:

This article is about an illusion trick. For other uses, see

5870:

Le cinématographe des magiciens: 1896-1906, un cycle magique

4682:"The economy of desire: The commodity form in/of the cinema" 3545:, Cham: Springer International Publishing, pp. 99–114, 3539:"Vanishing Technology: Transparency of Media in Stage Magic" 2561:

Just looking: consumer culture in Dreise, Gissing, and Zola

844:

Vanishing Lady window and morning crowd admiring it (1898).

528:

The "Sphinx" illusion presented in 1865 by Colonel Stodare.

397:

According to Baum, this is due to psychological motivation:

5817:

The Real Wizard of Oz: The Life and Times of L. Frank Baum

4462:""A Whole Book for a Nickel"?: L. Frank Baum as Filmmaker" 3680:

Matsuyama, Mitsunobu (2015). "The Legend of Donba-Jutsu".

3585:. The Library of Congress. New York: E.P. Dutton & Co. 2876:

Curry, Paul; Gardner, Martin; Granda, Julio (2003-09-01).

1439:

The Art of Decorating Show Windows and Dry Goods Interiors

1417:

Showcase using Denslow's illustrations for Mon père l'Oye.

3389:. Cornell University Library. London: The Magician ltd. 2613:

Make it Work: 20th Century American Fiction and Fashion

1380:

In an essay published in 2003, Karen Beckman gives the

5680:

The Annotated Wizard of Oz: The Wonderful Wizard of Oz

4819: 4817: 4002:""Primitive" Cinema: A Frame-up? Or the Trick's on Us" 2294:, Paris: G. Charpentier et E. Fasquelle, pp. 1–34 5653:

The Art of Decorating Dry Goods Windows and Interiors

4286:

Rethinking Media Change: The Aesthetics of Transition

801:

However consistent it may be with Baum's theses, the

503:

Baum gives the following example of such an illusion:

369:

The Art of Decorating Dry Goods Windows and Interiors

4652:

The Modern Supernatural and the Beginnings of Cinema

2925: 2923: 42:

is a window display created by Charles Morton for a

4580: 4578: 332:

American patent for a rotating display unit (1876).

77:, inspired the name and theme of the installation. 5677: 4912:"Portfolio: The Vanishing Lady by Émilie Pitoiset" 4132:Gaudreault, André; Marion, Philippe (2000-04-01). 1364:In several texts published between 1991 and 1993, 1232:In 1908, Baum produced a multimedia show entitled 887:, created in 1886 in Paris by the French magician 4722:Aftershocks of the New: Feminism and Film History 4372:Birkett, Danielle; McHugh, Dominic (2018-11-05). 4045: 4043: 3599:The Amazing Harry Kellar: Great American Magician 3212:Weinstock's: Sacramento's Finest Department Store 2942:texte, Le Vieux papier (Paris) Auteur du (1963). 1224:One of the few surviving photographs of the show 3847:"The Lady Vanishes: Women, Magic and the Movies" 3082:Dulac, Nicolas; Gaudreault, André (2006-12-15). 2251:. Los Angeles: Leo Charney and Vanessa Schwartz. 1856:Fisher, James; Londré, Felicia Hardison (2009). 1723: 1721: 3979:(in French). Presses universitaires de Rennes. 3261:"Merchants record and show window v.48-49 1921" 3145:"Merchants record and show window v.48-49 1921" 5738:(21). University of California Press: 97–116. 5655:. Chicago: The Show Window Publishing Company. 4283:Thorburn, David; Jenkins, Henry (2004-09-17). 2967:Kress, Émile (18-19 ) Auteur du texte (1912). 3537:Rein, Katharina (2019), Wynants, Nele (ed.), 820:In his 1898 article, Morton explains how the 573:"The Beheaded Princess", front and side view. 8: 3190:: CS1 maint: multiple names: authors list ( 2766: 2764: 1766:: CS1 maint: multiple names: authors list ( 1503:This analysis overlaps in part with that of 5872:. Rennes: Presses universitaires de Rennes. 5810:. Berkeley: University of California Press. 4466:Children's Literature Association Quarterly 3121:"The Show window - Yale University Library" 2983:: CS1 maint: numeric names: authors list ( 1641:. Vol. 4. Chicago: Cree Publishing Co. 1002:In response to the numerous plagiarisms of 5705:Vanishing Women: Magic, Film, and Feminism 4623:Holmes, Diana; Tarr, Carrie (2006-01-01). 3622: 3194:) CS1 maint: numeric names: authors list ( 2902: 2774:Window Shopping: Cinema and the Postmodern 1770:) CS1 maint: numeric names: authors list ( 1655:. Baltimore: Show Window Publishing. 1889. 158:From theater hatches to shop-window traps. 5181: 5064: 5052: 4947: 4516: 4359: 4091:1895. Mille Huit Cent Quatre-vingt-quinze 4056:1895. Mille Huit Cent Quatre-vingt-quinze 3088:1895. Mille Huit Cent Quatre-vingt-quinze 2836: 2214:International Journal of Cultural Studies 2130:L. Frank Baum: Creator of Oz: A Biography 2099: 2024: 2012: 1955: 1859:The A to Z of American Theater: Modernism 1469:was conceived. Leach refers to historian 455:Mechanical showcases for millinery items. 414:Mechanical showcases for millinery items. 4757: 4745: 4499:Williams, Grace Alexandra (2014-12-18). 4426:"Quand Méliès n'en faisait qu'à sa tête" 2673: 2367:. Hudson: Princeton Architectural Press. 1452: 1392: 1354: 1315: 1244: 1130: 1063: 930: 870: 791: 627: 523: 494: 477:Window illusion in Syracuse, circa 1947. 450: 380: 327: 245: 205: 5395: 5315: 5144:. Chicago: University of Chicago Press. 5081: 5079: 5077: 5075: 5073: 5016:"Imitation Oz: The Sequel as Commodity" 4935: 4874: 4862: 4808: 4599: 4597: 4595: 4593: 4584: 4455: 4453: 4451: 4324: 4322: 4320: 4313:. Londres: National Film Archive. 1966. 3840: 3838: 3836: 3834: 3832: 3648: 3646: 3532: 3530: 3528: 3526: 3524: 3522: 3520: 3449: 3427:"Physique amusante: la femme escamotée" 2914: 1926: 1739: 1548: 1161: 1017: 842: 732: 646: 590: 539: 412: 285: 156: 5725:. Cambridge: Harvard University Press. 5303: 5291: 5279: 4335:International Journal of Communication 4262:10.4000/questionsdecommunication.10262 3183: 3180:. New York: Princeton ArchituralPress. 3065: 3063: 3038: 3036: 2976: 2645: 2643: 2641: 2639: 2637: 2635: 2633: 2534: 2530: 2528: 2526: 2477: 2475: 2454: 2450: 2448: 2311: 2309: 2307: 2283: 2281: 1804:International Journal of Communication 1759: 1385:newly emerging world of cinema, which 1287:The detached head of Princess Ozma in 773:Diagram of the Vanishing Lady by Baum. 253:, cover of first issue, November 1897. 5267: 5001: 4134:"Un média naît toujours deux fois..." 4119: 3823: 3652: 3500:"Le Gaulois: littéraire et politique" 3486: 2755: 2731: 2268: 2266: 2264: 2262: 2260: 2258: 2195: 2191: 2189: 2153: 2122: 2120: 2111: 2095: 2093: 2091: 1983: 1981: 1979: 1951: 1949: 1940: 1936: 1934: 1922: 1920: 1918: 1785: 1783: 1781: 1727: 1624: 1612: 1600: 1570: 1558: 1425:, Frank Baum published the storybook 7: 5660:Baum, Frank; Leach, William (1991), 5646:. New York: Oxford University Press. 5154: 3355:. Donohue, Henneberry & Company. 3069: 3054: 3042: 2997: 2929: 2743: 2661: 2649: 2597: 2585: 2573: 2546: 2517: 2505: 2493: 2481: 2466: 1554: 1552: 361:In 1900, the same year he published 357:Title page of Baum's book on display 258:dressing. In November 1897, founded 117:Vitrine de Marshall Field's c. 1910. 5107:American Nineteenth Century History 3637:Das Medium als Spur und als Apparat 2439: 2272: 2127:Rogers, Katharine M. (2007-04-01). 2036: 1882: 1789: 1712: 1441:, Baum completed the manuscript of 1421:In 1897, the same year he launched 129:Electrified hat showcase (c. 1900). 5845:. New York: Bloomsbury Publishing. 5197:Museums, Media and Cultural Theory 4686:Quarterly Review of Film and Video 2804:Quarterly Review of Film and Video 2777:. University of California Press. 1203: 624:Popularized in the U.S. by Roltair 499:Window illusion described by Baum. 14: 3639:(in German). Francfort: Suhrkamp. 2852:The Chinese Visit to England 1866 2610:Goggans, Jan Ellyn (2019-04-17). 2169:George Ohr: Sophisticate and Rube 2133:. St. Martin's Publishing Group. 1052:Buatier's illusion, to which the 900:Description of Buatier's illusion 5194:Henning, Michelle (2005-12-16). 5101:Power Smith, Mark (2017-01-02). 4430:1895, revue d'histoire du cinéma 3913:. University of Illinois Press. 2166:Lippert, Ellen J. (2013-11-08). 1968:Lyman Frank Baum, Lyman (1886). 1186: 1170: 1096:Ten years after the creation of 1035: 1023: 857: 848: 750: 738: 709: 697: 685: 673: 661: 649: 611: 596: 557: 545: 430: 418: 307: 291: 174: 162: 5770:The Journal of American History 5142:Humbug: The Art of P. T. Barnum 4329:Freeman, Matthew (2014-08-14). 4311:Silent fiction films, 1895-1930 3755:"American Vitagraph: 1897-1901" 3705:. University of Chicago Press. 3463:"Figaro: journal non politique" 3401:"Figaro: journal non politique" 3014:. University Press of Kentucky. 2690:. University Press of Kentucky. 1672:The Journal of American History 287:Showcases from The Show Window. 5824:Maxwell, Fiona (Spring 2018). 5759:Hopkins, Albert Allis (1898). 5714:Paris, capitale du xixe siècle 5200:. McGraw-Hill Education (UK). 4654:. Londres: Palgrave MacMillan. 4137:Sociétés & Représentations 4085:Tabet, Frédéric (2013-04-01). 3699:Elcott, Noam M. (2016-05-30). 3349:Burlingame, Hardin J. (1891). 3209:Kassis, Annette (2012-08-07). 2771:Friedberg, Anne (2023-09-01). 2384:. Princeton University Press. 2172:. Univ. Press of Mississippi. 1235:The Fairylogue and Radio-Plays 998:Disappearance and theater noir 867:Reference to a famous illusion 274:was at the forefront of a new 97:proximity to feminist theses. 1: 5119:10.1080/14664658.2017.1284300 4966:. Houghton Mifflin Harcourt. 4540:Lamb, Geoffrey (2016-07-01). 4401:"The Man Who Would Be Disney" 3366:Hoffmann (Professor) (1890). 1988:Culver, Stuart (2003-12-25). 1637:Johnson, Axel Petrus (1911). 1473:analysis of the influence of 1164:L'Illusionniste fin de siècle 963:Katharina Rein observes that 891:, then taken up in London by 469:Illusion and prestidigitation 5367:Zizek, Slavoj (1992-09-08). 4725:. Rutgers University Press. 4505:Journal of Performance Magic 4248:Vovou, Ioanna (2015-12-31). 4176:Early Popular Visual Culture 3940:Early Popular Visual Culture 3732:. Rowman & Littlefield. 3726:Dewey, Donald (2016-04-15). 3372:. George Routledge and Sons. 3125:collections.library.yale.edu 2378:Schmidt, Leigh Eric (1995). 2049:Meakin, Kerry (2018-12-10). 1862:. Rowman & Littlefield. 1823:Early Popular Visual Culture 1666:Schmidt, Leigh Eric (1991). 734:Roltair's illusions in 1903. 101:From theater to shop windows 5815:Loncraine, Rebecca (2009). 5801:. New York: Pantheon Books. 4960:Marcus, Leonard S. (2008). 4378:. Oxford University Press. 4256:(in French) (28): 363–364. 4050:Gunning, Tom (2006-12-15). 3596:Jarrow, Gail (2012-06-01). 3551:10.1007/978-3-319-99576-2_4 2405:Lasc, Anca I (2016-11-08). 2068:Burns, Sarah (1996-01-01). 908:Diagram of Buatier's lathe. 592:The Enchanted Spring (1892) 520:The Sphinx and its variants 300:Carson Pirie Scott & Co 5920: 5686:W. W. Norton & Company 5662:The Wonderful Wizard of Oz 4842:10.1162/105420404323063454 4501:"Vanishing in Plain Sight" 4424:Malthête, Jacques (1999). 4254:Questions de Communication 4209:Frezzato, Sylvain (2015). 3934:Gaudreault, André (2007). 3667:Conjurers' optical secrets 2363:Bird Jr., William (2007). 1537:The Wonderful Wizard of Oz 1443:The Wonderful Wizard of Oz 1226:Fairylogue and Radio-Plays 541:Female variants of Sphinx. 364:The Wonderful Wizard of Oz 241:1893 Columbian Exposition. 53:The Wonderful Wizard of Oz 46:department store in 1898. 18: 5819:. New York: Gotham Books. 5712:Benjamin, Walter (2009). 5227:American Literary History 4698:10.1080/10509208909361285 4399:lokkeheiss (2012-09-21). 4188:10.1080/17460650903515921 4093:(in French) (69): 26–43. 4058:(in French) (50): 55–65. 3952:10.1080/17460650701433822 3907:Solomon, Matthew (2010). 3669:. M. Hades International. 3579:Maskelyne, Nevil (1911). 3090:(in French) (50): 29–54. 2816:10.1080/10509208909361286 2411:Journal of Design History 2208:Freeman, Matthew (2015). 2074:. Yale University Press. 1835:10.1080/17460650701433673 1204:Baum's takeover of Méliès 1060:Méliès takes over Buatier 109:Development of window art 5868:Tabet, Frédéric (2018). 5859:Steinmeyer, Jim (2003). 5707:. Duke University Press. 5642:Abelson, Elaine (1989). 5020:The Lion and the Unicorn 4680:Doane, Mary Ann (1989). 4665:Sadoul, Georges (1970). 3973:Collectif (2019-06-21). 3753:Musser, Charles (1983). 3635:Krämer, Sybille (1998). 3012:Secrets of the Sideshows 2849:Robinson, Keith (2016). 2688:Secrets of the Sideshows 2316:Friedberg, Anne (1991). 2247:Rappaport, E.D. (1995). 2226:10.1177/1367877913515868 1756:. Chicago: Rand McNally. 1583:Cole, George S. (1892). 1289:The Patchwork Girl of Oz 899: 633:Barnum and Bailey circus 5863:. Londres: Arrow Books. 5797:Leach, William (1993). 5721:Cook, James W. (2001). 5703:Beckman, Karen (2003). 5330:"How the Non-Duped Err" 5221:Culver, Stuart (1992). 5065:Baum, Leach & (1991 5014:Flynn, Richard (1996). 4989:The Clown from Syracuse 4719:Petro, Patrice (2002). 4650:Leeder, Murray (2017). 3383:Goldston, Will (1912). 3305:2027/nyp.33433017993381 3273:2027/iau.31858046221093 3157:2027/iau.31858046221093 2882:. Courier Corporation. 2559:Bowlby, Rachel (1985). 1461:In the introduction to 1048:From windows to screens 941:means". Raoul Toché in 490: 201: 70:L'Escamotage d'une dame 5841:Orr, Emily M. (2019). 5806:Leja, Michael (2004). 5674:Hearn, Michael Patrick 5328:Žižek, Slavoj (1990). 5182:Baum & Leach (1991 5053:Baum & Leach (1991 4948:Baum & Hearn (2000 4824:Mazer, Sharon (2004). 4442:10.3406/1895.1999.1391 4360:Baum & Hearn (2000 3845:Fischer, Lucy (1979). 3215:. Arcadia Publishing. 2100:Baum & Hearn (2000 2025:Baum & Hearn (2000 2013:Baum & Hearn (2000 1956:Baum & Hearn (2000 1639:Library of Advertising 1513: 1489: 1458: 1434:Father Goose: His Book 1418: 1398: 1391: 1377: 1361: 1344: 1321: 1309: 1292: 1275: 1256: 1229: 1213: 1147: 1125: 1118: 1093: 1016: 986: 961: 937: 924: 909: 883:, known in english as 876: 833: 817: 798: 790: 774: 726: 725:"Bluebeard's bedroom." 636: 579:La Princesse décapitée 574: 529: 509: 500: 478: 456: 403: 395: 386: 358: 333: 281: 254: 226: 211: 194: 148:Harry Gordon Selfridge 142: 130: 118: 34: 5850:Reading, Amy (2013). 5140:Harris, Neil (1981). 5032:10.1353/uni.1996.0006 4770:Gunning, Tom (2003). 4569:The Clown of Syracuse 4518:10.5920/jpm.2014.2140 4000:Gunning, Tom (1989). 3892:Pierre, Jenn (1984). 3602:. Boyds Mills Press. 3010:Nickell, Joe (2005). 2798:Gaines, Jane (1989). 2686:Nickell, Joe (2005). 1958:, pp. XVIII–XIX) 1817:Johnson, Ray (2007). 1509: 1487: 1475:Phineas Taylor Barnum 1456: 1428:Mother Goose in Prose 1416: 1396: 1387: 1375: 1358: 1342: 1319: 1305: 1286: 1271: 1254: 1223: 1211: 1141: 1120: 1113: 1083:Théâtre Robert-Houdin 1075: 1012: 984: 953: 934: 920: 907: 874: 829: 815: 795: 786: 772: 724: 631: 572: 527: 505: 498: 476: 460:A fairground heritage 454: 399: 391: 384: 356: 331: 268: 249: 221: 209: 189: 140: 128: 116: 75:Théâtre Robert-Houdin 29: 5651:Baum, Frank (1900). 4830:TDR/The Drama Review 4460:Morey, Anne (1995). 4227:10.3917/rom.170.0087 4170:Kember, Joe (2010). 3665:Sharpe, Sam (1985). 2563:. New York: Methuen. 2291:Au bonheur des dames 2288:Zola, Émile (1883), 1990:"A Wonderful Wizard" 1523:Au Bonheur des Dames 1019:Dr. Lynn's "Thauma". 704:"Night and Morning". 407:Au Bonheur des Dames 339:Au Bonheur des Dames 5861:Hiding the Elephant 5239:10.1093/alh/4.4.607 5004:, pp. 180–182) 4149:10.3917/sr.009.0021 3826:, pp. 127–128) 3655:, pp. 130–131) 3057:, pp. 161–162) 2932:, pp. 162–165) 2746:, pp. 178–179) 2713:2027/wu.89071909584 2652:, pp. 129–130) 2520:, pp. 114–115) 1603:, pp. 321–322) 1496:For Stuart Culver, 583:La Source enchantée 324:Mechanical showcase 5889:1898 introductions 5223:"Growing up in Oz" 5088:A Trickster's Tale 4629:. Berghahn Books. 4478:10.1353/chq.0.1073 3896:. Paris: Albatros. 2419:10.1093/jdh/epw040 1530:The Vanishing Lady 1490: 1459: 1419: 1406:Relationship with 1399: 1378: 1362: 1345: 1322: 1293: 1257: 1230: 1214: 1148: 1119: 1115:The Vanishing Lady 1094: 1078:The vanishing lady 987: 938: 910: 885:The Vanishing Lady 877: 818: 799: 775: 727: 637: 575: 530: 501: 479: 457: 387: 359: 334: 255: 227: 212: 195: 191:A Scene in Venice, 143: 131: 119: 39:The Vanishing Lady 35: 31:The Vanishing Lady 21:The Vanishing Lady 5852:The Lady Vanishes 5763:. New York: Munn. 5446:consumer45,46,47. 5415:The Poultry World 5380:978-0-262-74015-9 5207:978-0-335-22575-0 4973:978-0-395-67407-9 4811:, pp. 56–59) 4732:978-0-8135-2996-7 4669:. Paris: Seghers. 4636:978-0-85745-701-1 4553:978-1-317-27324-0 4385:978-0-19-066319-3 4296:978-0-262-26494-5 4099:10.4000/1895.4608 4064:10.4000/1895.1242 3986:978-2-7535-6152-6 3920:978-0-252-07697-8 3739:978-1-4422-4259-3 3712:978-0-226-32902-4 3609:978-1-62979-170-8 3560:978-3-319-99576-2 3452:, pp. 42–43) 3222:978-1-61423-619-1 3096:10.4000/1895.1282 2917:, pp. 69–71) 2905:, pp. 78–82) 2889:978-0-486-43176-5 2862:978-1-326-73766-5 2784:978-0-520-91551-0 2734:, pp. 96–99) 2623:978-0-429-53640-3 2391:978-0-691-01721-1 2179:978-1-61703-901-0 2140:978-1-4299-7984-9 2114:, pp. 59–60) 2102:, p. XXVIII) 2081:978-0-300-07859-6 1994:Los Angeles Times 1908:978-1-317-17895-8 1885:, pp. 85–86) 1869:978-0-8108-6884-7 1340: 1312:Feminist analysis 1284: 1252: 1193: 1179: 1146:by Méliès (1898). 1139: 1111: 1073: 642:Barnum and Bailey 443:Illusion showcase 314:Handkerchiefs at 223:A Scene in Venice 169:Theater trapdoor. 150:, the manager of 5911: 5904:The Wizard of Oz 5873: 5864: 5855: 5846: 5837: 5820: 5811: 5802: 5793: 5764: 5755: 5726: 5717: 5708: 5699: 5683: 5665: 5656: 5647: 5630: 5627: 5621: 5618: 5612: 5609: 5603: 5599: 5593: 5589: 5583: 5580: 5574: 5570: 5564: 5560: 5554: 5551: 5545: 5542: 5536: 5533: 5527: 5523: 5517: 5513: 5507: 5503: 5497: 5493: 5487: 5483: 5477: 5474: 5468: 5461:Midway Plaisance 5453: 5447: 5443: 5437: 5434: 5428: 5424: 5418: 5410: 5404: 5400: 5385: 5384: 5364: 5358: 5357: 5325: 5319: 5313: 5307: 5301: 5295: 5289: 5283: 5277: 5271: 5265: 5259: 5258: 5218: 5212: 5211: 5191: 5185: 5179: 5173: 5172: 5164: 5158: 5152: 5146: 5145: 5137: 5131: 5130: 5098: 5092: 5091: 5083: 5068: 5062: 5056: 5050: 5044: 5043: 5011: 5005: 4999: 4993: 4992: 4984: 4978: 4977: 4957: 4951: 4950:, p. XXVII) 4945: 4939: 4933: 4927: 4926: 4924: 4923: 4908: 4902: 4901: 4899: 4898: 4884: 4878: 4872: 4866: 4860: 4854: 4853: 4821: 4812: 4806: 4800: 4799: 4788:10.7202/008958ar 4767: 4761: 4755: 4749: 4743: 4737: 4736: 4716: 4710: 4709: 4677: 4671: 4670: 4662: 4656: 4655: 4647: 4641: 4640: 4620: 4614: 4613: 4601: 4588: 4582: 4573: 4572: 4564: 4558: 4557: 4537: 4531: 4530: 4520: 4496: 4490: 4489: 4457: 4446: 4445: 4421: 4415: 4414: 4412: 4411: 4396: 4390: 4389: 4369: 4363: 4357: 4351: 4350: 4326: 4315: 4314: 4307: 4301: 4300: 4280: 4274: 4273: 4245: 4239: 4238: 4206: 4200: 4199: 4167: 4161: 4160: 4129: 4123: 4117: 4111: 4110: 4082: 4076: 4075: 4047: 4038: 4037: 3997: 3991: 3990: 3970: 3964: 3963: 3931: 3925: 3924: 3904: 3898: 3897: 3889: 3883: 3882: 3842: 3827: 3821: 3815: 3814: 3812: 3811: 3797: 3791: 3790: 3750: 3744: 3743: 3723: 3717: 3716: 3696: 3690: 3689: 3677: 3671: 3670: 3662: 3656: 3650: 3641: 3640: 3632: 3626: 3623:Steinmeyer (2003 3620: 3614: 3613: 3593: 3587: 3586: 3576: 3570: 3569: 3568: 3567: 3534: 3515: 3514: 3512: 3511: 3496: 3490: 3484: 3478: 3477: 3475: 3474: 3459: 3453: 3447: 3441: 3440: 3438: 3437: 3422: 3416: 3415: 3413: 3412: 3397: 3391: 3390: 3380: 3374: 3373: 3363: 3357: 3356: 3346: 3340: 3339: 3337: 3336: 3321: 3315: 3314: 3312: 3311: 3289: 3283: 3282: 3280: 3279: 3257: 3251: 3250: 3248: 3247: 3233: 3227: 3226: 3206: 3200: 3199: 3189: 3181: 3173: 3167: 3166: 3164: 3163: 3141: 3135: 3134: 3132: 3131: 3117: 3108: 3107: 3079: 3073: 3067: 3058: 3052: 3046: 3040: 3031: 3030: 3022: 3016: 3015: 3007: 3001: 2995: 2989: 2988: 2982: 2974: 2964: 2958: 2957: 2955: 2954: 2939: 2933: 2927: 2918: 2912: 2906: 2903:Steinmeyer (2003 2900: 2894: 2893: 2879:Magician's Magic 2873: 2867: 2866: 2846: 2840: 2834: 2828: 2827: 2795: 2789: 2788: 2768: 2759: 2753: 2747: 2741: 2735: 2729: 2723: 2722: 2720: 2719: 2698: 2692: 2691: 2683: 2677: 2671: 2665: 2659: 2653: 2647: 2628: 2627: 2607: 2601: 2595: 2589: 2583: 2577: 2571: 2565: 2564: 2556: 2550: 2544: 2538: 2532: 2521: 2515: 2509: 2503: 2497: 2491: 2485: 2479: 2470: 2464: 2458: 2452: 2443: 2437: 2431: 2430: 2402: 2396: 2395: 2375: 2369: 2368: 2360: 2354: 2353: 2313: 2302: 2301: 2300: 2299: 2285: 2276: 2270: 2253: 2252: 2244: 2238: 2237: 2205: 2199: 2193: 2184: 2183: 2163: 2157: 2151: 2145: 2144: 2124: 2115: 2109: 2103: 2097: 2086: 2085: 2065: 2059: 2058: 2046: 2040: 2034: 2028: 2022: 2016: 2010: 2004: 2003: 2001: 2000: 1985: 1974: 1973: 1965: 1959: 1953: 1944: 1938: 1929: 1924: 1913: 1912: 1892: 1886: 1880: 1874: 1873: 1853: 1847: 1846: 1814: 1808: 1807: 1799: 1793: 1787: 1776: 1775: 1765: 1757: 1749: 1743: 1737: 1731: 1725: 1716: 1710: 1704: 1703: 1663: 1657: 1656: 1649: 1643: 1642: 1634: 1628: 1622: 1616: 1610: 1604: 1598: 1592: 1591: 1580: 1574: 1568: 1562: 1556: 1498:The Wizard of Oz 1467:The Wizard of Oz 1463:The Wizard of Oz 1408:The Wizard of Oz 1341: 1325:of this figure. 1285: 1253: 1195: 1194: 1181: 1180: 1140: 1112: 1098:La Femme enlevée 1074: 1039: 1027: 1004:La Femme enlevée 965:La Femme enlevée 947:also notes this 889:Buatier de Kolta 881:La Femme enlevée 861: 852: 754: 745:"Satan's Dream". 742: 713: 701: 689: 677: 668:"Living Sphinx". 665: 653: 615: 600: 561: 549: 484:prestidigitation 434: 422: 316:Marshall Field's 311: 295: 231:Hamburg chickens 178: 166: 5919: 5918: 5914: 5913: 5912: 5910: 5909: 5908: 5879: 5878: 5867: 5858: 5854:. The Appendix. 5849: 5840: 5830:Ezra's Archives 5823: 5814: 5805: 5796: 5782:10.2307/1901758 5767: 5758: 5744:10.2307/2928378 5732:Representations 5729: 5720: 5711: 5702: 5696: 5668: 5659: 5650: 5641: 5638: 5633: 5628: 5624: 5619: 5615: 5610: 5606: 5600: 5596: 5590: 5586: 5581: 5577: 5571: 5567: 5561: 5557: 5552: 5548: 5543: 5539: 5534: 5530: 5524: 5520: 5514: 5510: 5504: 5500: 5494: 5490: 5484: 5480: 5475: 5471: 5454: 5450: 5444: 5440: 5435: 5431: 5425: 5421: 5411: 5407: 5401: 5397: 5393: 5388: 5381: 5366: 5365: 5361: 5327: 5326: 5322: 5314: 5310: 5302: 5298: 5290: 5286: 5278: 5274: 5266: 5262: 5220: 5219: 5215: 5208: 5193: 5192: 5188: 5180: 5176: 5166: 5165: 5161: 5153: 5149: 5139: 5138: 5134: 5100: 5099: 5095: 5085: 5084: 5071: 5063: 5059: 5051: 5047: 5013: 5012: 5008: 5000: 4996: 4986: 4985: 4981: 4974: 4959: 4958: 4954: 4946: 4942: 4934: 4930: 4921: 4919: 4910: 4909: 4905: 4896: 4894: 4886: 4885: 4881: 4873: 4869: 4861: 4857: 4823: 4822: 4815: 4807: 4803: 4769: 4768: 4764: 4756: 4752: 4744: 4740: 4733: 4718: 4717: 4713: 4679: 4678: 4674: 4664: 4663: 4659: 4649: 4648: 4644: 4637: 4622: 4621: 4617: 4603: 4602: 4591: 4583: 4576: 4566: 4565: 4561: 4554: 4543:Victorian Magic 4539: 4538: 4534: 4498: 4497: 4493: 4459: 4458: 4449: 4423: 4422: 4418: 4409: 4407: 4398: 4397: 4393: 4386: 4371: 4370: 4366: 4362:, p. LXXI) 4358: 4354: 4328: 4327: 4318: 4309: 4308: 4304: 4297: 4282: 4281: 4277: 4247: 4246: 4242: 4208: 4207: 4203: 4169: 4168: 4164: 4131: 4130: 4126: 4118: 4114: 4084: 4083: 4079: 4049: 4048: 4041: 4018:10.2307/1225114 3999: 3998: 3994: 3987: 3972: 3971: 3967: 3933: 3932: 3928: 3921: 3906: 3905: 3901: 3891: 3890: 3886: 3863:10.2307/1212062 3844: 3843: 3830: 3822: 3818: 3809: 3807: 3805:catalog.afi.com 3799: 3798: 3794: 3771:10.2307/1224961 3752: 3751: 3747: 3740: 3725: 3724: 3720: 3713: 3698: 3697: 3693: 3679: 3678: 3674: 3664: 3663: 3659: 3651: 3644: 3634: 3633: 3629: 3621: 3617: 3610: 3595: 3594: 3590: 3578: 3577: 3573: 3565: 3563: 3561: 3536: 3535: 3518: 3509: 3507: 3498: 3497: 3493: 3485: 3481: 3472: 3470: 3461: 3460: 3456: 3448: 3444: 3435: 3433: 3424: 3423: 3419: 3410: 3408: 3399: 3398: 3394: 3386:Stage illusions 3382: 3381: 3377: 3365: 3364: 3360: 3348: 3347: 3343: 3334: 3332: 3323: 3322: 3318: 3309: 3307: 3291: 3290: 3286: 3277: 3275: 3259: 3258: 3254: 3245: 3243: 3235: 3234: 3230: 3223: 3208: 3207: 3203: 3182: 3175: 3174: 3170: 3161: 3159: 3143: 3142: 3138: 3129: 3127: 3119: 3118: 3111: 3081: 3080: 3076: 3068: 3061: 3053: 3049: 3041: 3034: 3024: 3023: 3019: 3009: 3008: 3004: 2996: 2992: 2975: 2966: 2965: 2961: 2952: 2950: 2941: 2940: 2936: 2928: 2921: 2913: 2909: 2901: 2897: 2890: 2875: 2874: 2870: 2863: 2848: 2847: 2843: 2837:Loncraine (2009 2835: 2831: 2797: 2796: 2792: 2785: 2770: 2769: 2762: 2754: 2750: 2742: 2738: 2730: 2726: 2717: 2715: 2700: 2699: 2695: 2685: 2684: 2680: 2672: 2668: 2660: 2656: 2648: 2631: 2624: 2609: 2608: 2604: 2596: 2592: 2584: 2580: 2572: 2568: 2558: 2557: 2553: 2545: 2541: 2533: 2524: 2516: 2512: 2504: 2500: 2492: 2488: 2480: 2473: 2465: 2461: 2453: 2446: 2438: 2434: 2404: 2403: 2399: 2392: 2377: 2376: 2372: 2362: 2361: 2357: 2315: 2314: 2305: 2297: 2295: 2287: 2286: 2279: 2271: 2256: 2246: 2245: 2241: 2207: 2206: 2202: 2194: 2187: 2180: 2165: 2164: 2160: 2152: 2148: 2141: 2126: 2125: 2118: 2110: 2106: 2098: 2089: 2082: 2067: 2066: 2062: 2048: 2047: 2043: 2035: 2031: 2027:, p. XXIV) 2023: 2019: 2015:, p. XXII) 2011: 2007: 1998: 1996: 1987: 1986: 1977: 1967: 1966: 1962: 1954: 1947: 1939: 1932: 1925: 1916: 1909: 1894: 1893: 1889: 1881: 1877: 1870: 1855: 1854: 1850: 1816: 1815: 1811: 1801: 1800: 1796: 1788: 1779: 1758: 1751: 1750: 1746: 1738: 1734: 1726: 1719: 1711: 1707: 1684:10.2307/2078795 1665: 1664: 1660: 1651: 1650: 1646: 1636: 1635: 1631: 1623: 1619: 1611: 1607: 1599: 1595: 1582: 1581: 1577: 1569: 1565: 1557: 1550: 1546: 1518: 1423:The Show Window 1411: 1332: 1314: 1277: 1245: 1206: 1196: 1187: 1182: 1171: 1131: 1104: 1064: 1062: 1050: 1043: 1040: 1031: 1028: 1000: 929: 902: 893:Charles Bertram 869: 862: 853: 827:illusion works: 807:The Show Window 767: 758: 755: 746: 743: 717: 714: 705: 702: 693: 692:"Living Siren". 690: 681: 680:"Devil's Head". 678: 669: 666: 657: 656:"Tree of Life". 654: 626: 619: 616: 607: 601: 565: 562: 553: 552:"Talking head". 550: 522: 514:The Show Window 493: 471: 462: 445: 438: 435: 426: 423: 326: 319: 312: 303: 296: 272:The Show Window 264:The Show Window 260:The Show Window 251:The Show Window 204: 182: 181:Showcase hatch. 179: 170: 167: 111: 103: 24: 17: 12: 11: 5: 5917: 5915: 5907: 5906: 5901: 5896: 5891: 5881: 5880: 5875: 5874: 5865: 5856: 5847: 5838: 5821: 5812: 5803: 5794: 5776:(2): 319–342. 5765: 5756: 5727: 5718: 5716:. Paris: Cerf. 5709: 5700: 5694: 5670:Baum, L. Frank 5666: 5657: 5648: 5637: 5634: 5632: 5631: 5622: 5613: 5604: 5594: 5584: 5575: 5565: 5555: 5546: 5537: 5528: 5518: 5508: 5498: 5488: 5478: 5469: 5448: 5438: 5429: 5419: 5405: 5394: 5392: 5389: 5387: 5386: 5379: 5359: 5320: 5318:, p. 130) 5308: 5306:, p. 110) 5296: 5294:, p. 109) 5284: 5282:, p. 108) 5272: 5270:, p. 254) 5260: 5233:(4): 607–628. 5213: 5206: 5186: 5184:, p. 144) 5174: 5159: 5157:, p. 131) 5147: 5132: 5093: 5069: 5057: 5045: 5026:(1): 121–131. 5006: 4994: 4979: 4972: 4952: 4940: 4938:, p. 190) 4928: 4903: 4879: 4867: 4855: 4836:(2): 172–174. 4813: 4801: 4762: 4758:Benjamin (2009 4750: 4748:, p. 435) 4746:Benjamin (2009 4738: 4731: 4711: 4672: 4667:Georges Méliès 4657: 4642: 4635: 4615: 4589: 4574: 4559: 4552: 4532: 4491: 4472:(4): 155–160. 4447: 4416: 4391: 4384: 4364: 4352: 4316: 4302: 4295: 4275: 4240: 4201: 4162: 4124: 4122:, p. 161) 4112: 4077: 4039: 4006:Cinema Journal 3992: 3985: 3965: 3946:(2): 167–174. 3926: 3919: 3899: 3884: 3851:Film Quarterly 3828: 3816: 3792: 3759:Cinema Journal 3745: 3738: 3718: 3711: 3691: 3672: 3657: 3642: 3627: 3625:, p. 167) 3615: 3608: 3588: 3571: 3559: 3516: 3491: 3479: 3454: 3442: 3417: 3392: 3375: 3358: 3341: 3316: 3284: 3252: 3228: 3221: 3201: 3168: 3136: 3109: 3074: 3072:, p. 130) 3059: 3047: 3045:, p. 155) 3032: 3017: 3002: 3000:, p. 254) 2990: 2959: 2934: 2919: 2907: 2895: 2888: 2868: 2861: 2841: 2839:, p. 156) 2829: 2790: 2783: 2760: 2758:, p. 115) 2748: 2736: 2724: 2693: 2678: 2674:Benjamin (2009 2666: 2654: 2629: 2622: 2602: 2600:, p. 119) 2590: 2588:, p. 117) 2578: 2566: 2551: 2549:, p. 101) 2539: 2537:, p. 107) 2522: 2510: 2498: 2486: 2484:, p. 240) 2471: 2469:, p. 207) 2459: 2457:, p. 106) 2444: 2432: 2397: 2390: 2370: 2355: 2334:10.2307/462776 2328:(3): 419–431. 2303: 2277: 2275:, pp. 97) 2254: 2239: 2220:(6): 629–644. 2200: 2185: 2178: 2158: 2146: 2139: 2116: 2104: 2087: 2080: 2060: 2041: 2029: 2017: 2005: 1975: 1960: 1945: 1930: 1927:Maxwell (2018) 1914: 1907: 1887: 1875: 1868: 1848: 1829:(2): 151–165. 1809: 1794: 1777: 1744: 1732: 1717: 1705: 1678:(3): 887–916. 1658: 1644: 1629: 1627:, p. 325) 1617: 1615:, p. 323) 1605: 1593: 1575: 1563: 1547: 1545: 1542: 1541: 1540: 1533: 1526: 1517: 1514: 1410: 1404: 1382:Vanishing Lady 1366:Anne Friedberg 1313: 1310: 1205: 1202: 1198: 1197: 1185: 1183: 1169: 1167: 1091:Jehanne d'Alcy 1087:Georges Méliès 1061: 1058: 1054:Vanishing Lady 1049: 1046: 1045: 1044: 1041: 1034: 1032: 1030:Poster (1885). 1029: 1022: 1020: 999: 996: 992:Sybille Krämer 979: 978: 974: 936:newspaper (4). 928: 927:A new illusion 925: 901: 898: 868: 865: 864: 863: 856: 854: 847: 845: 837:Vanishing Lady 803:Vanishing Lady 779:Vanishing Lady 766: 764:Vanishing Lady 761: 760: 759: 756: 749: 747: 744: 737: 735: 719: 718: 716:"Water Nymph". 715: 708: 706: 703: 696: 694: 691: 684: 682: 679: 672: 670: 667: 660: 658: 655: 648: 635:poster (1898). 625: 622: 621: 620: 617: 610: 608: 604:Jehanne d'Alcy 602: 595: 593: 567: 566: 563: 556: 554: 551: 544: 542: 521: 518: 492: 491:Baum's example 489: 470: 467: 461: 458: 444: 441: 440: 439: 436: 429: 427: 424: 417: 415: 344:Anne Friedberg 325: 322: 321: 320: 313: 306: 304: 297: 290: 288: 203: 202:Baum's journey 200: 184: 183: 180: 173: 171: 168: 161: 159: 152:Marshall Field 110: 107: 102: 99: 65:Georges Méliès 16:Illusion trick 15: 13: 10: 9: 6: 4: 3: 2: 5916: 5905: 5902: 5900: 5897: 5895: 5892: 5890: 5887: 5886: 5884: 5877: 5871: 5866: 5862: 5857: 5853: 5848: 5844: 5839: 5835: 5831: 5827: 5822: 5818: 5813: 5809: 5804: 5800: 5795: 5791: 5787: 5783: 5779: 5775: 5771: 5766: 5762: 5757: 5753: 5749: 5745: 5741: 5737: 5733: 5728: 5724: 5719: 5715: 5710: 5706: 5701: 5697: 5695:0-393-04992-2 5691: 5687: 5682: 5681: 5675: 5671: 5667: 5663: 5658: 5654: 5649: 5645: 5640: 5639: 5635: 5626: 5623: 5617: 5614: 5608: 5605: 5598: 5595: 5588: 5585: 5579: 5576: 5569: 5566: 5559: 5556: 5550: 5547: 5541: 5538: 5532: 5529: 5522: 5519: 5512: 5509: 5502: 5499: 5492: 5489: 5482: 5479: 5473: 5470: 5466: 5462: 5458: 5452: 5449: 5442: 5439: 5433: 5430: 5423: 5420: 5416: 5409: 5406: 5399: 5396: 5390: 5382: 5376: 5373:. MIT Press. 5372: 5371: 5363: 5360: 5355: 5351: 5347: 5343: 5339: 5335: 5331: 5324: 5321: 5317: 5316:Beckman (2003 5312: 5309: 5305: 5300: 5297: 5293: 5288: 5285: 5281: 5276: 5273: 5269: 5264: 5261: 5256: 5252: 5248: 5244: 5240: 5236: 5232: 5228: 5224: 5217: 5214: 5209: 5203: 5199: 5198: 5190: 5187: 5183: 5178: 5175: 5170: 5163: 5160: 5156: 5151: 5148: 5143: 5136: 5133: 5128: 5124: 5120: 5116: 5112: 5108: 5104: 5097: 5094: 5089: 5086:Baum (1991). 5082: 5080: 5078: 5076: 5074: 5070: 5067:, p. 37) 5066: 5061: 5058: 5055:, p. 15) 5054: 5049: 5046: 5041: 5037: 5033: 5029: 5025: 5021: 5017: 5010: 5007: 5003: 4998: 4995: 4990: 4987:Baum (1991). 4983: 4980: 4975: 4969: 4965: 4964: 4956: 4953: 4949: 4944: 4941: 4937: 4936:Beckman (2003 4932: 4929: 4917: 4913: 4907: 4904: 4893: 4889: 4883: 4880: 4876: 4875:Beckman (2003 4871: 4868: 4864: 4863:Beckman (2003 4859: 4856: 4851: 4847: 4843: 4839: 4835: 4831: 4827: 4820: 4818: 4814: 4810: 4809:Beckman (2003 4805: 4802: 4797: 4793: 4789: 4785: 4781: 4778:(in French). 4777: 4773: 4766: 4763: 4760:, p. 54) 4759: 4754: 4751: 4747: 4742: 4739: 4734: 4728: 4724: 4723: 4715: 4712: 4707: 4703: 4699: 4695: 4691: 4687: 4683: 4676: 4673: 4668: 4661: 4658: 4653: 4646: 4643: 4638: 4632: 4628: 4627: 4619: 4616: 4611: 4607: 4600: 4598: 4596: 4594: 4590: 4587:, p. 66) 4586: 4585:Beckman (2003 4581: 4579: 4575: 4570: 4567:Baum (1991). 4563: 4560: 4555: 4549: 4546:. Routledge. 4545: 4544: 4536: 4533: 4528: 4524: 4519: 4514: 4510: 4506: 4502: 4495: 4492: 4487: 4483: 4479: 4475: 4471: 4467: 4463: 4456: 4454: 4452: 4448: 4443: 4439: 4435: 4431: 4427: 4420: 4417: 4406: 4402: 4395: 4392: 4387: 4381: 4377: 4376: 4368: 4365: 4361: 4356: 4353: 4348: 4344: 4340: 4336: 4332: 4325: 4323: 4321: 4317: 4312: 4306: 4303: 4298: 4292: 4289:. 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