Shadow Plays: Virtual Realities in an Analog World

Chapter 4, Note 83

D’Arcy Wood does not establish an explicit connection with the phantasmagoria but does insist on the “realism” of the exhibit: “In the visual entertainment marketplace of late Georgian London Belzoni’s 1821 exhibition, with its warren of dimly lit rooms imitating an Egyptian tomb and gaudy facsimiles side by side with original sarcophagi, clearly relied on the effect of the real for its appeal.” The Shock of the Real, 2–3.

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