The Outlandish Magic Encyclopedia is a comprehensive and fascinating guide to the world of magic. This unique encyclopedia covers a wide range of topics, from spellcasting to magical creatures and everything in between. It is a must-have for any aspiring wizard or witch. One of the standout features of this encyclopedia is its detailed explanations of different types of magic. It delves into the intricacies of elemental magic, potion making, divination, and many other branches of magic. Each section is accompanied by illustrations and diagrams to help readers grasp the concepts.
Photograph of Harry Price, c.1930
Each theme features some of the most important books in the history of magic alongside lesser-known works celebrating a range of genres in magic publishing, including major works from the 18th century, including Henry Dean s much reprinted The Whole Art of Legerdemain, or, Hocus Pocus in Perfection and books that exposed the techniques of the most popular performers of the time, including Comus, Breslaw and Pinetti. Each theme features some of the most important books in the history of magic alongside lesser-known works celebrating a range of genres in magic publishing, including major works from the 18th century, including Henry Dean s much reprinted The Whole Art of Legerdemain, or, Hocus Pocus in Perfection and books that exposed the techniques of the most popular performers of the time, including Comus, Breslaw and Pinetti.
Each section is accompanied by illustrations and diagrams to help readers grasp the concepts. In addition to its coverage of different types of magic, the Outlandish Magic Encyclopedia also provides information on magical artifacts and tools. It guides readers through the history and significance of items such as wands, cauldrons, and spellbooks.
Sleight of Hand: The Magic of Deception
Ladies and gentleman, I would like for you to close your eyes a moment and try to visualise a pair of ordinary boxes in front you. Whilst we are unable to see inside these boxes, for the sake of this hypothetical exercise allow me to offer a clue by disclosing what is written upon each. Box number one states in bold letters: The Magician’s Box of Tricks, whilst the other is labelled: The Tricks of the Filmmaker.
And now, please keep your undivided attention upon each of these objects as I make two become one right before your very eyes…
Since the advent of commercial cinema at the close of the 19th century, the medium of film has proven instrumental in it’s role as one of the magician’s most trusty assistants. On the other side of the coin, the art of filmmaking would not be where it is today if it weren’t for the modern-day magician, illusionist or spiritualist.
Contemporary society’s fixation with the illusion has certainly bordered on the obsessive over the decades. And if you were to take one look at the demand for magic shows in just about any major city, then it would suggest there to be no immediate sign of slowing down any time soon either. Equally so, with this growing phenomenon of course has come the paradoxical attempts to debunk the magic trick through rational scientific explanation.
It is true that some of the industry’s most revered magicians and illusionists, including the great Harry Houdini himself fiercely opposed the mystical notion of their work being referred to as ‘magic’, and spent much of their lives trying to expose those that felt otherwise as impostors and charlatans.
‘(Houdini) was so full of his subject, and so voluble with his stories of the spook racket, that fascinating incidents and anecdotes kept tumbling out… but he got over his main thesis: that professional mediums who take money for their efforts are chiselers pure and simple’.
-Excerpt from ‘Houdini, the Man Who Walked Through Walls’, by William Lindsay Gresham
Being that the public’s widespread enchantment of, and it’s unrelenting appetite for the paranormal was a surefire money-spinner, it was only natural that magic would see it’s progression through the entertainment industry’s colourful evolution from circuses and sideshows, to the vaudeville theatres and stages, and onto cinema screens the world over.
Early pioneers of the art, like Frenchman Georges Méliès and his Star Film Company, and those also under inventor Thomas Edison’s newly established Edison Manufacturing Company, used the new medium to showcase their greatest illusions through the optical trickery that film now allowed them to exploit. This unlocked a new and exciting world of possibilities for the magician at the time, who used juxtaposed imagery, special effects and revolutionary editing techniques to bring their tricks to life on the big screen, and enabled them to wow more people than their predecessors had ever been able to do prior.
Between them, the pair were responsible for producing upwards of 1700 films (mainly shorts and experimental films, but not excluding feature-length films) within the period of 1894-1913… certainly no small feat by any account. In fact, at the turn of the 20th century in the year of 1900, the Edison Manufacturing Co.’s catalogue alone contained a string of magic-inspired films, including Ching Ling Foo Outdone, The Clown and the Alchemist, Congress of Nations, and Hooligan Assists the Magician.
Méliès in particular used the camera as an extension to the stage, where he had perfected such ‘tricks’ as the disappearing act. But the grand illusionist-cum-cinema pioneer and entrepreneur took the art to another level with some of the earliest known examples of multiple exposure, image splicing, dissolves, time-lapse photography and hand-coloured frames. His films produced in the earlier period of his career, including The Magician (1898), The Four Troublesome Heads (1898) and The Magician’s Cavern (1901) are all wonderful examples of using the camera to create the effect of illusion, nowadays easily accessible for viewing through the public domain.
Regarded by many as the father of special effects, Charlie Chaplin once described Méliès as ‘an alchemist of light…’
‘If the Lumiere’s invented cinema, another Frenchman, Georges Méliès invented “the movies”, by using the medium to tell stories…’
-Roger Ebert
Meanwhile, across the channel here in Britain around the same time, a nifty electrician and an amateur magician would team up to produce several innovative short ‘trick films’ from the first London film studio that they set up in Muswell Hill in 1898.
Despite being somewhat lesser known than the aforementioned French and American pioneers, Robert W. Paul and Walter R. Booth’s many early shorts were equally revolutionary for the way in which they utilised jump-cuts, superimposition, scale models and hand-drawn sets to take their illusions from the stage to the screen. The first camera that Georges Méliès used was actually assembled and built by Paul, who coincidentally also invented the modern camera dolly. The pair would also use the medium to reveal to the audience the step-by-step methods behind some of their greatest tricks and illusions.
Most notably, one of the pair’s last collaborations, their 1906 short Is Spiritualism a Fraud? aimed to expose the fake medium of the day by recreating a staged séance and highlighting the way in which the mentalist creates the illusion of reading minds or reaching the deceased.
This month, we’ve compiled a loose list of films throughout cinema history that have depicted the magician, the illusionist, the spiritualist and the mentalist, and we look at how our perception of the magician as mystic spell caster or performance artist has developed and changed over the decades.
But being that this is also our special milestone 50th published Privilege of Legends feature, we’ve reached out to London magician Christopher Howell to get an exclusive peak into the performer’s box of tricks. We put to him some questions on the craft and found out how a new generation is embracing magic, how digital entertainment is helping to reinvigorate the public’s enthusiasm with the live show, and how people still contact him with strange requests for him to perform ‘magic’ on others…
1. Why in your opinion do you think that magic continues to capture our hearts and imagination?
‘I think magic answers to basic desires in the human condition… Imagine how it would be for example to change something in the world with a click of your fingers, to instantly transform something about yourself, to appear somewhere else, to know what people are thinking, be invincible or to escape situations. We’ve all yearned for and imagined these things. Magic’s wonder continues to capture us because it makes all these things appear to be possible. What would you do if you had magical powers for a day? For sure you have some good answers’.
2. Do you believe that the public’s perception of magic has changed over the years, and if so in what way?
‘How the public perceives magic is always a product of the time. We can look at three different periods to see how the public has regarded magic differently. Let’s start in the sixteenth century, when the first magic book, Reginald Scot’s ‘Discoverie of Witchcraft’ (1584) was published. It was an exposé to reveal the tricks behind, and debunk the belief in what many people then considered to be witchcraft. Curiously, the formal study of magic grew out of this book, published to show it’s not real.
Now, let’s skip forward to the late nineteenth century and early twentieth century to the Golden Age of magic. At that time magic was one of the most popular forms of entertainment packing Vaudeville theatres and music halls on both sides of the Atlantic and with shows touring the world over. The public’s imagination was lit up in this tumultuous time of social, industrial and scientific change. There was a visceral excitement about what’s possible, and magic played right into this. Magic’s golden age was brought to an end by cinema when the variety theatres emptied out in favour of a new kind of magic that was found on the silver screen.
Magic has, nonetheless, continued to endure and adapt. Today in the early twenty-first century magic is of course performed not only on stage but it appears in films and other media as well as being a prolific form of close-up entertainment. In our contemporary sceptical age, where people know neither politicians, nor media or advertising can be taken at face value, magic too is embraced as an entertaining diversion. I think live magic is also popular these days in spite of the abundance of digital entertainment precisely because it is not digital’.
3. Do you think there is an ethical line that should not be crossed when concerning the magic trick or illusion?
‘It can be very easy to convince some people that magic is real. I’m still impressed when I receive occasional emails from some person (usually in a faraway country) who found me online, requesting me to ‘do magic on someone’. I can explain point-blank to these people that what I do is a deception of their senses intended for entertainment and they will choose not to believe me. Their desire for real magic short-circuits sound logic. One of the most likely areas of magic for the question of ethics to arise is mentalism, where it can be quite easy to convince someone that you’ve gotten into their head… so there are certainly ethical lines that should not be crossed in regard to this’.
4. Generally speaking, what, if anything would you most like your audience to go away with at the end of your act?
‘Sleepless nights maybe? (Just kidding…)
That’s an important question for a magician because it directly informs the material you choose to perform and the way you perform it. My answer varies depending on the show I’m doing. When I perform my ‘Parlour Show’ which is a contemporary take on a classic format of magic performance, I’d like to give the audience a sense of wonder and possibility. My act ‘Norvil & Josephine’ is a sort of reinvented Vaudeville style show, and with this show I’d love my audience to leave with a sense of happiness and escape into their imagination. Totally different still, the intention built into my theatrical ‘Séance’ show is to give the audience an awareness of how easily we deceive ourselves. Some magicians just set out to ‘fool’ the audience in some strange battle of wits, but for me it’s much more interesting if other intentions are at play instead’.
Despite the rise of YouTube as the primary way of learning how to do most things these days, books about magic are how most magicians first learned their craft, and it was Reginald Scot’s The Discoverie of Witchcraft (1584) that got the ball rolling as the first printed book in English to describe a magic trick.
This section is particularly useful for those looking to better understand the tools of their trade. Another standout feature of this encyclopedia is its detailed information on magical creatures. From mystical beings like dragons and unicorns to lesser-known creatures like nifflers and hippogriffs, the encyclopedia provides descriptions and characteristics of each creature. This information is invaluable for those interested in studying and interacting with magical beings. The Outlandish Magic Encyclopedia also includes a section on famous wizards and witches throughout history. It highlights the contributions and achievements of notable figures in the magical world, such as Merlin, Morgan Le Fay, and Albus Dumbledore. This section provides inspiration and serves as a reminder of the rich history of magic. Overall, the Outlandish Magic Encyclopedia is a comprehensive and captivating guide to the world of magic. Its detailed explanations, stunning illustrations, and wide range of topics make it a valuable resource for any magic enthusiast. Whether you are a beginner or a seasoned wizard, this encyclopedia is sure to provide hours of educational and entertaining reading..
Reviews for "The Science of Magic: Outlandish Magic Encyclopedia Analyzes"
1. Alex - 2/5 - While the concept of an "outlandish magic encyclopedia" seemed intriguing, I found this book to be quite disappointing. The content felt disjointed and lacked any coherent structure. It seemed like the author tried to cram too much information into one book without providing any clear organization or flow. Additionally, the writing style was dry and uninspiring, making it difficult to engage with the material. Overall, I wouldn't recommend this book to anyone looking for a comprehensive and well-written guide to magic.
2. Sarah - 1/5 - I was extremely disappointed with "Outlandish magic encyclopedia". The information provided was incredibly vague and didn't offer any practical guidance or insights into magic. It felt more like a random collection of unrelated facts rather than a cohesive encyclopedia. The lack of depth and detail left me feeling unsatisfied and underwhelmed. I would advise against wasting your time and money on this book if you're looking for a comprehensive and informative guide to magic.
3. John - 2/5 - As someone with a genuine interest in magic, I was excited to delve into the "Outlandish magic encyclopedia". Unfortunately, it fell short of my expectations. The book lacked depth and failed to explore the intricacies and complexities of various magical practices. It felt more like a surface-level overview rather than a comprehensive encyclopedia. Additionally, the writing style was dry and lacked any flair or personality. Overall, this book left me wanting more and I wouldn't recommend it to anyone seeking a thorough understanding of magic.
4. Emma - 3/5 - I had mixed feelings about "Outlandish magic encyclopedia". On one hand, it did provide a broad overview of different magical practices and concepts, making it a decent starting point for beginners. However, I found the lack of depth and practical applications to be disappointing. The book touched on different topics but failed to provide any concrete examples or instructions on how to actually practice magic. It felt more like a glossary of terms rather than a practical guide. While it may be useful to someone completely new to the world of magic, more experienced practitioners will likely find it lacking substance.