Inglish Greeks Tds

Ferran Alberch Dani Alvarez Miriam Arnau David Martínez Raquel Oriach

It is one of the few museums where you can journey through the 500 years of the history of images, seeing what were the predecessors and the origins of the cinema. During this journey, you will be accompanied by the Tomàs Mallol Collection.

Examples of Greek and Roman town construction art and their essential structures can be visited in Empúries. However, we could only see the Greeks one because the time.

    

4 languages (Catalan, Spanish, French and English)

Audiovisuals

Scenery sets

1.200 exhibited objects

Interactive replica objects

Visual effects

Tomàs Mallol (Sant Pere Pescador, 1923) has always been a cinema enthusiast. The itinerant cinema projections, which came to his village in his chidhood, made a profound impression on him, that became a passion for everything related to the cinematographic world. Most of all he was intereted in the technical side (the optics, the lighting, the putting together of the films...), up to the point when only eight years old, he built his first projector, with which he entertained his friends and family. This projector can be seen in the collection. The Tomàs Mallol Collection is made up of about 20.000 pieces. Apart from almost 8000 objects, apparatuses and precinematographic and early cinema accessories, there are nearly 10,000 fixed image documents (photographs, posters, prints, drawings and paintings), 800 films of all types and a library of over 700 books and magazines. The collection acts as a background to the period from the mid 17th. Century up to 1970. The majority of it is dated between the second half of the 18th. and the early 20th century. One of the main characteristics of the Tomàs Mallol Collection is the systematic way in which the acquired pieces were treated, leaving to one side any personal or arbitrary tendencies. The fundamental idea was to collect all items that relate to the prehistory and the early years of the cinema. In other words, all the objects that explain how images were represented before the advent of the cinema and what was the technical process that led to the invention of cinematography in 1895.

The History of film spans over a hundred years, from the latter part of the 19th century to the beginning of the 21st. Motion pictures developed gradually from a carnival novelty to one of the most important tools of communication and entertainment, and mass media in the 20th century. Motion picture films have had a substantial impact on the arts, technology, and politics.

The two second experimental film, Roundhay Garden Scene, filmed by Louis Le Prince on October 14, 1888 in Roundhay, England is generally recognized as the earliest surviving motion picture . In 1878, under the sponsorship of Leland Stanford, Eadweard Muybridge successfully photographed a horse in fast motion using a series of 12 stereoscopic cameras. William Kennedy Laurie Dickson is credited with the invention of a practicable form of a celluloid strip containing a sequence of images, the basis of a method of photographing and projecting moving images In 1893 at the Chicago World's Fair, Thomas Edison introduced to the public two pioneering inventions based on this innovation; the Kinetograph, the first practical moving picture camera, and the Kinetoscope. Robert W. Paul had the idea of displaying moving pictures for group audiences, rather than just to individual viewers, and invented a film projector, giving his first public showing in 1895. At about the same time, in France, Auguste and Louis Lumière invented the cinematograph, a portable, three-in-one device: camera, printer, and projectorThey quickly became Europe's main producers with their actualités like Workers Leaving the Lumière Factory and comic vignettes like The Sprinkler Sprinkled (both 1895).

Greek city, in the background the archaeological museum

The Greeks settled here beginning during the sixth Century before Christ, and later the Romans selected the place for their settlement, surely not only from strategic considerations, but certainly because it also pleased them. The historical name of Empúries comes from the Greek term "Emporion" which means market place or commercial centre and correctly describes the purpose of the site. The city was favourably situated at the delta (at that time) of the (river) Fluvia and at the crossing of several trade routes. The natural harbour basins in front of Emporion offered protection to the trading vessels.

The island on which the Palaiopolos was situated is now part of the mainland and is the site of the mediaeval village of Sant Martí d'Empúries. The former harbour has silted up as well. Hardly any excavation has been done here. After the founding of the Neapolis, the Palaiopolis seems to have functioned as an acropolis (fortress and temple). Strabo mentions a temple dedicated to Artemis at this site

The Neapolis consisted of a walled precinct with an irregular ground plan of 200 by 130 m. The walls were built, and repeatedly modified in the period from the 5th till the 2nd century BC. To the west the wall separated the Neapolis from the Iberian town of Indika. In the south-west part of the city were various temples, replacing an older one to Artemis, such as a temple to Asclepius, of whom a marble statue was found. In the south-east part was a temple to Zeus-Serapis. The majority of the excavated buildings belong to the Hellenistic period. In addition to houses (decorated with mosaics and paintings) there are a number of public buildings, such as the agora and the harbour mole. In the Roman period, thermae and a palaeochristian basilica were built. To the south and east of the Neapolis was an area that served as a necropolis

Asclepius is the god of medicine and healing in ancient Greek mythology. Asclepius represents the healing aspect of the medical arts.

Serapis was a syncretic Hellenistic-Egyptian god in Antiquity. Under Ptolemy Soter, efforts were made to integrate Egyptian religion with that of their hellenic rulers. Ptolemy's policy was to find a deity that should win the reverence alike of both groups, despite the curses of the Egyptian priests against the gods of the previous foreign rulers