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In effect, the rise of the Watt steam engine has long been treated in British historiography as a decisive event in industrialization. His technological emphases had been repeated in Paul Mantoux’s classic Industrial Revolution in the Eighteenth Century and in a broad range of later works up to and including Landes’s Unbound Prometheus, which remains the most important work on technological growth in Western Europe. Mantoux targeted the second part of his work, titled “Inventions and Factories,” on precisely the same sequence of textile inventions to which Toynbee drew consideration, plus Henry Cort’s iron course of (1783–1784) and the Watt engine. It is simply in latest years that a counteremphasis has emerged by which small scale innovation has been placed within the forefront of analysis. Von Tunzelmann argued that “the standard stress on a handful of dramatic breakthroughs is significantly open to question,” and that what mattered was the range and pervasiveness of innovation. The complexity of modern technology makes it seem an odd place to start out, but two different elements make it suitable.

A renewed curiosity in film realism influenced movement picture technology during and after World War II. In order to afford higher versatility and mobility, filmmakers took to using smaller cameras that would shoot on location without tripods or heavy tools. Shortly after World War II, director Morris Engel (1918–2005), whose low-budget movies Technology news shot in New York City would later influence John Cassavetes, helped Charlie Woodruff assemble a conveyable 35mm digital camera that prefigured the Steadicam. By the middle of the 1950s, cinematographer Richard Leacock (b. 1921) and sound recording specialist D.