1895- The Lumiere
Brothers.
There are many Development of Technologies over the years in
films for example The Lumiere Brothers. The Lumiere Brothers were very talent
and was very good at science, they also send off to Technical School. In the
early stages they experimenting with photographic equipment and by this the
brothers notice different way to develop of photographic movement. [1]The
brothers worked through the Winter of 1894, Auguste making the first
experiments. Their aim was to overcome the limitations and problems, as they
saw them, of Edison’s peephole Kinetoscope.
By this stage the
brothers notice some mistakes and areas to improvement for instance [2]the
Kinetograph - the camera, was a colossal piece of machinery and its weight and
size resigned it to the studio. Secondly - the nature of the kinetoscope is
that the viewer can only one person could experience the films at a time. By this the brothers start looking for
possibilities of making the films better. So they invented the first camera in
early 1895 which can print and has a projector the brothers called it Cinématographe.
The Cinématographe camera that The
Lumiere Brothers invented was more smaller, light weight and hold a film speed
of 16 frames per second which takes up less memory space when film also it more
efficient.
The Lumiere Brothers first film that was release publicly
was on [3]
28th December at the Grand Cafe on Paris’s Boulevard de Capuchines. Then the
brothers open up a theatre that was known as the cinema and few month later
they started to brunch out to London, New York and Belgium. The first film that
they played in the theatre was ‘The Arrival of the Train’ which was the first
motion pictures showed in the theatre. The
Arrival of the Train’ is about a train arriving and people getting on it. As
for people are watching this in a theatre they were amaze and frightening
because they have not seen nothing like this before.
1896-Melies
Melies was born in [1]Paris
in 1861 and from a very early age he showed a particular interest in the arts
which led, as a boy, to a place at the Ecole des Beaux Arts in Paris where
Méliès showed particular interest in stage design and puppetry. In 1888 Melies
worked full time as theatrical showman and performances magic and illusionist
techniques on stage. When the Lumiere
Brothers invent the Cinématographe
camera to the world Melies wanted to buy it but the The Lumiere Brothers.
After getting rejected by The Lumiere Brothers Melies deicide to study moving pictures and look at a different camera, soon after Melies made his own projector and film his first film in 1896 April 4th. Which is called ‘Trip to the Moon’ also he started to film other people film on his projector but only the ones from the [2]Kinetoscope but within months he was making and showing his own work, his first films being one reel, one shot views lasting about a minute. In 1896 Melies discovered change in filmmaking this is when Melies was filming bus driving through and when the camera was jammed and took a few seconds to fix it. When the camera started working the bus was gone and starting film carriage driving by. When he played it again he saw a bus disappeared and carriage appeared. This is when he started to build on and investigated more into that. By this Melies stared filming some complex special effects. Melies also one of the first filmmaker to see nudity on screen which the film is called “Apres le Bal”.
Edwin S. Porter-1895
Edwin S. Porter work for a company in New York in 1895 which
he learn and develop engine skills also Porter work in [1]first
projected movie that was showed in New York and by this he continued to show he
engineering skills and whilst working as a projectionist, one of Porter’s many
duties included the illegal duplication of Melies films. This shows that Porter
was really influence by Melies and what do something like this. Latter on
Porter made an attempt to create his own camera and projector but it turn out
to plan. So he return to [2]Edison’s
Company not in an engineering capacity but as a producer and director at
Edison’s East 21st Street Skylight studio. This shows that Porter wanted more
time and training to know more about movies.
In 190s Porter tried to do one of Melies sticks when he was
first film and object disappeared and an another object reappeared and when
doing this Porter was succeed in his own film [3]
'The Finish of Bridget McKeen' (1901) and 'Jack and the Beanstalk' (1902).
Porter editing and special effect developed quickly in his early films and was
the first one to tell story, use gender and footage in his films such as in[4]
'Life of an American Fireman' he adopted a documentary style of filmmaking.
Also drawing lane at continuity.
By watching the audience reaction whilst watching his film
he found an new way to tellimg stories and developing his ideas further in a
year and show an show publicly the film 'The Great Train Robbery' which was the
first good film to watch for months due to the film had a great storyline [5]well
composed, sophisticated camera work and an excellent climax, joined together by
Porter’s excellent use of editing. As the years go on Porter made plenty of
films for the company and left in 1909 and visit other companies.
Eisenstein/Kuleshov-
1920
Eisenstein/Kuleshov was born in 898 in Riga, Latvia, Sergei.
In 1910 his family moved to [1]St.
Petersburg, where his training as an architect and engineer had a great
influence on his future filmmaking. And by this he investigated Leonardo da Vinci's work and was influenced by
it. And by this [2]Eisenstein
pushed the outer envelope of filmmaking. He attempted to understand how the
sensations of the machine age could be incorporated in the grand style of the
Renaissance. This shows that Eisenstein was looking for ways that to develop
films further and make them better.
Eisenstein was the
first one to develop montage theory through theory which means [3]by
editing--is unique to film (and now video). During the 1920s, the pioneering
Russian film directors and theorists Sergei Eisenstein and Dziga Vertov
demonstrated the technical, aesthetic, and ideological potentials of montage. So
in 1920 he decided to be co-director as Eisenstein went to be co-director he [4]never
forgot his political agenda and was to become the most noted filmmaker of the
communist regime. This means that he put all his believes into his film making.
The first film was based on a strike that was produces in 1924 he directed his own film which base on
the idea of ‘strike ‘ and the following year he made a [5]film
"Potemkin" was nominated for the best film so far.
This shows that he developing news ways to engage the audience.
This shows that he developing news ways to engage the audience.
Griffiths was born in 1875, [1]in
Floydsfork, Kentucky, D.W. Griffith worked as an actor and playwright before
turning to cinema, creating highly innovative filmmaking techniques. By this he
decide to create his own film using a various film techniques such as close ups
jump cut etc. Also [2]He
did acting work for the New York City film companies Edison and Biograph and
went on to become a director of hundreds of shorts for the latter company .By
this Griffiths invented the continuity
editing which allows him to make films within real space and time.
By the 1914 Griffiths he left the company and starting
directing his own film which was called 'Birth of a Nation' and realis it a year later the film involves
civil war [3]and
Reconstruction era. This was seen as Griffiths [4]storytelling
forms, greatly influencing modern moviemaking and shaping ideas around audience
cultivation. Even though Griffiths was racist against black people whilst
offending black American and [5]a
storyline that positioned the creation of the Ku Klux Klan as a means of
vengeance over a woman's death. The film earned much criticism from a variety
of avenues, including the NAACP, and riots broke out during showings. This show
Griffiths was not a likeable person.
The first signs of continuity editing was in a
film ‘Greaser’s Gauntlet’ in 1908 when he use cut in. this is when he film a
scene with two people at a tree then cut in making mid shot of the actors also
to show the relationship between the actors.
By this the audiences would be more interesting because he film it at a
different angle. By this he discover the 180 degree rule which discovered if
you put the line of action he can avoid any continuity actions set in place
Later on D W Griffith
start to develop continuity of editing in the film ‘ After many Years’ in 1908
when he uses cross cutting also known as intercutting this when he cut to two
different scene in a parallel action for example the ship wreak man and the women that he left behind. At
this point people was amaze at his editing and people start watching his films.
The creation of films
did not start with the camera recording it started when a film is born in the
edit which is called Montage which means assemble in French. He was the first film school boys to graduate.
The first signs of
montage editing was an effect called ‘The
Kuleshow Effect this when he film a shot of a person face then combing the shot
of hot bowl of soup, a women in a coffin and girl on a sofa by this he shown
different emotions and nature of the shot tiled through a story. By this he was
able to change the meaning through the order of the shot. by this he using the same shot of the man and creating different meaning by using the shot in different order. by this he is making the audience think what is happening in situations. montage is about the relationship between the shot and in our heads
Also he experimented landscape through
creative geography catching different shoot in different location. By this it
would create locations that is not realistic in that movie. By this audience
would be amazed because they have not seen this kind of editing before.
Metric montage- cutting to beat is when in a music video they will stick to a beat for example jay-z music videos. Rhythmic- concerning rhythm of action in shot. for example horror film trailer is when beat is slow then increase beat when the tension. another montage method tonal- looking style such lightening and shadow when editing. another one is over-tonal is concerning of large sequence this happens in music video pretending what their life is about. another one is intellectual or ideological is concerning idea. continuity steel the style and techniques in montage and use in music video but do not create the meaning.
However there was huge
conflict between D.W. Griffiths and Eisenstein/Kuleshov
work even though they were aware of each other’s work. Whereas D.W. Griffiths
films are improve their knowledge to the audience with real space and time when
he film a film called ‘Intolerance’ in 1916 which was famous in Russia for at least
ten years. By this Eisenstein/Kuleshov films were to break
confines of space and time and to make films different way. By this they were genius
of the time of films and saw themselves massive competition and wanted to be
the best.
[1] http://www.biography.com/people/dw-griffith-9321016#synopsis
[2]
http://www.biography.com/people/dw-griffith-9321016#synopsis
[3] http://www.biography.com/people/dw-griffith-9321016#
[4] http://www.biography.com/people/dw-griffith-9321016#
[5]
http://www.biography.com/people/dw-griffith-9321016#
[1] http://www.earlycinema.com/pioneers/lumiere_bio.html
[2]
http://www.earlycinema.com/pioneers/lumiere_bio.html
[3]
http://www.earlycinema.com/pioneers/lumiere_bio.html
WT Merit
ReplyDeletebe more specific with applying the knowledge to the clips and show you understand their purposes and their techniques - so discuss the examples of films and go into more detail about the Purposes of editing (of which there are 5)
You need to address the challenge and differences that montage was aiming to set out to achieve compared to US Continuity and discuss why Continuity became dominant.