early cinema
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Early Cinema. Lecture 2. Basic Terms. Frame (2 senses) Parameters of the image One frame of a film strip Still image A photograph; each frame is a still image Production still vs. frame enlargement apparent motion and critical flicker fusion - PowerPoint PPT PresentationTRANSCRIPT
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Early Cinema
Lecture 2
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Basic Terms• Frame (2 senses)
– Parameters of the image– One frame of a film strip
• Still image– A photograph; each frame is a still image– Production still vs. frame enlargement
• apparent motion and critical flicker fusion– 24 frames per second (current) vs. 16-20 frames per second (in early
cinema)• Sprockets• Gauge: film width (e.g. 35mm, 16mm, 8mm, 70mm)• Aspect ratio: until 1950s= 4:3 (width to height)
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gauge
sprocket
frame
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Early Cinema1895 Beginning of cinema– three precursors• Eadweard Muybridge (1830-1904)—multiple cameras to
capture motion• Étienne-Jules Marey (1830-1904)—invented
chronophotography in the 1880s (recorded several phases of movement on one photographic surface)
• Thomas Edison (inventor of the first kinetoscope 1891)– Lumière brothers—responsible for the first public film
screening in Paris on December 28th 1895 using the cinematograph (which functioned as a camera, projector, and printer—all in one)
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Eadweard Muybridge
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Muybridge Link to UC Riverside Museum
• http://138.23.124.165/collections/permanent/object_genres/photographers/muybridge/
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Étienne Jules Marey: graphic method
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Étienne Jules Marey
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ÉTIENNE JULES MAREY: CHRONOPHOTOGRAPHY
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Muybridge’s projection device: the zoopraxiscope
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The Kinetoscope (peep-show device)
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Kinetoscope Functioning
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Kinetoscope parlor (circa 1894)
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Edison and the Black Maria(me-rai-e) Studio
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Mutoscope (peep-show device)1895-1909
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Mutoscope (peep-show device)-1895-1909
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The Cinematographe (Lumière)
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Cinematographe (cont.)
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FORMAL INNOVATIONS 1:FROM THE SINGLE SHOTS TO MULTIPLE SHOTS,
FROM STILL CAMERA TO MOVING CAMERA
• Single shots– Actualities, direct address, “the fourth wall”• Ex: Lumière, Edison
• Moving camera– The “phantom” ride films• Ex: Lumière: “Leaving Jerusalem”;
– Multi-shot “phantom” ride• Ex: G.A. Smith: “The Kiss in the Tunnel”
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SINGLE SHOT: LUMIÈRE 1896: CHILDREN DIGGING FOR CLAMS
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SINGLE SHOT: LUMIÈRE 1896: PROMENADE OF OSTRICHES
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MOVING CAMERA: PHANTOM RIDESLUMIÈRE, 1896: LEAVING JERUSALEM BY RAILWAY
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MOVING CAMERA, MULTI-SHOT PHANTOM RIDE: G.A. SMITH, 1899: KISS IN THE TUNNEL
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FORMAL INNOVATIONS 2:• Multi-scene films– Shot transitions
• Dissolve– Ex: Méliès: “A Trip to the Moon” 1902
• Straight cut– Ex: Williamson: “Stop, Thief!” 1901
• Vertical wipe– Ex: G.A. Smith: “Mary Jane’s Mishap”
• Pull focus– Dream transition
» Ex: G.A. Smith: “Let me Dream Again” 1900
– Scene Dissection • Cut-in, insert, masking, point of view shots
– Ex: G.A. Smith: “Granma’s Reading Glass” 1900• Camera repositioning and cut-in/insert
– Ex: G.A. Smith: “The Sick Kitten” 1903– Ex: G.A. Smith: “Mary Jane’s Mishap” 1903
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MULTIPLE SCENES 1: TRANSITIONS: DISSOLVES: MÉLIÈS, 1902: FROM TRIP TO
THE MOON
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MULTI-SCENE FILMS 1: TRANSITIONS: STRAIGHT CUTS: WILLIAMSON, “CHASE FILMS,” 1901: STOP THIEF!
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MULTI-SCENE FILMS 1: TRANSITIONS: VERTICAL WIPE: G.A. SMITH, “MARY JANE MISHAP,” 1903
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MULTIPLE SCENES 1: TRANSITIONS: PULL FOCUS: G.A. SMITH, 1900: LET ME DREAM AGAIN
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MULTI-SCENE FILMS 2: CUT-INS, MASKING, POINT-OF-VIEW [P.O.V] SHOTS:
G.A. SMITH, 1900: GRANDMA’S READING GLASS
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MORE MASKING, CUT-INS, AND P.O.V. SHOTS:
G.A. SMITH: “AS SEEN THROUGH A TELESCOPE,” 1900
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MORE MASKING, CUT-INS, AND P.O.V. SHOTS:PATHÉ FRÈRES, “PEEPING TOM,” 1901
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FORMAL INNOVATIONS 2: CAMERA REPOSITIONING: G.A. SMITH, “THE SICK
KITTEN” 1903
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FORMAL INNOVATIONS 2: CAMERA REPOSITIONING: G.A. SMITH,”MARY JANE’S MISHAP”
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FORMAL INNOVATIONS 3:• Multi-scene films (cont.)– Screen direction• Ex: Méliès: “A Trip to the Moon” 1902
– Mental subjectivity (rendering interiority)• Dreaming and visions
– Set within a set» Ex: Zecca: “History of a Crime” 1901
– Photographic superimposition» Ex: Porter: “Life of an American Fireman” 1903» Ex: “Mary Jane’s Mishap” 1903
– Perceptual subjectivity (creating ‘sensual impact’)• Ex: Hepworth: “How it feels to be run over” 1900
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FORMAL INNOVATIONS 3: SCREEN DIRECTION: MÉLIÈS, 1902
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FORMAL INNOVATIONS 3: DREAMINGSET WITHIN A SET: “HISTORY OF A CRIME”
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FORMAL INNOVATIONS 3: DREAMINGPHOTOGRAPHIC SUPERIMPOSITION: “LIFE OF AN AMERICAN
FIREMAN”
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FORMAL INNOVATIONS 3: VISIONSSUPERIMPOSITION: “MARY JANE’S MISHAP”
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FORMAL INNOVATIONS 3: PERCEPTUAL SUBJECTIVITY:HEPWORTH: “HOW IT FEELS TO BE RUN OVER”
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FORMAL INNOVATIONS 4
• Multi-scene films (cont.)– Tricks• Stop motion
– Ex: Méliès: “A trip to the moon”– Ex: Hepworth: motorist
• Ex: Williamson: “The Big Swallow”
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FORMAL INNOVATIONS 4: MÉLIÈS
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FORMAL INNOVATIONS 4: MÉLIÈS
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FORMAL INNOVATIONS 4: MÉLIÈS
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FORMAL INNOVATIONS 4: TRICKS: THE BIG SWALLOW