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| correspond to two technical domains of cinematic expression: editing and shot composition. |
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| created celluloid film stock in 1884. (started Kodak) |
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| Celluloid film stock creator and date |
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| What did Thomas Edison accomplish? |
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| He figured out how to combine moving pictures with music from the phonograph. Thought he could put pictures in the wax discs that the soundtracks were on. |
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| Types of stroboscopic toys |
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| Phenakistiscope, Zoetrope, Magic Lantern |
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| What is considered the birthdate of modern movies? |
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| Invention of Stroboscopic Toys led to |
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| discovery of an optimal frame rate |
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| William Dickson is responsible for |
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| the first known film with live-recorded sound and appears to be the first motion picture made for the Kinetophone, |
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| was designed for films to be viewed by one individual at a time through a peephole viewer window at the top of the device |
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| By early 1895, the brothers had invented their own device combining camera with printer and projector and called it the Cinématographe. |
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| hand cracked portable camera |
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| He pioneered the first double exposure (La caverne Maudite, 1898), the first split screen with performers acting opposite themselves |
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He expanded upon his initial ideas and devised some complex special effects such asSuperimpostion
Dissolve
Time laspe |
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improvision
keystone corps |
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| was the method of creating, promoting and exploiting stars in Hollywood films. |
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| Movie studios would select promising young actors and glamorise and create personas for them, often inventing new names and even new backgrounds. |
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| established Famous Players Film Company—advertising "Famous Players in Famous Plays"—as the American distribution company for the French film production Les Amours de la reine Élisabeth starring Sarah Bernhardt |
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| was an association of independent theater owners in the United States that expanded from exhibiting movies to distributing them and eventually to producing them as a movie studio called First National Pictures, Inc. (1917−1936). |
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| attributed to father athansuis kircher, |
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| when did the first working model of the magic lantern come out and who invented it |
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| founder of universal studios |
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| Typical Camera Placement in Edison's films |
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Front row camera angle
o Rare closer shots
o Proscenium Framing |
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| Characteristics of early film |
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o Static camera
o Long takes
o Theater influences
Front row center camera placement
Frame - proscenium
o 1 movie = 1 shot
Doesn't work for complex narratives |
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| hand held viewers that created three dimensional effects |
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| Charlie Chaplin (1889-1977) o |
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| Biggest movie star in the world for over two decades |
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narrative
intellectual
emotional |
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| Vsevolod Pudovkin Filmmaker and theorist |
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o Linkage or relational editing
o Link common elements from shot to shot
For examples, via shapes
o Viewers understand film based on how images come together |
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| a pioneer in the theory and practice of montage |
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Art movement from 1890s -1920s
Expression of turbulent inner feelings
Inner outward
"Illness, insanity and death are the black angles that kept watch over my cradle and accompanied me all my life " - Edward Munch |
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• Nosferatu
• Highly stylized mis-en-scene
• Elaborate sets
• Exaggerated acting
• Distorted compositions
• Set in another world or time |
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| The Cabinet of Dr.Caligari |
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(Robert Wiene, 1920) • Producer Erich Pommer
• 1st film to attempt this style
o First expressionist film
• Look for
• Mise en Scene
• Acting |
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Chamber Drama
• M 1931
Real films
• contemporary
• Set in everyday
Character focused
Investigate come crisis
End unhappily |
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| The Last Laugh ( F.W Murnau, 1924) |
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Merger of expressionism and Kammerspiel
High profile job and as he gets older
To look for
• How interior states are demonstrated
• Expressionistic aspects
• Camera movement istortion of composition
• The Characteristics of the Era |
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| a style of art and literature developed principally in the 20th century, stressing the subconscious or nonrational significance of imagery arrived at by automatism or the exploitation of chance effects, unexpected juxtapositions, etc. |
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| adapted techniques from german expressionism and french |
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