FILM100 -2 strips of wide gauge films
MA'AM SARI DALENA
EARLY CINEMA (1893-1903)
1826- Invention of photography
1870- Faster exposure (1/2 second) but only on
glass plates that weren’t used for motion
picture.
1878- Edward Muybridge, American photographer,
series of fast cameras with glass plate film
and fast exposure (interested in freezing
action)
1882- Etienne Jules Marey invented a camera that
recorder 12 separate images on the edge of
a revolving disc of film glass
1888- Marey built the first camera to use a strip of
flexible film, on paper
1889- George Eastman. Crude flexible film base,
celluloid.
Projectors existed to show slides. Shutter and
cranks were added to magic lanterns.
Intermittent motion of the film.
1890- flexible and transparent film bast, fast
exposure time, mechanism to pull the film
through the camera, intermittent device to
stop the film, shitter to block of light
EDISON MANUFACTURING COMPANY (US)
-Owned by Thomas Edison
1883- W.K.L. Dickson (asst) developed a camera
that made short 35mm films
Kinetoscope- peep show machine to
individual viewers
First film studio – Black Maria (vaudellie
entertainers, famous sports figures, celebrities)
LUMIERE FRERES (France)
-Family firm of Louis and Augustre
-Invented their own camera
-Short roll of 35mm
-12/28/1895 – first public showing of motion
pictures in Grand Café in Paris
-Film everday events
-Arrival of a train at La Ciotat
-L’Arroseur arose (The waterer watered) – comic
scenes
Max Skladanowsky
First films were simple in form and style. Consisted
of a single shot framing an action, long shot
distance
George Melies
1896- Georges Melies purchased a projector from
British inventor Robert William Paul and
Built a camera from it.
-Glass sided studio
-elaborate setting for fantasy
-first master of mise-en-scene technique
Brighton School
-films on location or in open air studios
1904 – narrative form
CLASSICAL HOLLYWOOD CINEMA (1908-
1927)
-Edison cooperated with Biograph to bring the
other companies down.
-Formed Motion Picture Patents Company (MPPC)
-Advantageous climate for shooting year round,
great variety of terrains
1920 – structure: a few large studios, individual
Artists under a contract, producers
Merge of companies – MGM (Metro, Goldwyn,
Mayer). Warner Bros., Universal
1903 – Porter: The Great Train Robbery
Editing Techniques from the British
1908 – D.W. Griffith began his directing career
Thomas Ince – Devised a unit system- single
Producer will oversee
Cecil De Mille – feature length dramas and
Comedies
The Cheat – effects of chiaroscuro (1
or 2 light sources and no fill light)
-linear pattern of storytelling
Rembrandt Lighting (north lighting)

SURREALISM (1918-1930)
-Private patronage and screened in small artists;
gatherings
-Radical movement, shocked most audiences
-register the hidden currents of the unconscious
mind
-Bizarre or evocative imagery
-deliberate avoidance of rationally explicable form
or style
-Salvador Dali, Man Ray, Spaniard Luis Bunuel
-Antinarrative, attacking casualty itself
-casual connections among events must be
dissolved
-Un Chien andalou (An Adalusian Dog) Dali and
Bunuel’s
-Events are juxtaposed for their disturbing effect
-Editing – many dissolves and superimpositions,
discontinuous editing
SOVIET MONTAGE (1924-1930)
-Slow paced melodramas that concentrated on
bravura performances by actors playing characters
caught in extreme emotional situations
-Dziga Vertov – documentary footage of the war
-Lev Kuleshov – teaching in State School on Cinema
Art. Editing footage from different sources.
-first film in the world.
-Sergei Eisenstein (1920) – train carrying
Propaganda
-None were a veteran of the pre-revolutionary
industry.
1921 – facing economic problems so Lenin
Instituted the New Economic Policy (NEP)
reappearance of film stock and equipment
1922 – Lenin saw films as tools for education
Encouraged by the government are
newsreels and documentaries such as
Vertov’s newsreel series Kino-Pravda
1923 – Georgian’s feature Red Imps, became the
first Soviet film to compete successfully
with foreign films
-Montage principles and come up with amusing
satires or exciting adventures as entertaining as the
Hollywood product
1925 – Eisentein’s first feature Strike initiated the
movement
Potemkin – successful abroad
-Soviet narratives tend to downplay character
psychology
-Social forces provided the major causes
-did not always have a single protagonist
-avoided well known actors
-TYPAGE – preferring to cast non-actors
1934 – the government instituted new artistic
policy Socialist Realism – all artworks
must depict revolutionary development
grounded in realism
1933 – end of the movement
CLASSICAL HOLLYWOOD CINEMA
1920- Warner Bros. was expanding, invested
In a sound system
1926- Don Juan with orchestral accompaniment
And sound effects on disc
1927- The Jazz Singer – part talkie
Sound used to be a setback. Camera was had to be
put inside a booth
Brief period of static films resembling stage plays
1929- Applause by Rouben Mamoulian
demonstrated the flexibility of the camera
The musical became possible
1930- color film stocks. Technicolor primary colors
Technicolor needed a great deal of light
1941- Citizen Kane – deep focus
ITALIAN NEOREALISM (1942-1952)
1940- younger generation to break free from the
Conventions of Italian cinema
1941- pseudo-documentaries by Roberto
Roselllini White Ship even though
Propagandistic, handling of contemporary
events.
Spurred by foreign and indigenous influences
Revealed contemporary social conditions
Non-actors were also recruited for their realistic
looks and behaviour.
Bicycle Thieves by De Sica
 FRENCH NEW WAVE (1959-1964)
1950s – young men wrote for Paris film journal
Cashiers du cinema, attack most artistically
respected French filmmakers
Auteurs – authors
Borrowing money and filming on location
-Casual look
-Mise en scene actual locals in and around Paris
-artificial light was replaced by available light and
simple supplemental sources
-Camera moves a great deal, panning
-shooting cheaply on location demanded flexible,
portable equipment
-Éclair – developed a lightweight camera
-Casual Humor
-Experimentation with plot construction
-Casual connections became loose
-lack goal oriented protagonists
-drift aimlessly; engage in actions on the spur of
the moment
-New wave narratives often introduce startling
shifts in tone
-Discontinuous editing
-often end ambiguously
1947-1957 – been good to film production
1957 – attendance fell
-French Industry supported the New Wave through
distribution, exhibition, and eventually production
1964- characteristic New Wave form and style had
already become diffused and imitated