ARABELLA MAE T.

DUQUE
FILM100 – Midterms

In Lumiere films or “actualities”, discuss the camera placement, movement and

composition.

Simple camera placement, movement, and composition were hallmarks of Lumière films, like

"Employees Leaving Lumière Factory," which used a documentary-style approach. Early cinema

pioneers the Lumière brothers frequently set up their camera to record commonplace sights in a

single, still frame.

The Lumière brothers strategically positioned their camera at a fixed point near the exit gate of

the factory in "Employees Leaving Lumière Factory," aiming to capture the unfolding scene

in a straightforward manner without elaborate movements or staged setups. This deliberate

placement aimed to document the natural and unscripted movements of the workers,

emphasizing authenticity and a documentary-like realism. The camera did not produce any

significant movement, possibly to focus on being naturalistic. The composition of the image was

straightforward, with the workers in the foreground and the industrial building in the

background. The idea was to capture the moment unaltered by overly staged or altered shots,

putting the workers front and center and candidly displaying their everyday routine. This

commitment to realism and simplicity contributed to the advancement of documentary cinema.

"Arrival of Express Train," Lumière's inventive style of filmmaking was largely defined by the

camera movement, placement, and composition. The camera placement in the scene was

positioned at a fixed spot on the platform and was trained on the approaching train, giving

viewers a clear and detailed picture of the action. They were able to focus attention on the
strength and speed of the new technology by emphasizing the spectacle of the train's arrival

thanks to this fixed viewpoint. In movement, just like mentioned in the scene of Employees

Leaving Lumière Factory, the movement was predominantly intrinsic to the subject. The effect of

the incoming train was amplified by the camera's still position, giving the scene a realistic and

immediate feel. In terms of composition, the scene was accurately captured by using the frame.

The arrangement centered on the arrival of the train, including the people on the platform into a

dramatic piece. The intentional arrangement sought to convey the happenings in a natural and

unscripted manner. They captured a train's arrival through a carefully positioned camera,

allowing the audience to feel they were present, showcasing their dedication to filmmaking.

In "Feeding the Baby," the camera placement, movement, and composition played essential roles

in capturing everyday moments with a sense of simplicity and authenticity. In terms of camera

placement, it was often fixed to observe the scene without interference, providing an

unobtrusive perspective. The camera would likely be strategically positioned to focus on the

intimate act of feeding, emphasizing the naturalness of the moment. Movement in Lumière films

tended to be minimal, allowing the subject matter to unfold organically. In this case, any camera

movement would likely have been subtle, with an emphasis on the quiet interaction between the

caregiver and the baby. Composition in Lumière actualities adhered to principles of early

photography, framing scenes to capture reality without excessive intervention. In "Feeding the

Baby," the composition would aim to highlight the tender act of feeding, possibly framing the

subjects within a domestic setting to evoke a sense of familial warmth. These elements

collectively contributed to the Lumière brothers' distinctive style, shaping the foundation of early

cinema and documentary filmmaking.

 Examine how power and politics are characterized in the early short film of Thomas

Edison, “Advance of Kansan Volunteers at Caloocan”, “Capture of Trenches at Candaba”,

and “Filipinos Retreat from Trenches.”

The "Advance of Kansas Volunteers at Caloocan" video effectively captures the Battle of

Caloocan through its spatial components. The dense undergrowth emphasizes the terrain, while

constant fire bursts highlight the Filipino soldiers' unwavering stance. The sudden appearance of

Funston's men creates contrast and allows for a focused examination of the battlefield. The color

bearer's fall and Sergeant Squires's picking up of the standard highlight bravery in chaos. The

opening shooting heightens the excitement of the U.S. forces' march.

Capture of Trenches in Candaba uses spatial elements to illustrate the dynamics of the battle.

The Filipinos' initial flank movement and reoccupation of the trenches provide a strategic

framework, while the American advance guard's cutoff illustrates the geographical implications

of their tactics. The rebel flag over the ditch creates a focal point, symbolizing the Filipino

soldiers' temporary occupation of the area. The spatial arrangement highlights the confrontation

between the two sides, as the Americans launch a ferocious charge. The officer's desperate

escape and the dispersal of the Filipinos are shown spatially, adding to the overall drama and

action of the story. The camera and viewpoint are employed to fully immerse the viewer in the

events. The early emphasis on the Filipinos' flank movement and reoccupation of the trenches

may have revealed a tactical decision made by the Filipino forces. The rebel flag over the ditch

may have caused the emphasis to shift, highlighting the moment's symbolic significance.

Dynamic camera angles are likely used to depict the American soldiers' intense charge, capturing
the intensity of the fight and the Filipinos' dispersal. The officer's fall and the galloping away

horse represent the price of war and the mayhem that breaks out during a fierce fight. These

symbols enhance the audience's comprehension of the actions on screen, adding to the scene's

overall emotional impact and narrative depth.

Filipinos Retreat from Trenches effectively portrays the Battle of the Trenches at Candabar

through the use of space. The enemy's nighttime construction of a high earth embankment serves

as a significant spatial feature, highlighting a strategically important vantage position. The

packed trenches create a backdrop that highlights the severity of the battle, with Filipinos

shooting volleys at one another. The American cannon, captured in the frame, wrecks havoc on

enemy ranks, illustrating the spatial effect of the gun onslaught. The chaotic aftermath of the

assault is represented by the scattered bodies throughout the battlefield. An American firm

covers the Filipino retreat, indicating a change in the scene's emphasis and bringing about a

change in spatial dynamics. The movie scene's viewpoint and camera work together to provide

an immersive depiction of the fight. Strategic camera angles are used to highlight the towering

earth embankment and packed pits, while dynamic camera motions show the artillery wreaking

devastation on opposing ranks and the geographical impact of the barrage. The mounted officer's

careful horse maneuvers over the fallen dead, highlighting the aftermath of the conflict from a

distinctive angle, add to the complexity of the story.

 Describe the juxtaposition and meaning of images in the scenes from the Surrealist film,

“Un Chien Andalou”.

"Un Chien Andalou" is a 1929 surrealist film directed by Luis Buñuel and Salvador Dalí,

known for its symbolic visuals and non-linear storyline. It challenges traditional narratives and

encourages directors to experiment with non-traditional storytelling techniques. The film remains

a pivotal film in history, challenging conventions and fostering creative innovation.

The prologue of "Un Chien Andalou" opens with a man, played by director Luis Buñuel

himself, sharpening a razor blade in a seemingly mundane act. He then proceeds to slash the eye

of a young woman, played by Simone Mareuil, though, and the situation takes an unexpected and

disturbing turn. This sequence's juxtaposition is remarkable because it turns a routine action into

a terrifying violent deed. By placing the razor and the eye in opposition to one another, the image

subverts the viewer's expectations and creates a symbolic rupture with traditional narrative.

Instead than adhering to a chronological narrative framework, this surrealist approach seeks to

elicit an emotional and visceral reaction. The cutting of the eye has been interpreted as a

symbolic assault on societal norms, a rebellion against conventional morality, or an expression of

the filmmakers' desire to provoke and challenge the audience's perception of reality. In essence,

the prologue sets the tone for the entire film, utilizing juxtaposition to create a dreamlike and

provocative experience that defies conventional cinematic norms.

In the scene where a man, portrayed by Pierre Batcheff, is seen dragging two grand pianos,

two bishops, and a pair of dead donkeys across a room in "Un Chien Andalou," the film
accepts its symbolic and surreal elements. The film's surreal and illogical ambiance is enhanced

by the juxtaposition of these apparently unconnected components. Different interpretations are

possible since the narrative thread is purposefully left unclear. The act of pulling strange items,

like dead donkeys and pianos, defies expectations and throws conventions into disarray. The

piano, which recurs frequently in the movie, can represent the conflict between individual

expression and social conventions. On the other side, the dead donkeys can stand for the collapse

of social norms or a rejection of traditional values. Ultimately, the scene's arrangement of

dissimilar components encourages viewers to participate in their own interpretation, which

reflects surrealism's aim to subvert traditional narrative and promote personal interpretation of

the ludicrous picture.

 Discuss how Italian Neorealist movement influenced the French New Wave cinema.

Describe scenes from “Bicycle Thieves,” “Umberto D.” and “400 Blows” to support your

answers.

The French New Wave film industry was greatly influenced by the Italian Neorealist movement,

which rejected traditional filmmaking traditions and placed a strong focus on realism and

ordinary life. The French New Wave's "The 400 Blows" and Italian Neorealism's "Bicycle

Thieves" and "Umberto D." are two examples of this influence in action.

In terms of location under Italian Neorealism, Bicycle Thieves and Umberto D were known for

their use of actual locations. Without having the manipulation of green screen or effects of

backgrounds for it to be realistic. It was often filmed on the streets of the post-war era in Italy.

Rome's streets serve as a crucial background in "Bicycle Thieves," presenting the protagonist's

hardships in a real-world setting. Similar to this, "Umberto D." concentrates on the protagonist's

run-down neighborhood and the difficulties of everyday life while using actual places to portray

the harsh realities of post-war Italy. In terms of French New Wave, The 400 Blows also utilized

actual and realistic locations to capture the protagonist’s journey and experience on city streets,

schools and juvenile detention centers. This break from conventional filmmaking techniques and

absence from studio sets enhanced the realism of the movie.

When it comes to the cast, neorealism frequently used working-class or non-professional

performers. As the main character in "Bicycle Thieves," non-professional actor Lamberto

Maggiorani performed. Carlo Battisti, a retired professor with no prior acting experience, played

the title part in "Umberto D." in a similar manner. The performances gained a natural and

unprocessed feel from this casting decision. The same goes to the French New Wave as it adapts

to Neorealism. The lead character, Antoine Doinel, in "The 400 Blows," was performed by the

relatively unknown young actor Jean-Pierre Léaud. The organic and raw quality of Léaud's

performance complemented the Neorealist movement's focus on presenting authentic human

experiences.

In terms of Cinematography, in order to continuously and unobtrusively capture the events as

they unfolded, neorealism films frequently used long takes and deep focus. The director of

"Bicycle Thieves," Vittorio De Sica, immersed the viewer in the protagonist's search for his

stolen bicycle with extended takes. In a similar vein, "Umberto D." highlighted the main

character's emotional isolation using lengthy shots and painstaking setups. The French New

Wave was motivated by Neorealism's focus on depicting truth, which led them to embrace

inventive cinematography. Cinematographer Henri Decaë and filmmaker François Truffaut broke

with standard filmmaking methods in "The 400 Blows," using handheld cameras and unusual

viewpoints. This method matched the Neorealist devotion to capture the immediacy of life and

added to the film's spontaneity.

Overall, The French New Wave and Italian Neorealist movement were influenced by their

emphasis on non-professional performers, authentic settings, and avant-garde cinematography, as

seen in movies like "Bicycle Thieves," "Umberto D.," and "The 400 Blows."
 REFERENCES

● De Verre, William. (2022). Battle of Caloocan. In R. A. dela Cruz (Ed.), The Philippine

Revolution 1896-1902 (Vol. 1, pp. 123-128). Pasig, Philippines: Pasig City Museum and

Heritage Center.

● Elsaesser, Thomas. (2005). The Lumière brothers: Their films and their legacy. Princeton

University Press.

● Gunning, Tom. (1989). The cinema of attraction: Early film, its spectator, and the

pleasures of the visual. Cinema Journal, 28(3), 61-80.

● Musser, Charles. (1990). The emergence of cinema: The Lumière brothers and their

successors. History of Photography, 14(1), 1-31

● New Jersey. National Guard, Thomas A. Edison, I., & Paper Print Collection. (1899).

Advance of Kansas Volunteers at Caloocan. White, J. H. U., prod United States: Edison

Manufacturing Co. Retrieved from https://www.loc.gov/item/98501192

● New Jersey. National Guard, Thomas A. Edison, I., Paper Print Collection & Niver.

(1899) Capture of Trenches at Candaba. White, J. H. U., prod United States: Edison

Manufacturing Co. Retrieved from https://www.loc.gov/item/98501201/

● New Jersey. National Guard, Thomas A. Edison, I., Paper Print Collection & Niver.

(1899) Filipinos Retreat from Trenches. White, J. H. U., prod United States: Edison

Manufacturing Co. Retrieved from https://www.loc.gov/item/98501198/

● Adamowicz, E. (2010). Un Chien Andalou: (Luis Buñuel and Salvador Dali, 1929).

London; New York: I.B. Tauris; Distributed in the USA by Palgrave Macmillan.
● Britannica, The Editors of Encyclopaedia. (2023, November 16). Salvador Dalí.

Encyclopedia Britannica. Retrieved November 21, 2023, from

https://www.britannica.com/biography/Salvador-Dali

● Bordwell, D. (1985). The French New Wave: A critical introduction. Oxford University

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● Bazin, A. (1958). What is cinema? (Vol. 1). Berkeley: University of California Press.

● Graham, P. (1995). The French New Wave. London: The New York Times & Warner

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● Monaco, J. (1976). The New Wave: A critical introduction. New York: Oxford University

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