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  • Film History 3-31

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    Edward Wang
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    176 visualizações22 páginas

    Film History 3-31

    Enviado por

    Edward Wang

    Direitos autorais:

    © All Rights Reserved
    Baixe no formato PDF ou leia online no Scribd
    Sinalizar o conteúdo como inadequado
    de 22
    he medium of cinema appeared in the mid-1890, an cra whe the United States was becoming one of the wosd's majo colonialist, powers. The Spanish-American War of 1898 resled in the Unite Sates ‘aining contro of Puerto Rico, the Philipines, Guam, Hawai, and part ‘of Samoa. The United States itself was sil inthe proces of formation. [daho, Montana, and North and South Dakota had become sates in 1889, and Arizona and New Mexico would not enter the Usion until 1912, Daring he lat nineteen cents} aieoad, i robacco, and ote industries were expanding epi and in 1890, he Sherman Andirast ‘Ace was pase in an actemp oli che groweh of monopolies ‘Owing o ard mes in southern and ester Europe, anew wave of migrant arsived on American shots after 1890. Living most in eth nic communities within Lage cities, these non-English speakers would form stable audience forthe silent cinta. The fest decade ofthe new century saw a progtessvist impulse in Ameria, under the presidency of Theodore Roose. There were move ments o give womea the vote t0prohbichild abo, o enforce anttast. laws, and ro insite regulations to protect consumers. This ra was aso ‘one of viruleareacim, seared by many Iynchings. African American Peogresives formed the National Association forthe Advancement of Colored People in 1908 American expansion came at ine when the major European powers had already established farang empies and were engaged nan neat fume of jockeying For further power in sch unstable areas as the Balkan States andthe decaying Quowian Empize. Tensions over such manewer ing a5 well as mutual distros, especialy between France and Germany, led othe outbreak of World War in 1914, This conic: gradually dem counties fom all over he globe into the Sting. Alkhough many zens 2 PARTI fatty Cinema wanted no involvement the United States entered the Fay in 1917 and broke the stalemace that had deve: ns ukimatel forcing Germany to sutenderin 1918 “The global balance of power had shifted. Germany tose many of ts colonies, a the United States emerged tthe worl’s lading financial force. President Wood ow Wilson tied to expand progessivs principles on tm international scale, proposing a League of Nations to foster world unity. The League, formed in 1919, helped build spirit of international cooperation dur ing the 1920s, but it proved too weak to prevent linge ing tensions from eventally causing a second intzaa- sional coabict During the thre decades before World War I, the inna was invented agree rom a small amusement area busines to an interatonal industry, Films began Serie moving views presented as novelties, and, bythe tid 1910, he lengthy narative feature film became che basis for cinema programs “The invention ofthe cinema was a lengthy proces, savolving engineers aad entrepreneurs in several coun tes, Srugales among teat holders in the United Sates Slowed the development of the industry here, while French companies quickly acized the lead in markets throughoue the wold (Chapter). From 1905 on, «rapid expansion in demand for motion picture entereinment i ce United States ed 10 the spread of small move theser called nickelodeons, This demand was fled in par by the sing immigrant population aad in part by ce shorter work hours gained by the increasingly militant Iabor-union movement. ‘Shon America was far and away the wold argest mar et for lims—a uation the would allow ic neease isseling power abroad aswel, ‘Dura the period of the “nickelodeon boom,” the soc fm became the ain typeof faze offered on pro- ta, Fls made in Franee, Tals, Denmark he sited Kingdom, the United States, and elsewhere cirulated Widely around the worl. Naeaive rats and style Techmigues changed rapidly as influences passed back tnd forth among countries. Movies grew longer, et ‘loved more editing, added explanatory interes, and Featured a greater varity of camera distances. Adapts fiona from lteratare and lavish historical spectacles ted prestige tothe new artform (Chapter 2), ‘World War bad enormous effects onthe cinema, “The oubreak of hostilities igered a severe cutback ia French proton, andthe county lost its Jang pos tion in world maskes, Italy soon encountered similar problems, The growing Hollywood fl industry stepped Int il the gap in supp expanding its distribution sys tem abgoad. By the war’ end, American fs had an inrernational grip that oer countries would struggle, {ually ih ied access, ro Toose, ‘Dring this era, Flmmakers in many counties x pred form. Fil editing grew sable and complex, sting styles became varied, and directors exploited Tong takes, elise decor, and camera moverent. By the end of World War I, many of todays fm conven tions had en established (Chapter 3) CHAPTER THE INVENTION AND EARLY YEARS OF THE CINEMA, 18803-1904 he nineteeth centy sa vast proliferation of visual forms of popular etre. The indo er offered ways of has prodocing lence ies, books of photography, a lsat fon. The middle and woring sos fy comes col it carte amar tinted backsrops with he dnensional figures depicting famous his {orca evens. Creuse, “freak shows,” amurenat park, nd music halls provided other forms of inexpensive enteresinment Inthe United Stats, numerous dramatic toupes toured, performing in the sheatrs and opera hones tha exited ev ia seal ws Hauling entre theater production from rown to ton, boweves, vas expensive Similarly moe people had to eave long distance ois Imp dramas aman es nhl ales few coud hope to see shan the exo and hey limpoed in state ‘ew in book of travel photographs orn thei sereoscopes, hand held viewers that reated three dimensional elects by esing oblong cards with ‘wo photographs printed side by side, “The enema was offer cheapes, spler way of tainment othe masses, Filmmaker could record actors performances, Which then cold he shows to audinces coun the worl. Travelogues srould bring the sighs of far-ung places, with movement, directly to Spectator’ hometown. Movies would become the most popular va a form of the le Visors a ome The cinema was invented ding the 1890s appeared inthe wake ft nial ay the ene nn 76h phonograph (1877), andthe automobile (developed daring the 1880s ‘18905 Lik the ea ecologic vice tat bean the basi ‘tic medium. Ding the Rit decade ofthe cnt’ existence, nen tors worked to improve the machines for making and showing fs. 4 CHAPTER 1 “The lavenson and Early Yen of he Ciena, 18801-1904 Frlmmakees also had 0 explore what sors of images they cou record ad exits had to figure ou how fo presen hose images co atienees ‘THE INVENTION OF THE CINEMA ‘The cinema is a complicated medium, and before it oul be invented, several technological requirements had to be met. Preconditions for Motion Pictures Fa, acts had ro reali that he human ee will rene motion if seis of igh irene mages + Pied before in aid svccesn-inmal aon Sn pa scond Daring he ieee en wiapire ts propery of von Severo 75 ‘tere markced at gave aailunion of movement By “nga numberof eerng each eed some sha tn 1832, Began ponent Josep Pleas aod Roatan geome profesor Son Stampfer indepen ey creed te pt device tha came to beled the Phenaletomepe (Ut) The Zocrope vented in Mn consis sere of rnwings on sero 59 Sf ppe sea revoving eum (1.2), The Zeetope Seta std ater 1867 slong with ther oad {ope Sint preipls wer ltr ued ls, bt 0 thas othe sume ation was repeated onerand ot 44 A penaktouopes ining dif farses the iitsion of movement rhe he ewer looks throu sor tne onary se ‘second technological requirement for the cinema ves the capacity to project apd series of images on Thface. Since the seventeenth century, eneraners and ‘aluctors had been ysing "magic lanterns” vo project fas Tantern slides, bur there had been no wa to fash Taege numbers of images fast enough to create the ill 1S thie prerequisite for che invenion ofthe cinems ‘was the abit to use photoprapiy 10 make sucesive pictures ona clear surface. The exposure time would Fave tobe short enough to ake sixteen o more frames in tingle second, Sach techniques came about slowly. The fs stil photograph was made on a glass plate in 1826 by Claude Nios, be eguired an exposure time of eight hours. For years photographs were made 03. flsseor metal, without the eof negatives so only one py ofeach nage was possible exposure ook several nines each, n 1839, Heney Fox Talbot introduced regaives made on pape. A about tis sme ime i b= Came possible co pent photogeaphic images on glass Tanteen sides and project them, Not until 1878, how tren did splesecond exposure ines become feasible Fourth the cinema would requir that phosographs be primed oma hase exible enough to be passed throu a camera reply Stipe or dsc of glass could be used ba only a shor serie of mages could be registered on them. In 1888, George Eastman devised sileamera that made photographs on rolls of sestzed pape. This can ‘which he named he Kodak, spied photography 412. Looking through the stn reoving Zoewope, the The ovation ofthe nema 5 413. Oncof Maybridge' ais oon tui, photographed on Jane 19,1978 so that unskilled amateurs could take pictures. The next Year Eastman introdaced transparent cellu rl ll, treating a breakthrough inthe move toward cies, The film was intended for sill cameras, bu inventors could tse the same lesble material in designing machines take and project motion pictures though was appar cently about a year before the ck was improved enough tw he peat Fifth and finaly experimenters needed to find a suitable ntermirent mechanism for cameras and pro jectors. In the camera, the strip of flim had to stop Brify wil ight entered through the lens and exposed each frame a shuter then covered the film a8 another frame moved into plac. Similarly inthe projector, each frame stopped for an instant in the aperture while 3 eam of light peojced i onto a sree again shatter passed behind the lens while the flistsip moved. At leas sixteen fares ha eo slide int place, stop, and move away exch second. (A stip of lam sling contin ously past the gate would rete a blur unless he lght Source was quite dim.) Fortunately chee inventions of the century also needed intrmitsent mechanisms to sop and stat quiekly. For example, the sewing machine (i ‘ented in 1846) advanced strips of fabric several ies Per second while a needle pieced them. Intermittent mechanism usally consisted ofa gear with slots or notches spaced around its edge, By the 1805, all the toch conditions nevessary for the cinema existed. But who would bring the neces sary elements rogether in a way tha could he exploted fon a wide asi? ‘Major Precursors of Motion Pictures Some inventors made imporeant contributions without creating moving photographic images, Several men were simply interested in analyzing motion, In 1878, ex povernor of California Leland Stanford asked photog rapher Fadweard Muybvidge t find a way of photo traphiag canning horses to help study thie gaits Muybridge stupa row of twelve cameras each making an exposue ia oe-thoasandth of «second, The photon recorded one halfsacond intervals of movement (13). “Mayiidge lave made later to project moving mags fof horses, but these wete drawings coped from his hoeogeaphs ont a revolving dis. Muybridge did no go ‘on to snvent maton pices bit he made atajor cone bution to anatomical science though thousands of mo- ia studs sing his mile camera setup. Tn 1882, inspired by Muybridge's work, French physiologist Frenne Jules Marey studied the fight of birds and other rapid animal moversenes by means ofa photographic gun. Shaped ike a rifle, exposed twelve lmages around the edge ofa circular glass plate that 6 CHAPTER 1 The ovemon and aly Years ofthe Cine, 18805-1904 made a singe revolution in one second. In 1888, Marey Baile a box-ype camera eat sed an interment mec anism to expose a series of photogeaphs on a strip of paper firm at speeds of up to 120 frames per second Marey was the fise co combine exible fim tock and An intermittent mechani in photographing motion. He was interested in analyring movements rather chan in repreadcing them on screen, bu his work inspired tthe inventors. During this same period, many other Siontins used various devices co record and analyze fascinating and isolated fguee inthe history of the invention of the cinema was Frenchman File Rey fad, In 1877, he had bul ar optical to, the Prost ing Praxinoscope. This was 2 spinning drum, rather Ike the Zocteope, but one in which viewers saw the roving mages in a erie of mirrors rather than through Slots. Around 1882, he devised a way of using mirrors And a Tanern to projet a brief series of drawings ona Seveon In 1889, Reyna exhibited a much larger ver Sion ofthe Praxinoscope. From 1892 on, he regulary fave public performances wsiag long, broad strips of hand-painted frames (1.4). These were the first public cahibtions of moving images, though the effect onthe Sereen was jetky and slow. The labor involved in mak ing the bands meant hat Reynaud’ films could not es ily be reproduced. Stips of photographs were more practical and in 1995 Reynaud started using a camera fo make bis Praxinossope films. By 1900, he was out fof business, however, de to competition from other, Siler motion-pctue projection systems. In despa, 44 Using log Reiland of wings Reynaud Prsinscope feared cartoon urs onto ‘Naveen on wh he somer was pad he destroyed his machines, though replicas have been constrcted, “Another Frenchman came else to inventing the cis cms scaly as 1888-—six years bore the fs commer Gal showings of moving photographs. That yeas, Au stn Te Prince, wooking in England, was able o make hme brief lis shot a abou satan frames pe seconds thing Kodak rece introduced paper roll. To be projec howees, te frames neded o be pied on 2 franspatent strip lacking exible cello, Le Prine ap- pte as unable to devve a stsactory projector. In 1890, while traveling in France, he disappeared, along ‘vith is walise of patent applications, eating a mysery that has never been solved, Thus his camera was never ‘exploited commereialy and bad virally no inoence on the subsequent invention ofthe cinema An Intemational Process of bnvention eis dificult so aie the invention of the cinema ro ‘single source. These was no one moment when the ‘nema emerged. Rather, the techaology ofthe motion picture came about through an accumulation of cont Traons, pracy from the sited Sates, Germany, En sland and France son, Dickson, andthe Kinetoseope In 1888, Thomas Eason already the successfol inventor ofthe phono: raph and the electri ightbal, decided to design ma- {ines for making and showing moving phocogzaphs. Much of the work was done by his assistant W. KL. Dickson. Since Fdison’s phonograph worked by eeconding sound om cylinders, the pai ied sly to make rows of tiny photographs around sila clin des. In 1889, Edison wont to Pars nd saw Mae's 15. The Kiseoscope wat a poeple devise that rte lm ‘wound a sees allem. Viewerativatd fy puting The lovention ofthe Cinema 7 camera, whic used steps of fesible ln, Dickson then tbtained some Eastman Kodak film stock and began working ona new type of machine, By 1891, the Kine tograph camera and Kinetoscope viewing box (1.5) wer ready robe patented and demonstate, Dickson sliced sees of Eastman li into strips Linch wide roughly 35 millimeters) spliced them end to end, and punched four holes on ether side ofeach frame so that toothed eas could pll helm through the camera and Kineto Scope. Dickson easy decisions influenced the enti is tory ofthe cinema; 35m film tock with four petra ‘ons per fame ha remained the nogm. (Amazing, an ‘original Kineroscope files can be shown on a modern projector} Initially hovieve, the fl was exposed at about fort)sx frames per second-—minch fase han the average sped Inter adopted for sient nang ‘Before Edson and Dickson could exploit cheie ma- chine commercially, they needed films. They buile a small studio, elle the Black Maria, on the grounds of Falson’s New Jersey laboratory and wer realy for peo Auction by January 1893 (1.6). The films lasted only teeny seconds or so—the longest can of film thatthe Kinetoscope could hold, Most fms feaured well known sports figures, excerpts fom noted vaudeville acs, or performances by dancers of acrobats (1.7). Annie Oakley displayed he illery anda bodybuilder Hexed his muscles, A few Kinetoscope shor were knockabout comic skis, forerunners ofthe story Bl. 417 Any Maller danced in he Black Mara March 241896 The black Background and pach light fom the opening nthe oo were standard traf Kineonope fas, 146 i swan afte le pu) way oa Man, thet cc! Te sed porn ef he ra prada sl Alan and thw baling avons ac oeach nial ote Falpon ha exploited his phonograph by lesion topes phonograph poe wht the plc a cB hear econds trough carbone. (Onl in 195 ut noaps ie eal for bomen) Tide same with the Kuconcope. On Ape 1 {894th Kinetscope par peein NewYork see ther pero, bok she United Sates and Steead, exited te chins (18) For about seo Jeske Kincoscope nos hy prof, Dati was ijed when othe aver ped by Edo’ new Sev found ways to proj Hla oma sen, European Contributions Another carly system for sak fg aad projecting films was invened bythe Germans Mav and Emil Skladanowsky. Their Bioscop held wo ‘trips of film each 3 inches wie, aonng sie by side, frames ofeach were projected alternately The Sklada- towaky brothers showed fiten-minue program ata lange vaudeille ester n Bern on November 1, 1895— ‘early two months before the famous Lume sereeing ithe Grand Cale (se right). The Bioscop system was too cumbersome, however and the Skladanowsly een tually adopeed the seandard 38mm, snglestrip film wed by more influential inventors, The brothers toured Bu rope through 1897, but they did not establish a sable Production company: “The Lumitee brothers, Lous and Auguste invented projection system that helped make de cinema acon tmewilly viable enterprise internationally. Thee family ‘Company, Lume Fries, based in Lyon, France, was he biggest European manufacturer of photographic (CHAPTER The Inversion and Bay Yes ofthe Ciera, 18805-1904 418 Atpica eerinment Parl wth phonorant note he ‘olny earphones at and ener tnd ow af Kinetomopes Seah plates. n 1894, lca Kinetossopeexhibicor asked them fo produce short fins that would be cheaper than the foes sold by Edson. Soon they had designed an elegant te camera the Cindmacoerape which used 35mm fila fand an intermittent mechanism modeled on tat ofthe “eving machin (1.9). Te camera could serve asa prints sven the postive copes were made. Thea, mounted in Front of a magic lantern, formed pat ofthe projector swell, One portant decision the Lumiéres made was to shoot heir films a teen fares pee second (rather 13 ale ny ly cmera te aie Cine MSeaphe wa salad potable Tiss 1930 pot sows, Fane Beatie oe ote Rt recta wo toured Tee chine nding Sw dong the 199s, posing ith Cncnargraphe ‘ham the forty-six fames per second used by Eason this rate became the most commonly sed international lim seed for abou weary years. The fst ln nade with his system was Workers Leming he Fsctory apparently shot in March 1895 (110) ewas shown ia publi aa mec. ing of the Société Encouragement 4 Vlndustre Narionale in Parison March 22. ix further showings to ‘cient and commercial group followed including ad- ional fms shot by Lous, (On December 28, 1895, one ofthe most famous ‘rents infil history ook place. The location was a oom inthe Grand Café in Pain those day, cles were eth ring spos where people sipped coe, read newspapers, and were entercained by singers and other performers, “That evening, fashionable patrons pid a franc to sce 2 ‘went fve minute program often fs, about a minste each. Among the films shown were a close view of Auguste Lumire and his wie feeding their baby, a staged comic scene ofa oy stepping on a hose ro cause a pur led gardener to squirt himself later named Arroseur larrse, or “The Wateer Watered”) and shor ofthe se, Although che fist shows did moderace business, within weeks the Lames were offering twenty shows 2 day, with long lines of spectators waiting 0 get in ‘They moved quickly to exploit this success sending sop resentative ll over che world to show fms and make rote of them, ‘the same time thatthe Lumiére brothers were de ‘loping their sytem, a parallel process of intetion was s0ing on in England. The Edison Kinetoscope hod pre ‘ced in London in October 1894, and the pastor that displayed the machines did so well hat tasked RW. Paul, a producer of photographic equipment, co make some extra machines foe i Foe reasons that are sil not ‘ler, Flison had not patented the Kinetoacope ouside the United Sates so Paul was fee sell copes to any fe who wanted them. Since Fs would supply fils ‘only to exhibits who had leased his own machines, Paul also had to invent 3 camera and make films to go With his dplcate Kinetosopes TheInvemion ofthe Cinema 9 4.40 eft The Luniz brother fim, Workers Lewng the Faro as 2 sgl sor made outset pore {paphc ctor eembodel the esa rps ofthe st fe ele moe ‘neo cel pope gb ir Aces Rong Soe a Dover one of he ears Eglith in, Stowe Inege waves cating apse eal By March 1895, Paul and his partner, Bite Acres, had a funesional camera, which they based parly onthe fone Marey had made seven year earlier for analyzing motion, Acres shor chisteen fs ding the fest hall of the year, bue the pactership broke up, Paul went on im proving the camera, aiming to serve the Kinetoscope Inarket, while Acres concentrated on crating 2 proj tor On January 14, 1896, Acres showed some of his fms to she Royal Photographic Society. Among these ‘was Rough Sea at Dover (1.11), which would become ‘one of the most popular is fils, Seeing such oneshot films of simple actions or landscapes today, we ean hardly grasp how impressive they were to audiences ‘who had never seen moving photographic images, A comtemporary review of Acress Royal Photographic So ciety progam hints, however, at their appl: The mos sucessful fet, and one which calle forth rounds of applause frm the usally placid members. ofthe “Royal,” wat a ceproduction ofa amber of leaking waves, which may be een lin rom the sea cu over agaist a ety, and break int load of Snot speay that seemed eo art fom the sexen.! Acres gave other demonstrations, but he didnot ys ‘ematizally exploit his projector and Blas Projected fms weee soon shown reglaely in En land, however The Lumiéte brothers seat a repesen tative who opened a successel ean of the Cinéma: rogeaphe in London on February 20, 1896, about @ month after Acres’ ise screening, Peul went on im roviag his camera and invented a projector, which he used in several theaters to show copies ofthe films Acres had shot the year before, Unlike other inventors, Paul Solis machines rathe than leasing ther, By doing 0, he oe only speeded up the spread ofthe fil industry in Great Briain bue also supplied filmmakers and e« hibits abeoad who were anahle to get other machine. ‘Among them was one of the mos important eaely di rectors, Georges Melis 40 CHAPTER ‘The nvenon and Early Yer of he Cinema, 8801-1904 Amerean Developments Daring hs prod, pois fmrysems end emera wre lo Bing eid ine {ted scree inportant sl groopcometed twinodxe#emmercly scent tn “one than an hs sons Orway and Gray gan ork ona camera an projector in 1894 aud wae tie show on nto spots om Api 21s 1H95. They even opened stall retort hates Moy wrth progr an or years The pojtor Gul cateact much tention, Because east nly 2 din ius Tae Latham group di ak one conse SH contibuon to ln technology however Most Cimento enya ref Sl sang est han sees inte, since he esion eed by longer air rll would bres the fi. SThetarhuo aed asl loop ro eat sack and thon cele the tension, allowing mock longer ins to be made, The Latham op has Been sed most “Sma ad projects ever sine Idee, 0 sportant Stave technique tht pte involving Take up he nie Ansan lv ny 01912 An Shprovel Lash poetor was ed by sme exhib ton bat oer seme alt cst Brighter images tind preter sce cond pou enrepeney the pastes of 6. Fran Tein an Thomas Armat fst exhib ther anasope proto at commer exposition ft ant October 1895, song Kineton Pan steepest oh Lathan group and I Gtrcope elitr uh a owe fine ae x Fenton and pry bcos of diene Prot Ra Moomonope seraced kinpy noice Laer at Jenene td Ama split. Arm speed he Projet eaned tthe Visscpe, and abe sk spt the cprepeneri eam of Norman Raf and Fisk Ganon Raf and Gamimen were evo about ‘hndingEson so nFebray they demonstrated he Stchne ra Sw he Kinetocope nil poplar {hina fading. Edn goed to manfactare Arma rotor aad upp ln for For publi popes, Taare a “Edson Vso eventhough be baa bard devin ‘The Vasco’ plc pemire was at Koster and bias tae all mew Yor Api 23, 1896.8 fms were shown, veo them orginally shot forthe Kinsonope he sath as Acres Rough Sa Der, Nich apis was singled on for rae. The sowing Sioa umphs ad aloo was not he ist me Ths had buen projected commercial nthe United Sees mer the beginning of rod movies 362 Viable indy ee “ett mjor ey invention she Unie tes segue eps ev a ate 898, He eae pane te cope» ical deve thy cheated camer bowery an song a Ulm end W Ks Dickson, wb bad ermine eins Hdso, rk herp shy a he etn oop Coss ap Caer and Dison ad ch caers et thnk fox peso mob lied nd hey esto cone on pon Ung vr is 2k Garage te Amcrese cocope Com st Soo had progr plying eter sand the "ane and ung th ners "iecamen an rocor were cooing omit yee ge saps nag 3) 197 am atscope var he mon pope lm om inh sony Tat yore hem ao began aot nn any eae nd ree aac sng the Marwope The empl cd reheat Mutcope mses en Sowa than was the Kinetoscope, and American Mutoscope soon dominated the pespshow side of fils exibition as well. (Some Mutoscopes remained in use for decade.) By 1897, che invention of the cinema was largely ‘complete. Thete were wo principal means of ex ‘ion: peepshow devices for individual viewers and pro ection systems for audienes. Typically, projectors wed 35mm film with sprocket holes of similar shape and placement, s0 most films could be shown on diferent brands of projectors. But what kinds of Fis were being ‘made? Who was making them? How and where were people seving them EARLY FILMMAKING AND EXHIBITION “The cinema may have been aa amazing novelty inthe 1890s, bar iteame int beng within a aned content of ‘Victorian leisure-time activites. During the late nie teenth century, many howscholds had optical toys like the Zoetrope and stereoscope. Sets of cards depicted ex oc locals oe staged narratives, Many middle cas fam ilies aso owned pianos, around which they gathered 10 Sing. Increased literacy le to the spread of cheap pop lac ton, The newfound ability to pene photographs led co the publication of travel books that took the seader on vicarious tou of distant lands ‘A great assortment of public entertainments was alo abl, All but the nies tows had theater, a ea Cling shows ersscrossed the country, These included deamatcroupes puting on ply, lecturers using magic lantern sls to illustrate tei talks, and even concerts Searuring the newly invented phonograph ro bring the sounds of higcityonchestis oa wide publi, Vaudeville offered midale- Ina few theaters, a festurer might explain the plot a the ‘lm inwlled, but producers could nar rely on sob aids. mmakers came t assume that afm should guide the spectator’ attention, making every aspect ofthe Soy on the screen as clear as posible. In particular, ime increasingly setup chan of narativ causes and tle, One event woul! pha lead to an effet, which ‘would in tam cause another effect, and 0 on. Moreover, event was epically caused by a character’ belies oF desnes Character psychology had not been particlaly important in early fins, Slapstick chases or bref melo tdromas depended more on physical aesion or Faiiar ‘tustons than on characte taits. Increasingly after 107, however, character paychology motivated ations By following a series of characters" goals and resulting onic, the spectator cauld comprehend the ation. very aspect of silent lim style came robe wsed ive clarity. Staging in depth could show enhance nar 213_The areal fa Tate at ont Sti the Lambe ener as ‘oem eta osname is many planes face, 214 The Shpoapers (red Sate, 190) he foreman sept Forward bei over that is se had Bere Taln. the spatial elationships among clement, nettles could {Ad nacre information beyond what the images con Aipel Cane ews of the ator could gprs thei emo one more precy. Colo st design, and lighting could Empl time of ay the mie ofthe ation, and 50 on Some of the most important innovations ofthis period involved the ways in which shots were put together create a try none sense, eiting was a boon tothe flake, permitting instant movement from one space to another or cut to closer views to reveal details, Buri the spectator could not keep track ofthe temporal and Spatial relations Between one shot and the next, iin Tight lea to confsion. In some ase, intercies could fp exalish new lnstions. Fting also came ro emp tice contnaty among shots, Certain eves indicated that tune was flowing uninerrupredly across cuts. Between Seenes eer cues might suggest how much ime had Been Sanped once When a cut moved from one space to a- ‘tr the director found ways 9 erent the viewer Staging in Depth Filsimakers had been framing action indepth since che earliest years (2.13) Pesicularly in Snes staged outdoors an important plot development night be emphasized by having the actor step toward the viewer (2-14, ln chase films, the pursuers often ran “Bagonally fom the distance ino the Foregound Sm lany, Alfeed Machin’ Le Moule mawedit (“The Ae Cursed Mill” Belgiom, 1909) show's villagers dancing {ip tosand past the camera along a curved path 2.15). dancer ine Moat mad From 1906 os onward filmmakers bean vn soe deh indoor ccs aswel The hs could bette comple, wih Spurs moving o ng oe se vvidcompontions ano ighit an co ge tite rfl expen, In Urban als Aferanden “Downfall” Denmark 1910), the heroine ere 0 ‘eal wih hr Sad socked by he at involve Sh al ses eg al 5 ‘ocmphanie the antl response 216-218) Insuch way a the dea fold moment by me sent depth aging could guide the viewers ee tthe Intettles Before 1905, mose films had no intersites Their maa tiles offen gave information concerning the base situations in the simple maeatives to come. In 1904, for example, the Lubin company released A Po liceman’s Love Afi a sixshot comedy about a rich vwoman who catches a policeman wooing ber aid and throws a bucket of water on him. In Chapter 1 west that Edwin S. Porters 1903 Uncle Tom's Cabin wed 3 Separate inverter inteodace the siaaton ofeach shot (see 1.31, 1.32). The longer fm length standardized ring nickelodeon red a neresingnamber of eres, 2A6_ tn Afpanden te lovers ate Inert y the ae 2A7 The fant mney vig the heraine anpronce By making in tue rom God foes 0 py moe The Problem of Native Caiy 38 There were wo types of inert. Expository st wer intaly more cmon. Theor were oe fen inthe thd person, summaring the epcoming Sion o simply sering op he station. Arya on rele of 1911 Her Meher’ Fane! ade by Yaw « small independent), introduced one scene with this tile “Home fom Sol. The Widow's danger somes home unexpectedly an surprss her mother” Other cxposry eles were more lconisike the train ook. ns 111 Vegan ns Te hered Tata cee bein with eile “An engage ment broken.” Iter could sso sina ine gaps Beceem sans les sch “The fllowing day” and One month at cane commen Timmer alo sought type of inert that could convey native aormation les bal. nor atom presented in dquo eo within the sory action: Moone beau fils increasing fat on hater pos gs es old seaaet characters thoughts mre press than es tars could At frst fmmakers were no que sre wher t ist dle sls, Some pat thet ere thesborin which he charac dave he ine, Other Simmakers placed he ga ein he midi o the those he hoch ng vo peak The ler placement bce the norm by 1914 afm crs ald tht he pcan oul ete derstand the cee if thee cl oided wth he open Camera Postion and Acting Decisions about where to place the camera were important for ensuring that the action would he comprehensible tothe viewer. The tcges of the image ceated a frame around the events Aepiced. Objects or figures atthe center tended to be more noticeable, 2.18 The thug mover so fame center Balancing he composition sod seeing tie conte of tb ation, {henon a eran hes Fore oer 34 CHAPTER? The nenations Expansion ofthe Cine, 1905-1912 Methods framing the action changed afer 1908 Inondrtacomey the poyhology ofthe carats for ‘Smple immakers Bogan to put he camera slg ‘lore he co seth th facil expressions would Somat ae This tend eee ve sated aboot 1909; hen he fo! ine was intoduced. Tas meant thar thecames, end of being 12 0 16 fet ack ad ‘Rowan the ator from bead oe, was paced oly 9 feet away, cutting off the actors just below the hips Sone chcwer complained that fs ooked unnatural ‘Minas bur thers raed teasing in les ragrapiy which mere his echnigue ‘atin pani explored he poses of colagng fal xpress In ery 1912, he brea ‘thangs lead oop oung aes iading titan Gn lnc er Mae Maa an Mary Pa {ocd reiner logy series of emacs sing only Sphere and asl changes An ety ef tse ‘Sifrinens ws The Pointed Lads in 1912 apc Maat erm uo bes hist: Alter she shoo is rings robbery temp, se goes mad and reves hi ‘ce in fantasy. Throughout uch of The Painted Tenby Cath places he camer elie clove the tevone, raming he rom the waist up 0 bee lights filo and overeat bl (219), During the ‘Si een, conventional anomie etre contd {Sie ued oe were more erin and were nea snl nd in comtaton wh acl expresions. other ecnigueo ating that changed using chs pend was the we of high allow eamera angles thc Seon fms the canta wal viewed thea thon level anges abo chest or wae hi. By “four 11, howerer makers began oxesonaly © Ffame the sctlon tem shghlyabore of below when nga proved a more eflecve ange pin onthe scone 230) ‘uring ehse same years camera tripods with ving Heads weve roduc, With uch pds the 29, lf Gis The Panted Lady Sova cary asta i chat Cincensated onthe wows acting va Blanche Sec. Here she pray th erin aces. 220,1ghe_ cymes fang fro 2 ly high ose ence the ama of he nal pila eee {egy TEE the el ease A aloof Tee Cis, camera could be tuned from side to side to make pan Shots o swiveled up and down to creat its, Tis and pune were often used to make slight adjustments, oF Feframings, when the Sgures moved about. This ability olkecp the action cenered also enhanced the compre Dry of scenes color Aioush most ofthe prints of en fms hat se eae ve ack ad wh, many wee colored in Shue fnion when hey fre appeared: Two echniges ‘ee Salon sles prs became common, Tinting in ‘She yng a lead) developed pve ei The bad hcolored the lighter potions of he im Schl the dark ones emai lack ln orig the ‘readpdcveloped postive prin was place ina der Ecnlnca stoi tht estraed the dork ares of the fame whe he ger aren reac nes whi "Gy aan overall color co the images? Color could prone infomation abou he ara sinaton Sulhece make the storycleserto the pvt. Vix pape Jet's Daughter wes ating fra aiack see lg he nk clo eae the i of he ‘ines Color ate 2), Be ining was frequent oe teint nigh scas (Clo Pte 2.21 Amber ts TEE Salton Slarclor codes efor toning For nay dag sone, toning spi or purple wa Sina Calor Mate), Calor ar abo wed to eshance “alam, After Puke inoduced ts secs, ther ‘ie pled sine cchniques (Calor Pate 2. Se esgn and ihn Been 1995 a 1912 08 {har me some ul larger do ulin to ela thee pena stages nd eumpd iter sais Nowra hes ad ls walls so adm sunlight bu IMaded some typeof electric ging. As res many Bl sed decpets more therimensinal st gy and some wed sil ihe 221. In this sen rom The 10040-One Shot (1906, Vigra the ae and has ane rel bao fireplace, val door ame, window dowerpors ee the sigh oming in through he window ae pained on «ache Note io esa shadows caso theory the sane self lama he se, Ac the beginning ofthe nicklodcon era, many tion films were sil using pained cheatrcal style backdvops, ‘oc as, with some real friar or props nixed in (2.21, see also 1.15, 1.25, 1.2, 2.24) Over the next several years, however, more three dimensional ses, without Pied furitze, wind, ado on, ame into ase se 2.5, 2.28, 241) The set in The Lonely Villa (ee 2.28) with iso sidewall, gives a greater sense of dep than hoes chest in The 100-4o-One Shot (see 2.21), “Most lighting in early films was even and flat, peo vided by sunshine or banks of electri lights sce 2.24 2.27, and 2-41). Dering this er, howeves filmmakers Sometimes use a singe are lamp to cast a trong light ‘nom one retin, Such amps could be placed i fir place to suggest aire (2.22). The control of artificial studio lighting would be an important development in American Bl syle af the late 1910s, By 1912, American fimmakers had established many basi techniques for eling a lear stor. Spectators ould ‘sully see the characters cletly and understand where ‘hey were in ration eo eachother, what they could se, and what they were saying. These techniques would be Slabocated and poised over che next doce, until he Hollywood narative system was sophisticated indeed. ‘The Beginnings ofthe Continuity System When editing links eis of shots, narrative clarity wl be enhanced if the spectator understands how the shots ate to each ‘ther in space an tne. ste sontning uninesrused, 0¢ has some time ben skipped (reting aa lpi)? Are we stil sing the same space of has the sone shite to ‘ne locale? As Aled Caps serps for the French fr i

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