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| Devices that gave the illusion of movement by using a small number of drawings, each altered somewhat. Based on similar principles that were later used in films (first precondition for motion picture is that there must be a minimum of 16 images per second), these toys showed the same action repeating over and over. One example of an optical toy is the Zoetrope which contained a series of drawings on a narrow strip of paper inside a revolving drum. |
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| Term coined by Charles Baudelaire. Unsettling and unprecedented experience of the privileged view: an audience sees strangers on the screen, they look at them and can imagine and feel as though they know the lives of the characters, but the characters do not know them. This one-sided state of "knowing someone" is an unsettling virtual experience. |
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| Famous french poet. Coined term flaneur. Appreiated the experience of film spectatorship, as he enjoyed the "privileged view" (flaneur) |
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| Used since the seventeenth century to project glass lantern slides. They could not flash a large number of images fast enough to create the illusion of motion, however. |
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| Photographer who photographed horses to study their gaits. Photos recorded .5 second intervals of movement. Made a lantern to project moving images (not a motion picture, but he contributed to the development of the motion picture, through his study). |
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| A French physiologist who studied animal movements with a photographic gun. Exposed series of photographs on strip of paper film at up to 120 frames/sec. First to combine flexible film stock with an intermittent mechanism in photographing motion. Did not reproduce movements on screen, desired only to analyze movement. |
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| 1890-1908, films of exhibitionism, non-narrative, aware if itself as a medium, uses close-ups, puts viewer in his/her "ideal position", stresses appeal of other elements of attraction. |
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| A simple loop added to create slack and relieve the tension that longer films would create, allowing longer films to be made. It was invented by the Latham group and was used in most cameras and projectors since its invention. |
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| With C. Francis Jenkins, first exhibited Phantoscope projector at a commercial exposition (1895), showing Kinetoscope films. Limited success of the Phantoscope caused the two to split, and Armat later improved the projector, renaming it the Vitascope. |
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| Thomas Armat's projector that Edison agreed to manufacture and supply films for. It was based on an improvement on upon his, and partner, C.F. Jenkins' Phantoscope. It was marketed as "Edison's Vitascope" even though it was Armat's invention. |
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| American Mutoscope and Biograph |
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| Mutoscope was a flip-card device which utilized 70mm film that yeilded larger, sharper images to project than did the Kinetoscope. W.K.L Dickson's (and Herman Casler's) company that manufactured Mutoscopes to compete with Edison's Kinetoscope was the American Mutoscope. Later, they invented the Biograph to compete with Edison's Vitascope projector and became the American Mutoscope and Biograph Company. Part of MPPC. |
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| Famous American inventor (phonograph, light bulb). Along with his assistant, W.K.L. Dickson, Edison decided to design machines for making and showing moving photographs. Part of MPPC. |
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| Thomas Edison's assistant who did much of the work in designing machines for making and showing moving photographs. Invented Kinetograph and Kinetoscope. HIs early decisions influenced the entire history of cinema (35mm film stock w/ 4 perforations per frame has remained the norm). |
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| Invented in 1891 by Dickson (and Edison). Dickson used Kodak film stock, inspired by Edison's visit to Paris where he saw Marey's camera. It was initially exposed at about forty-six frames/sec, which is much faster than the average speed later adopted for silent films. The camera part of the The four-perferation-per-frame, 35mm-film-stock norm has withstood since its use in the kinetograph. |
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| The viewing box invented by Dickson (and Edison) in 1891. It was a peephole device that ran the film around a series of rollers, allowing a viewer to see the film from the Kinetograph upon activating the machine by putting a coin in a slot. Kinetoscope parlors became very popular until other inventors found ways to project films on screen. |
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| early mechanism to establish copyright of motion pictures by depositing them w/ Library of Congress (deposit policy ended 1912), preserved the "movies" of the epoch while the original films, negatives decayed; Edison first to register ea. frame on positive paper print (1893), positive opaque copies of transparent film negative source; |
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| Louis and Auguste invented a projection system that helped make the cinema a commercially viable enterprise. Their company, Lumièrs Frères was the biggest European manufacturer of photographic plates. They invented a small camera, the Cinematographe. Standardized 16 frames per second. Credited themselves with the first film, in France, 1895, doing a public screening for the Parisian community a few years later. |
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| One of the most important early directors. He was sold a projector, invented by R.W. Paul, and he made his own camera and started showing films at his theater (he was a magician). Directed A Trip to the Moon (1902). |
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| A phonograph seller and exhibitor. He bought some of R.W. Paul's Kinetoscopes in 1895 and formed Pathe Freres. He started selling the Pathe camera and had very popular films. He sold both projectors and films, and Pathe Freres became the biggest film company in the world within a few years of its creation. |
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| Inventor Leon Gaumont dealt in still photographic equipment initially. His firm was Pathe Freres' main rival. |
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| small influential group of british producers working nearby Brighton, UK; general attempt to create continous action while using closer shots to guide attention; examples: James Williamson's "The Big Swallow" (1900) and G.A. Smith's "Mary Jane's Mishap" (1903) |
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| Theatrical genre of variety entertainment for the middle class 1880s-1930s, most common place to watch films during film's infancy, many early actors (e.g. Al Jolson, Buster Keaton, the Marx Brothers) came from Vaudeville |
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| A small studio on the grounds of Edison's New Jersey laboratory. Edison and Dickson built it to produce films before they could exploit their machine commercially. They began producing here by 1893. |
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| Nickelodeon amusement at amusement places all over the world, showing 7-10 min motion pic depicting scenes from around the world, consisting of train cars seating 72 that vibrated, rocked and tilted to simulate a moving train, invented by George C. Hale, |
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| The people and places exhibit movies; in charge of choosing content; Vaudeville shows, saloons, world fairs, Nickelodeons; had to buy films from producers in the beginning (limited amount of films they could run since they had to make up the money spent before switching), later the rented the films which lead to faster turnover rates; WB, Fox, and others started as exhibitors. |
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| American filmmaker/cameraman , worked for Edison responsible for many of the company's most popular films, Made "The Great Train Robbery" (one of the most popular, if not the most popular, movies pre-1905) |
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| nickelodeon where the exhibitor was in charge of exhibiting content; sometimes every the films themselves came in a series of different shots that are put together by the exhibitor |
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| 2 techniques for coloring release prints; tinting = dipping and already-developed positive print that colored the lighter portions of the images while dark ones remained black; toning = already-developed positive print was placed in different chemical solutions that saturated dark areas while light areas remained nearly white. |
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| some of the 1st places everyone (esp. young women and middle class) could go; regulation set to have enough light to read a newspaper (fear of having young women in dark); Era from 1904 to 1915; • First theaters, pay a nickel to get in, attracted the working class; You would see a series of films |
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| Installments of stories, shown weekly in theaters, endings incomplete "to be continued" until final chapter 10-15 weeks later; Early silent chapter plays aimed at adult audience; most popular in France, number 2 italy |
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| From 1897 Edison tried to force out competition by suing for patent infringement, 1904 court rules in favor of Edison, most companies paid fees except AM&B |
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| A few companies controlled production, sale, and everything else; MPPC oligopoly consisting of Edison AM&B (everyone had to pay these 2 license fees) and several others, 1908 deal between Eastman Kodak and MPPC to only sell/buy film stock from ea. other, MPPC replaced w/ the oligopoly that would form Hollywood, |
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Definition
| change in way films made, more efficient; made to appeal to middle class, films geared around other art forms/writing middle class would be familiar with; MPPC formed (not style, business side), |
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| ~1914; made to try to standardize production; list of every shot; like a blue print so director has more control -> ability to shoot scenes out of order. |
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| A practice in which a single company engages in two or more of the activities of the film industry, In the US the "Majors" vertically integrated from 1920s on; a major strategy pursued by film companies often a measure of heir strength; Pathé example of firm that used this strategy made cameras, projectors, film stock, produced, distributed, and owned theaters, |
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| A practice where one company in one sector of the movie industry acquires control over other companies in that sector; Pathé example of firm that used this strategy; |
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| dramatic work which exaggerates plot and characters in order to appeal to the emotions, subgenre of the drama film, generally depends on stereotyped character development |
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| in early melodrama; a type of 19th century, silent acting to portray extreme emotion, substitute for language, exaggerated gestures emotions etc. |
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| naturalistic acting, what we see today, accompanied the transition to feature-length films and the rise of the star system |
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| Titles in between scenes replacing narrative, 2 types "Expository" and " Dialogue"; Expository: summarizing upcoming action or simply setting it up, Dialogue: information comes from w/in story action; |
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| intershot or continuity editing |
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| A system of cutting to maintain continuous and clear narrative action; relies on upon matching action, screen direction, and figures' positions from shot to shot; Uses editing techniques such as intercutting, point-of-view shots, etc. |
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| moving back and forth between actions in separate spaces, way of portraying simultaneous events, Early director D.W. Griffith and "The Lonely Villa" (1909), By 1912 common technique in American films, form of continuity editing |
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| editing that breaks down a single space into separate framings, One way is to cut in closer to action, Rare before 1905 Occasional 1907-1911 Not common until mid-1910s |
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| we see what the character is seeing, a way to indicate that two contiguous spaces are near ea. other, earliest point-of-view shots simulated views through microscopes, telescopes, and binoculars, a POV shot usually preceded or followed of shot of character looking, continuity editing technique |
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| a type of point-of-view shot where we 1st see a character looking off-screen then in the 2nd shot we see what he/she is looking at but not from their exact point of view, was an excellent way of showing that one space was near another, became a standard way during early 1910s of showing relationship between successive shots, continuity editing technique |
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| motion pictures patents company the trust, consisting of Edison's Company, AM&B and several other producers, everyone (including exhibitors) had to pay fees to the main 2 for using their patents, tried to control all 3 phases of the industry production, distribution, and exhibition; Caused vertical/horizontal integration |
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| technique used for continuity editing, cuts from one shot to another view that matches the first shot's action, gives the impression of continuous time when watching the edited film, example: subject exits the frame in the first shot and then enters the frame in the subsequent shot |
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| One string that is political critic; Second strain is modernist strain, overlaps with art cinema, often about creating a pure film, form over narrative,;Reactions to classic Hollywood structure; Funded by patrons not ticket sales (especially in the 1920s Includes German Expressionism, Soviet Montage, French Impressionism, Dadaism, and Surrealism |
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| French director, part of the French Impressionist movement, made "The Smiling Madame Beudet" and "Gossette" (both 1923), divided time between avant-garde projects and more profit-oriented films |
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| French alternative cinema network |
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| Impressionist films' limited appeal gave rise to intellectually oriented journals, ciné-clubs, small art cinemas, exhibitions, and lectures; promoted film as and art form; origins late 1910s; Examples of clubs, journals "Le Film", Le Journal de Ciné-Club , CASA; |
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| An alternative cinema network in London, started 1925 by a group of intellectuals, showed old films, imports w/o distributors, and films that weren't approved for public screening, vital in showing banned Soviet films in Britain, lasted until 1938 |
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| more complex than photogenic, basis of cinema according to Impressionists, the quality that distinguishes a film shot from the original object photographed, process of filming lends an object a new expressiveness by giving the viewer a fresh perception of it |
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| In late 1910's around time of abstract art, a few artists/filmmakers decided to apply focus on distilling formal qualities in film, omitting all narrative qualities and creating films that show simple abstract forms. Hans Richter claimed that his film, Rhythmus 21 was the first abstract animated film, but this is not true. |
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| claim by some Impressionists to only make abstract films that concentrated on graphic and temporal form, often without narrative; "Ballet Méchanique" (1924) focus on movement, disjointed movements, disjointed music; looking to "undo" Hollywood, using cinema of abstractions/continuity |
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| wanted to criticize earlier art, comment on meaninglessness of life post-war, Marcel Duchamp, collages in bizarre juxtapositions, flourished late 1910s early 1920s; • Contains both political critique and pure cinema; "Ballet Mechanique" (1924) |
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| Comes out of Dadaism and Freudism, disdain for orthodox art, sought out startling juxtapositions, Film is a symbolic dream; wanted to tap the unconscious; "Un Chien Andalou"-Bunuel and Dali |
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| Swedish director, Worked for MGM in the 20s, |
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| Danish actress, moved to Germany 1911, had a great influence on acting styles in other countries, popular in Germany, played in "Tragedy of the Street" (1928) |
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| Swedish actress, Moved to US 1916 when Mauritz Stiller (director who discovered her) was hired by MGM, popular in Germany |
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| Danish Director, Moved to Germany 1916, moved back and forth between Denmark and Germany, worked as scriptwriter for Nordisk, first film "The President" (1919), greatest film "The Passion of Joan of Arc" which blend French, German, and Soviet avant-garde movements. |
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| Government sponsored film company, home of the german film industry during the Weimar Republic, Vertically integrates the industry, Start to sponsor avant-garde films, examples: "The Cabinet of Dr. Caligari", "Metropolis", Money is immediately reinvested in new films |
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| German Expressionist, sponsored by Ufa, Trained artist/painter, teamed up with painter Viking Eggeling to pioneer animation, claimed to have made first abstract film "Rhythmus 21" (1921); • Came to the US in the 1930s, 1940s start teachings at CUNY, trains all the filmmakers important in post-war film industry |
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| German director, Master of costume drama, "Madame Dubarry" (1919) started flow of european talent to Hollywood, moved to Hollywood 1923, worked for United Artists then WB |
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| biggest movement in german cinema, begins pre-war ~1908 moved to cinema 1920 "The cabinet of Dr. Caligary" ended with Lang's Metropolis in 1927; reaction against 19th century realism/naturalism, reaction to middle class, criticism of capitalism, bring internal feelings to external view. combines overthrow authority, retreat from world; rejects continuity editing, mise-en-scene more than camera work like in french, depicts world in chaos; |
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| what's in the frame, all elements place in front of the camera to be photographed: the settings, the props, lightning, costumes etc.; important "component" of German Expressionism |
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Definition
| was head of Ufa, failed to adjust to the end of the hyperinflation + spent freely on "Metropolis" and "faust" instead of reducing debt -> Ufa in financial turmoil, forced to resign, his departure and Ufa's restructuring lead to end of expressionist indulgence |
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| Directed "Metropolis" (1926/27), was asked to direct "The cabinet of Dr. Caligari" but turned it down, worked at Ufa till 1928, fled from the Nazis, married to Thea Von Harbou |
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| Director of "The Cabinet of Dr. Caligari" |
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| Actor hired to play Cesare in "The Cabinet of Dr. Caligari", Casablanca, Staunch anti-Nazi but always played Nazis in American films because of his accent |
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| German Director, Expressionist, used relatively few exaggerated sets instead used stylized compositions in which figures blended with surroundings, "Nosferatu" (1922), |
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| German Distribution company, result of rescue deal between Ufa on one hand and Paramount & MGM on the other, Ufa 50% the others 25% ea.; way for americans to enter german market (bipass quotas); |
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| New Objectivity (Neue Sachlichkeit) |
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| New style, new form of realist film making, Cold detached scientific view, embraces technology, influenced by paintings at the time; opposite of German Expressionism |
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| linked to New Objectivity, characters from sheltered middle-class backgrounds are suddenly exposed to the environment of the city street with it's various social ills; came to prominence with Karl Grune's "The Street" (1923), declined late 1920s, criticized for not offering solution to the social ills |
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| Made the 2nd major street film "Joyless Street" (1925), "Secrets of a soul" (1926) |
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| Dance sequences very popular in Russian movies, pre-soviet russian drama style film, leading director Yevgeni Bauer |
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| Dept. of Education in Soviet, put in charge of film, |
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| 1917 Takes over news reels production, taking over Kino-Pravda, Intellectual rivalry with Eisenstein, Film is about creating a new way to the see the world, Makes over 23 documentary films, Uses film to expose reality, "Man With a Movie Camera" |
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| Soviet films school, Moscow, founded 1919, Eisenstein was part of the faculty; Very little film equipment or film stock, • Film makers turn to theory and re-editing existing material (montage); |
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| Star teacher of VGIK; 20 years old when he begins teaching; Trying to think about what is essential about film, what makes it unique and how that can be exploited |
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| Tests audience’s reactions to juxtaposition the same reaction shot of one person against different objects, Audiences fill in the meaning. |
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| Approach to editing developed in Soviet, Started in 1925; Comes out of theory and style of exhibition, reactions to existing film; Grows out of other movements: futurism, cubism, etc; Strong influence from American films, particularly Griffiths and “Birth of a Nation”; Interested in technology, making art useful in everyday life; |
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| Part of Soviet's New Economic Policy early 1920s; Trains and boats that take art around the country to bring it to the people; Films shown in workers’ clubs |
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| Most influential movement on Soviet film and art; Dialectics made concrete, Way of taking Marxist theory and giving it real form; Celebrates the artist as an engineer, not an artist creating art for his own sake; Artists tended to work within groups (Eisenstein’s Iron 5); |
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| "Film Truth", soviet newsreel series by Dzig Vertov; capture fragments of actuality which, when organized together, showed a deeper truth |
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| Juxtaposition of a series of images to create an abstract idea not suggest by any one image; Pioneered by Soviet Montage directors, particularly Sergei Eisenstein; Example "Potemkin" |
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| coming from a source outside of the world of the narrative, sound, such as mood music or narrator commentary |
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| "Birth of a Nation" Hoped Birth of a Nation would invigorate white racism response; Made a number of civil war films; Best known for editing, acting style, |
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| entertainment consisting of comic skits, variety acts, dancing, and music, performed by white people in blackface; established the popular stereotype of of the uneducated, ever-cheerful, and highly musical black |
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| Used to reinforce racial differences, • Silent and animated films are abound in stereotypes, Reduce complicated social things and try and find very reductive ways to present them to the audience; • We become used to seeing the same stereotypes over and over again |
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| a popular Universal actor (later plays in King Kong), an African American actor and film producer, founded The Lincoln Company, produced "race films" for african-american audience |
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| Started by Noble Johnson, Within a year 1916 national distribution of their films, • In audience surveys find that Lincoln films sell better in black markets, • Stars had names that were supposed to mimic Hollywood star names, • Explicit remaking of Hollywood films (black sherlock holmes, etc.) |
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| Prolific writer, Born in 1883 in Metropolis, Illinois, child of former slaves, First novel "The Conquest": The story of a negro pioneer, • Constantly editing to get past censors, because his films were always controversial, • Goal was to combat stereotyples, that there is a lot of complexity behind the stereotypes, • Films are sensationalistic and take on the most controversial topics of the year, "Within Our Gates" response to "Birth of a Nation" |
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| actor, played in Micheaux's "Body and Soul" (1925) |
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| movie studio, founded by Mack Sennett, the studio where Chaplin got his start |
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| Pioneered slapstick, Made thousands of films before 1935, Adopted Insd film model, Made group films, Trained many great directors and stars of the time |
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| Short stopping moments along the way of the plot;Structure to gags, detect individual style, formula; • Revolve around alternative interpretations of something, subverting expectations, switched object; • Gags revolve around a hierarchy of knowledge- we know something that the character doesn’t, or the opposite; |
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| gag-driven films, in the 1910s mostly shorts, durin 1920s feature length became more popular; big stars: Chaplin, Henry Lloyd, Buster Keaton |
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| a form of theatre that began in Italy in the mid-16th century; the advent of the actress and improvised performances based on sketches or scenarios; In Commedia each character embodies a mood: mockery, sadness, gaiety, confusion, and so forth |
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| we know something that the character doesn’t, or the opposite, powerful in sight gags |
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| closely identified with the silent comedy, the tramp was Chaplin's signature character, appeared in a dozen short |
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| Made over 400 films for Pathe, french film comedy, Something was lost in translation, and Linder films never that funny in US |
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| comedian, worked for Mack Sennett, played naive characters who react slowly to whatever happens |
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| "Safety Last" most successful silent film of all time, started out playing chaplin-like characters, • After, made dozens of films, developed this Harold Glasses character typical middle class, always trying to climb the corporate ladder |
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| Moves to US 1913, Unprecedented rise of stardom, Opens his own studio, 1919 starts United Artists Co. which is distribution company for individual artists, was interested in class politics, upper v. lower, Films become increasingly political, Loss of humanity in face of industrializaiton and technology, |
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| More American character, still incredibly sad- great stone face, Ingenuity to master technology and creates happy endings this way, Keaton plays a working class hero, Least successful/popular of the three big (Harold Lloyd, Chaplin more successful) |
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| American inventor, invented Phonofilm in 1919, produced 18 shorts |
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Definition
| sound-on-film process, invented by Lee DeForest, first demonstrated 1923, had limited appeal to Hollywood (used other systems), ~200 movies filmed in Phonofilm, recorded sound directly onto film |
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Definition
| sound-on-disc system, developed by Western Electric, used by WB, tested publicly in 1926, |
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| Sound-on-film system, partly based on Phonofilm, Fox invested in it, first demonstrated in 1927, used mostly for newsreel |
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Definition
| part of the big 5, King Kong (1933), formed by RCA, started in 1928, vertically integrated, used Photophone as sound system (the failure of selling the system to others what lead to RKO's creation), |
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| (1927), F.W. Murnau feature, included a musical score, used the movietone system |
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| Warner Bros feature from 1926, had recorded music, but no dialogue, starred John Barrymore |
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| (1927), American Musical film, first feature film with synchronized dialogue sequence, marks the end of the silent era, produced by WB, with Vitaphone system, Al Jolson sang and spoke briefly |
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| (1929), Rouben Mamoulian, show-business musical, helped restore extensive camera movements to the sound film |
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| (1933), RKO, Score by Max Steiner, Merian C. Copper |
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Definition
| Composer, among first composers to write scores for movies, wrote the score for King Kong |
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Definition
| a film technique used to sync the actions on screen with the accompanying music; Frequently used in the 1930s and 1940s, especially by Max Steiner; use music to "reinforce an action by mimicking its rhythm exactly" |
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Definition
| Loud musical note that punctuates some kind of dramatic moment; in King Kong, when chief becomes aware of what’s happened to his crew, everything stops and there is a stinger |
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Definition
| written by Fritz Lang, (1931), Lang's first sound film, concentration on dialogue and sound effects |
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| Own theater chains, first run movie houses; Paramount, WB, Fox, Loews/MGM, RKO, from the start First National was a member but WB bought them out; they controlled all the elements from production to distribution |
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| does more sexy, international stuff. began as distribution firm, The Marx Brother's started there |
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| Columbia, Universal, United Artists; |
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| the studios not included in Big 5 or Little 3, B-studios B-movies |
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Definition
| if one wanted certain films with high box-office potential you had to rent other, less desirable films from the same studio; tactic used by the big studios in dealing with theaters they didn't own |
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| 2nd M in MGM, started by owning a theater in MA, ran the production company Metro |
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| producer, started off at Universal, moved to MGM, major force in shaping MGM's policies |
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| Independent producer, United Artists distributed his films |
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| began as nickelodeon owner, bought the firm Metro (that was run by Louis B. Mayer) and Goldwyn Pics => MGM, |
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| head of art department MGM, art director, credited as designer of the Oscar statuette |
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| president of WB studios, started out as a exhibitor/nickelodeon owner, 45 year career as head of WB, the longest period for any of the traditional moguls |
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| part of big 5, bought out First National, the common man’s film co, a lot of gangster films, also make musicals, cartoons; first into the field of sound with Vitaphone |
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| has a more urban audience, part of Big 5, owned the movieton system, F.W. Murnau |
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| a lot of flashy and expensive blockbusters, part of Big 5, MGM founded 1924 |
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| more artsy, indie stuff, part of Little 3 |
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| horror films, part of Little 3 |
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| part of little 3, sound started the decline, D.W. Griffith and Chaplin worked for them |
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| the studios included in Big 5 and Little 3, the major film studios in Hollywood, |
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