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| i. Toy that gives the illusion of movement, patented in 1867. |
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| His instantaneous photographs of horses in motion. |
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| ii. One who takes pictures over time. |
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| Chrono-photographer, developed photogun to take photos of birds over time. |
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| Camera and Projector combined, DOF, Brought the world to countries through video. |
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| Journey to the moon, took advantage of editing and made Journey to the Moon |
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| Higher contrast low depth photography 1839 |
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| i. William Henry Fox Talbot |
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| Negative/positive photographic process, English |
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| Safer version of photography |
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| first national feature film distribution company |
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| i. The management style that dominated the Hollywood studio system from the late 1910s to the late 1940s in which a studio owned and ran the three components of the film industry—production, distribution and exhibition. |
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| All theatres were forced to buya year worth supply of pictures (50) from a studio without being able to pre-screen or select their own. |
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| a. Named after Frederick Winslow Taylor’s theories of scientific management and encouraged management organizations maximize production efficiently while minimizing costs and discouraging experimentation in the work place. |
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| Taylor’s Principles of Scientific Management |
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| b. First published in 1911, Taylor’s Principles of Scientific Management advocated a modern, capitalist work ethic that established a hierarchical relationship between workers and management to achieve efficiency. Hollywood adopts this model in the late 1910s. |
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| c. Not Vertically Integrated; distributor only studio. |
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a. Social Class
i. Conflicts
ii. Underdog
1. Reflects real life |
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a. Great-stone face
b. Human vs. Technology
c. Stunts
d. Underdog
i. Reflects real life |
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| 1. French Avant Garde Impressionist Movement |
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b. Strove to emphasize cinematic specificity, in that film was unique from the other arts.
c. Believed that Theater and Literature were overwhelming cinema and hindering potential
d. Thus, the impressionists inncoppirated non-narrative influence into their films using instead painting and music. |
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| 1. French Avant Garde Impressionist Movement |
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| 1. French Avant Garde Impressionist Movement |
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| e. Photogenie (French Avant Garde) |
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| i. To communicate a subjective state and sensory experience to the audience, especially in terms of how images are lit and filmed. 1. Mise-en-scene |
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| 3. Abel Gance (What type of films did he make?) |
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| a. Movilizes Impressionalist-tendencies for dream and fantasy sequences, especially in narrative films |
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| 3. Abel Gance (Most famous film and what made it special) |
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| b. His masterpiece, Napoleon not only employed impressionist technique but also used an early wide-screen process, polyvision, and projected on a three-panel screen. |
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| Leader of Surrealism and French Cinema. |
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| Surrealism and French Cinema in 1920s |
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| c. Wanted to represent dream, raw, work parts of action believed that dreams were a guide to peoples feelings, d. Unlike impressionalism, this movement wanted to create a pure cinema of visual sensation completely divorced from conventional narrative. |
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| 4. Surrealism and French Cinima in 1920s (Name the big film) |
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| German Expressionism in the 1920s |
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a. Expressionism began as a movement in German painting, music, architecture, and theatre before ww1 as a reaction to the pervasive naturalism of the nineteenth century art. After WWI, the movement migrated to cinema and marked a golden age of German cinema in the 1920s.
c. Expressionism employed graphic, vertical obstuse lines and stylized sets, high contrast lighting and shadows, all to emphasize the interior, psychological effect of the characters. |
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| b. Weimar German Cinema Expressionaist |
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| b. Weimar German Cinema Expressionaist style used lighting, set design, camera work to evoke bizarre, otherworldly settings in an artistically minded production. |
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| Examples of German Expressionism |
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1. The Cabinet of Dr. Caligari
2. Nosferatu
3. Metropolis |
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| c. Explored a few characters and their lives in detail, d. Concentratedd on character rather than spectacle or the fantastic, e. Set in contemporary surroundings and circumstances—often responded to economic and social plight of Weimar Germany. f. The narrative unfolds details of acting, simple stiuations, setting, and relies on symbolism—little use of inter-titles |
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a. Shochiko was the most American of the studios, especially in its production mode.
b. It was more of a director’s studio, like Paramount, whereby the director worked with their own team.
d. He made a team that would always make films with him. |
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b. The kamata style depicted experiences and concerns of Japan’s middle class, though they were often bereft of any political consciousness.
c. This trend was contra traditional Japanese cinema, which relied on established plot formulas detatched from the reality of their audiences.
d. Ozu Yasujiro excelled at these Kamata films during the 1930s while employed by Shochiku |
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| a. Silent films were made up until 1938, for mainly two reasons |
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i. Financial
1. The studios were ill erqupped to completely change to sound film production and exhibition (there were competing systems)
ii. Cultural
1. The Japanese Benshi who provided narrative accompaniment to silent films. |
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1. Influenced by European and American Cinema
ii. He began his career in the New School melodramas in the western style seen mostly in his narrative preoccupation with the persecution of women and tendency films—realist, political dramas. |
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i. Films characterized by uniqie frame composition and character movement
ii. Static camera that conveys illusion of deep space and pictorial beauty.
iii. Melodramas that usually centered around tragic female characters |
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i. One of japans most prolific and talented directors.
ii. Began his career in the 1920s and was very influenced by the American Slapstick comics and the US films of Ernst Lubitsh.
iii. His 1930 films quickly illustrated the Hollywood modernist influence in Japanes cinema with his mastery of closeups, editing, use of space, and shot design.
iv. Signature
1. Putting camera on the ground.
v. I was Born, But…:
1. Ozu uses inter-cutting to demonstrate disparities in social class and space.n |
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