ROSAZILABT ABD RASHID FILM HISTORY that began in the late 19th century.
Author: ROSAZILA BT ABD RASHID Department of Design and Visual Communication, Politeknik Tuanku Syed Sirajuddin Bachelor's degree of Computer Science (Hons), Universiti Malaysia Sarawak Master of Instructional Multimedia , Universiti Sains Malaysia Film History Copyright 2022, Politeknik Tuanku Syed Sirajuddin All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical method, without the prior written permission of publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. Published by : POLITEKNIK TUANKU SYED SIRAJUDDIN Pauh Putra 02600 Arau Perlis First published 2022
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PREFACE Film History that begins at the end of the 19th century. Briefly explain the development of film history for the countries of the world that dominate the development of world film. Starting with introducing how motion pictures themselves were realized by world-famous figures, then to the development of film technology according to the times for each leading country such as the United States with Classical Hollywood, German Expressionism, French Impressionism, Italian Neo Realism and Soviet Montage. Each of these developments tells about the way of presenting and making each film which is very different according to the country. Each of them has its own plot and genre.
CONTENTS 1 3 2 4 5 EARLY CINEMA FRENCH IMPRESSIONISM AND SURREALISM GERMAN EXPRESSIONISM ITALIAN NEOREALISM SOVI6ET MONTAGE CLASSICAL HOLLYWOOD REF7ERENCES
1-1- E A R L Y C I N E M A
-2- EARLY CINEMA A visual art form that was developed utilising film technology and started in the late 19th century is chronicled in the history of film. The term "early" cinema generally refers to the time period in world cinema history from about 1890 to 1915, or from the advent of motion pictures as a "new" medium to the widespread institutionalization of narrative feature filmmaking techniques.
-3- EADWEARD MUYBRIDGE 1880, he offered his first audience a projection of moving images on a screen at the California School of Fine Arts. The zoopraxiscope, a device Muybridge developed to project moving images between 1879 and 1885. In 1879, Muybridge created the zoopraxiscope, a device that allowed him to display up to 200 distinct pictures on a screen. He became known as the "father of motion pictures". 1887 Eadweard Muybridge an American photographer, made a series of still photographs of a running horse by using a series of cameras.
-4- French scientist, physiologist and chronophotographer. One of the progenitors of the movie camera is the chronophotographic gun. Created it in 1882 by Marey. It was the first device to use a metal shutter to capture moving images on the same chronomatographic plate at a rate of 12 photos per second. ÉTIENNE-JULES MAREY
-5- CULTURAL ICON With the slogan "you press the button, we do the rest," George Eastman put the first simple camera into the hands of a world of consumers in 1888. In so doing, he made a cumbersome and complicated process easy to use and accessible to nearly everyone. PHOTOGRAPHY The founder, George Eastman, devoted his life to making photography “as convenient as the pencil.” His company has been at the center of most milestones in photography and digital imaging ever since. MOTION PICTURES When George Eastman marketed the first commercial transparent roll film in 1889, it enabled Thomas Edison to develop the first motion picture camera. Since then, Kodak has earned nine Oscar® statuettes – more than any other non-studio company – for its technical contributions to the movie industry.
-6- " I am exper iment ing upon an ins t rument whi ch does for the eye what the phonograph does for the ear , whi ch i s the recording and reproduc t ion of things in mot ion . . . . " Thoma s A . Edi son, 1888 1st July 1912: A Kinetograph camera, an early film camera, the original of which was patented in 1891 and designed by W K L Dickson working under the direction of Thomas Alva Edison.
-7- The Lumières held the world’s first public movie screening on December 28, 1895, at the Grand Café in Paris. In 1895, Louis and Auguste Lumière gave birth to the big screen thanks to their revolutionary camera and projector, the Cinématographe. THE LUMIÈRE BROTHERS, PIONEERS OF CINEMA
-8- THE MAGICAL WORLD OF GEORGES MÉLIÈS Georges Méliès is famous for his many innovations in motion pictures. He was one of the first to film fictional narratives, and he is regarded as the inventor of special effects in movies. Georges Méliès’s most famous film is Le Voyage dans la lune (1902; A Trip to the Moon). The film is a very loose adaptation of Jules Verne’s novel De la terre à la lune (1865; From the Earth to the Moon) and has the famous image of the spacecraft from Earth hitting the “man in the moon” in his eye.
S U M M A R Y ACTIVITY Find out the difference between a Kinetoscope and a Kinetograph? -9- Duringthisearlyperiod,filmswerecirculated freelyfromcountrytocountry. Thiswaswhencompanies,whowerededicated tofilmmaking,formed. From1904onwardthemostprominenttypeof filmwasnarrative. French,ItalianandAmericanfilmsdominated theworldmarkets.
2-10- C L A S S I C A L H O L L Y W O O D
terms used in film history which describe the style for making motion pictures and a mode of production used in the American film industry between the 1910s and the 1960s. Mode of production during this timeframe encouraged film directors to view their work from the perspective of an employee of the studios rather than as auteurists who exercised creative control over their works with an individual film style CLASSICAL HOLLYWOOD CINEMA / CLASSICAL HOLLYWOOD NARRATIVE: -11-
There was no sound or synchronized speech accompanying the character's on the movie screen. -12- SILENT ERA / THE AGE OF THE SILVER SCREEN The Silent Era is commonly referred to as the "Age of the Silver Screen" from 1917 to 1928. To accommodate for the lack of sound, on-screen captions were utilized to emphasize important points and dialogue in the story. Oftentimes, the projection of silent films onto the big screen was accompanied by live instrumental music (pianist, organist, or even a large orchestra).
3 -13- G E R M A N E X P R E S S I O N I S M
-14- DEFINITION German Expressionism refers to a number of related creative movements beginning in Germany before the First World War that reached a peak in Berlin, during the 1920s. These developments in Germany were part of a larger Expressionist movement in north and central European culture, especially in cinema. Expressionism was a cultural movement, initially in poetry and painting, originating in Germany at the start of the 20th century. Its typical trait is to present the world in an utterly subjective perspective, radically distorting it for emotional effect, to evoke moods or ideas. Expressionist artists sought to express the meaning of "being alive”, and emotional experience rather than physical reality.
-15- THE PERIOD German Expressionism, took place roughly from 1920 until 1931. Its features include exaggeration in acting, settings, and makeup, emphasis on emotional states, and lighting that stresses extreme contrast between light and dark. THE STYLE The filmmakers of the German Universum Film AG studio developed their own style by using symbolism and mise en scène to add mood and deeper meaning to a movie, concentrating on the dark fringes of human experience. THE FILMS The first Expressionist films; The Student of Prague(1913), The Cabinet of Dr. Caligari (1920), The Golem(1920), Destiny (1921), Nosferatu (1922), Phantom (1922), Schatten (1923) The Last Laugh (1924)
-16- Two genres that were espec ial l y influenced by Expres s ioni sm are hor ror fi lm and fi lm noi r . C ar l Laemmle and Uni ver sal Studios had made a name for themsel ves by produc ing such famous hor ror fi lms of the s i lent era as Lon C haney ' s The P hantom of the O pera. The plot s and s tor ies of the Expres s ioni s t fi lms of ten deal t wi th madnes s , insani ty, bet rayal, and other " intellec tual " topi c s (as opposed to s tandard ac t ion-adventure and romant i c films ). Later fi lms of ten categor i zed as par t of the br ief hi s tor y of German Expres s ioni sm inc lude Met ropoli s (1927) and M (193 1), both di rec ted by Fr i t z Lang. G E N R E A N D P L O T S
4 -17- F R E N C H I M P R E S S I O N I S M A N D S U R R E A L I S M
-18- Impressionism is an avant-garde style that opened largely within the film industry. Most of the impressionist filmmakers started out working for major French companies and some of their avantgarde works proved financially successful. In the mid1920s, most formed their own independent companies but remained within the mainstream commercial industry by renting studio facilities and releasing their films through established firms. Allied with the Surrealist movement in other arts, these filmmakers relied on their own means and private patronage. France in the 1920s offers a striking instance of how different film movements may coexist at the same time and place. THE FIRST AVANT-GARDE OR NARRATIVE AVANT-GARDE
-19- FILMMAKERS AND FILMS (GREATLY ABRIDGED) Abel Gance (La Dixième symphonie (1918), J’Accuse (1919), La Roue (1922), and above all, Napoléon (1927)) Jean Epstein (Coeur fidèle (1923), Six et demi onze (1927), La Glace a Trois Face (1928), The Fall of the House of Usher (1928)) Germaine Dulac (The Smiling Madame Beudet (1922)) Marcel L’Herbier (El Dorado (1921)) Louis Delluc – Critic/Theorist Jean Renoir – (Nana (1926))
5-20- I T A L I A N N E O R E A L I S M
Italian Neorealism is a genre of Italian film that emerged in the 1940s. This type of filmmaking style captures stories from working-class life in Italy. The movement has its roots in post-war Italy, where many citizens were living in poverty after the war had ended. The films were characterized by their use of nonprofessional actors, location shooting, improvised dialogue, and lack of moral censorship. WHAT IS ITALIAN NEOREALISM? -20-
-21- N on-profes s ional ac tor s Locat ion shoot ing, improv i s ing dialogue, and Lack of moral censor ship. C harac ter i s t i c s O f I tal ian N eoreal i sm
-22- The two key directors were certainly Rossellini and De Sica, with these two occupying what most would agree are the seven best films of the movement in Rossellini’s Rome Open City, Paisa, Germany Year Zero; De Sica’s Shoeshine, Bicycle Theives, and Umberto D, and La terra treme by Visconti.
6-23- S O V I E T M O N T A G E
-24- is a film movement that took place in Soviet Russia during the 1910’s, 20’s and into the early 30’s. It was founded by Lev Kuleshov while he was teaching at the Moscow Film School. According to prominent Soviet director Sergei Eisenstein, there are five different types within Soviet Montage Theory: Metric, Rhythmic, Tonal, Overtonal and Intellectual. The movement is widely known for changing the landscape of film editing around the world. SOVIET MONTAGE THEORY
-25- POPULAR SOVIET MONTAGE FILMS Kino-Eye (1924) Battleship Potemkin (1925) The Death Ray (1925)
7-26- R E F E R E N C E S
-27- 1.nnekristineochavo.wordpress.com/2013/08/30/frenchimpressionism-and-surrealism-1918-1930/ 2. https://nofilmschool.com/sergei-eisenstein-soviet-montagetheory 3. https://www.studiobinder.com/blog/soviet-montage-theory/ 4.https://imnothinginparticular.tumblr.com/post/16663225132/italian -neorealism-an-overview 5. https://iphf.org/inductees/eadweard-muybridge/ 6.https://www.npr.org/2010/04/13/125899013/muybridge-the-manwho-made-pictures-move 7.https://mubi.com/cast/etienne-jules-mare 8.https://petapixel.com/2013/04/27/did-you-know-the-worlds-firstportable-motion-picture-camera-was-a-12fps-rifle/ 9. https://www.kodak.com/en/company/page/history