|
Contributions to
the Cinematic Image |
Keywords |
|
Lengths Feet and Longer Loops
Thomas Edison Laboratories - Dickson and Brown
(USA)
|
|
1889 Kinetoscope
Edison's 35mm Kinetoscope of 1902
Vitascope
Projector
|
Kinetoscope
The invention of a camera in the Edison
laboratories capable of recording successive images in a single
camera was a more practical, cost-effective breakthrough to using
multiple cameras. The application of photographic principles and the
launch of photographic quality celluloid saw Thomas Edison and
William Dickson developing their own moving picture device - the
Kinetoscope, a peephole device which invited viewers to look into a
hole in the top of a large wooden cabinet and experience true moving
pictures.
1888 Thomas Edison meets Eadweard Muybridge, who shows him his
zoopraxiscope; Edison sets William K. L. Dickson and other
assistants to work to make a kinetoscope, "an instrument which does
for the Eye what the phonograph does for the Ear". Edison’s
assistant, William Dickson solved the mechanical problem of moving
celluloid film through a camera, developing the sprocket system
still in use. Edison files his first caveat (a Patent Office
document in which one declares his work on a particular invention in
anticipation of filing a patent application) on the Kinetoscope and
Kinetograph on October 8.
Link
The invention of the Kinetoscope influenced all subsequent motion
picture devices. The Kinetoscope was completed by 1892.. Site
View of the interior from above, showing the loop of
film which is moved continuously through the machine by a sprocket
roller driven by an electric motor. Underneath the picture gate
(middle right) is an electric light. The round shutter wheel
revolved, giving intermittent flashes of light, momentarily
'freezing' each successive frame of the film as it passed. The
viewer perceived this rapid series of images as a continuously
moving picture.
The Kinetoscope contains a loop of about 46 feet (14 metres)
of film which ran at 46 frames a second, giving the viewer just
twenty seconds of moving pictures. Later machines were enlarged to
contain 150 feet (45 metres) of film running at 30 frames a second,
giving 80 seconds viewing time. This allowed a round of the popular
boxing films to fit on a single machine.
Vitascope 1896 - THOMAS ALVA EDISON (1847-1931) Edison
perfects and shows his Vitascope projector which used the same film
as the Kinetoscope. The Vitascope was the first commercially
successful celluloid motion picture projector in the U.S. The
Vitascope was an improved version of the Phantoscope, an invention
of Francis Jenkins in 1893. Jenkins sold the rights to Edison
through Thomas Armat. Edison presents the Vitascope for the first
time in New York City at the Koster-Bial Music Hall, the present
location of Macy’s.
Kinetophone
Link
to Movie Clip Frames from early experimental attempt to
create sound motion pictures by the Edison Manufacturing Company.
W.K.L. Dickson plays the violin in front of a horn connected to a
cylinder recording machine. It represented Edison's dream to
unite the motion picture with the phonograph and make talking
pictures a reality. To operate the new invention, a patron looked
through the peep-hole viewer of a Kinetoscope while listening to a
soundtrack piped through ear tubes attached to a Phonograph in the
cabinet. The device did not offer exact synchronization and
ultimately failed to find a market.
1889 George Eastman began the manufacture of photographic
film strips using a nitro-cellulose base Chronophotographe
Continuous roll of film to produce a series of images.
Emulsion coated celluloid Film sheets John
Curbett
Screenings
Sound for film required the technical capability to synchronize
the audio elements with those of the picture. Technology was needed
that could both record and reproduce audio clearly in large halls.
In 1926 Warner Brothers premiered their audio Vitaphone system. The
Vitaphone used a phonograph disc, loudspeakers and electronic
amplification. 1927's "The Jazz Singer", a silent picture with a
Vitaphone score, is considered the world's first talking picture.
The early years of cinema saw huge changes and evolutions in form,
technology and exhibition. This period saw films grow from 60-second
observational exercises into feature entertainment. The sideshow at
the county fair soon became the primary leisure activity. The back
rooms of cafes became 1000 seat movie palaces.
Viewing and Screening Link to Photo Nickleodeons - First Screening
Rooms Link to Photo
FilmStrips Detailed Info Link |
One camera records succesive images
|
|
|
|
|
THE EVENT - NOVELTY OF MOVEMENT
|
|
|
"Sneeze" (1894) One of the first films made by Edison was of an
assistant sneezing.
Vaudeville Acts Video Clip
Link - Eugene
Sandow
Edison Company's actuality films
The Edison Company's actuality films contained scenes of
vaudeville performers, notable persons, railway trains, scenic
places, foreign views, fire and police workers, military exercises,
parades, naval scenes, expositions, parades, and sporting events. A
newly-invented mobile camera had made it possible for the Edison
Company to film everyday scenes in places outside the studio in a
fashion similar to the French Lumière films. Comic skits and films
relying on trick effects in the style of French filmmaker Georges
Méliès were also popular. Actuality Films "Actuality"
is a term used by historians to describe short non-fiction films
produced by American and European filmmakers during the first ten
years of the motion picture industry. Actuality films typically
recorded noteworthy persons, places and events of interest to
general audiences and were the most frequently-produced film type in
America, until overtaken in popularity by comic and dramatic
narrative films after 1902.
LINKS TO EDISTON SITE WITH LOTS OF VIDEO CLIPS AND AUDIO
SAMPLES http://lcweb2.loc.gov:8081/ammem/edhtml/edmvhm.html
History of Edison Motion Pictures http://lcweb2.loc.gov:8081/ammem/edhtml/edmvhist.html
Fiction Films - Acted films became more popular than actuality
Films.
|
|
|
TYPES OF FILMS CREATED
Actualities, Advertising, Animation, Early
Documentary-Style Films, Drama and Adventure, Humorous, Trick,
Reenactments |
|
|
FILMS |
|
The Life of an American Fireman
The Great Train Robbery
Download
Real Media Stream
|
FICTION - STAGED CONTENT
1903 Edwin S. Porter, working for Edison makes "The Life
of an American Fireman" which displayed new visual storytelling
techniques and incorporated stock footage with Porter's own
photography. It acted as a major precursor to Porter's most famous
film "The Great Train Robbery" also made in 1903 which displayed
effective use of editing and photography technique.
Video Link - Download Video Clips - High
RES
Real Media Version available
at: http://xoom.virgilio.it/classicmovies/western.php |
Use of Editing and Photography Technique |
|
LINKS
http://www.precinemahistory.net/1890.htm http://www.cyberfilmschool.com/mschool/2_history/birth_cinema.htm
http://www.precinemahistory.net/1895.htm
|
|
|
Lumière brothers photo and clips of "Le Repas ou
Repas de bébé" and "Barque sortant du port" |
Lumiére Brothers -
Cinématographe |
|
|
One of the first commercial, public showings of a motion picture
(and made with a celluloid film camera/projector), took place
December 28 of 1895 at the Grand Café on the boulevard des Capucines
in Paris. The Lumiere’s used the basement to open their movie
theatre known as the ‘Cinematographe Lumiere Freres' . A private
showing of the machine took place in March of the same year. The
device was the Cinematographe (below left & right), and was used
in scheduled showings from that point on. It was constructed by
Jules Carpentier of the Lumiere factory, and had a claw-like
mechanism in order to provide the required intermittent pull-down
movement of 35mm perforated-celluloid film. The film which had two
perforations per frame, was also manufacured by the Lumiere
business.
|
|
The Lumière's (France)
1895 Louis and Augustine Lumiere issued a patent for a
device called a cinematograph capable of projecting moving
pictures |
Cinématographe
Based on
the Kinetoscope, The Cinématographe, invented by Auguste and Louis
Lumière was a combined camera, projector and printer. Here it is set
up for projection, using a magic lantern lamphouse as a light
source. The Cinématographe was hand-cranked and the film ran from
the top spool holder though the projector to a box in the stand
below.
The Lumière camera was a machine for both film
projection and development. Not only could the camera perform two
tasks in one box, but the box was small - weighing 12 pounds, much
lighter than the Kinetoscope, invented by William Kennedy Laurie
Dickson for The Edison Laboratory. The Lumières and film making
Now that the first real film camera was in use, it was up to its
pioneers to use it. The first experimentation by Louis Lumière
showed everyday real events. His film The Arrival of a Train at the
Station (1895) showed the train coming in diagonally across the
screen, a very unconventional method of framing. Therefore, the
Lumières pioneered not just the technicalattributes of the camera
but also its artistic attributes, creating a dialogue of REALISM
that has always been a crux of cinema as distinct from the fantastic
film tradition.link |
Projection
Portable
Record, View and Project in One Device
|
|
|
|
FILMS |
|
CAMERAS BASIC FUNCTIONS |
|
The Arrival of a Train at Grand Central Station (1895)
Workers Leaving the Lumiére Factory and Arrival of a Train in the
Station. |
The Lumieres represent a mode of filmmaking which attempts to let
the film camera's basic function--the mechanical reproduction of
visual reality--remain at the center of the film's interest. This
approach to filmmaking would eventually spawn the documentary, and
was typically defended by a group of film theorists known as the
Realists.
1895 The first experimentation by Louis Lumière of the
Cinematographe camera showed everyday real events. His film The
Arrival of a Train at Grand Central Station (1895) showed the train
coming in diagonally across the screen, a very unconventional method
of framing. Therefore, the Lumières pioneered not just the technical
attributes of the camera but also its artistic attributes, creating
a dialogue of realism that has always been a crux of cinema.
|
In the films of the Lumiére brothers the subject of the
camera becomes the subject of our interest.
Movement through the frame provides the primary means of visual
pleasure. Link
|
|
|
THRILLING ENTERTAINMENT - MANIPULATING REALITY IN FRONT OF THE
CAMERA
|
|
Voyage to the moon
Real Media Stream
LOCAL
LINK CLIP
Real Media Stream |
Georges Melies represents a mode of filmmaking which attempts to
use the plastic, malleable features of the cinema (editing, trick
photography, special effects) to produce a manipulation of the
reality that was present in front of the camera as the film was
recorded.
1902 Georges Méliès produces his magnificent "Voyage to
the Moon", a fifteen minute epic fantasy parodying the writings of
Jules Verne and HG Wells. The film used innovative special effect
techniques and introduced colour to the screen through hand-painting
and tinting.
"Mélies' own piece of cinematic history is a
fascinating watch. The special effects and techniques used are
stellar for the time period and show off the desire of even early
directors to use the camera in every conceivable way for myriad
effects. The indictment of the bumbling imperialists is apt and
definitely set the way for the next century of sci-fi
(hmm..colonization of space? ummm, 2001? star wars?) as a place for
commentary and the motion picture itself as a medium for presenting
that which we couldn't see everyday with our own two eyes (or in the
case of the moon man, one eye). " Commentary from Link Link Link
1902 served up two of his most distinguished and
delightful pieces, the celebrated L'Homme a la Tete de
Coaoutchouc (The Man With the Rubber Head) in which Méliès' head
is seen to expand to bursting point after his half-witted assistant
energetically pumps a pair of giant bellows. This devious, but
simple illusion was executed by constructing a small carriage on a
track that was moved slowly towards the static camera, thus
enlarging the head. Today film-makers employ a track to move the
camera in what is termed a "dolly
shot".
LINK TO REAL MEDIA CLIP http://www.mshepley.btinternet.co.uk/head.rm
LOCAL
LINK TO REAL MEDIA CLIP |
Méliès work provides an early example of film technique that uses
spectacle and special effects to produce visual pleasure. Link
Special Effects hand painting and tinting
Uses technique of multiple exposure
Effects
Camera Techniques Dolly Shot |
|
Mary Janes Mishap |
1903 British film maker George Smith makes
Mary Janes Mishap which was praised for its sophisticated use of
editing. The film uses medium close-ups to draw the viewers
attention to the scene, juxtaposed with wide establishing shots. The
film also contains a pair of wipes which signal a scene change. |
Use of Editing |
|
FORMALIST
|
|
DW GRIFFIN Birth of a Nation "FATHER of
NARRATIVE" |
One of the most important figures of the early years
was D.W. Griffith. Griffith is heralded as having established modern
film narrative. His first feature is, unfortunately, one of the most
contentious films in American Cinema, "Birth of a Nation" (1915).
The film is a notorious depiction of an ante-bellum American South.
The story decries the former slave population of America as
shiftless and immoral and glorifies the establishment of the Ku Klux
Klan. When the film was released, there was a huge outcry regarding
the blatantly racist content and the portrayal of blacks in the
American South. From a contemporary perspective, it is still
offensive. "Birth of a Nation" is the quintessential example of film
structure. Griffith's development of plot, and his dramatic use of
editing and parallel storytelling became integral to the structure
of Hollywood and mainstream filmmaking. Using double exposures and
cross-referencing images, story elements and characters, Griffith
was able to establish a complex, visual narrative. |
|
|
|
|
|
IMPRESSIONIST - FRENCH AVANT GARDE
Photographing an object, wrote Delluc, lends it new meaning by
opening the viewer to the perspective of the person
filming. |
|
NAPOLEAN 1927 Abel Gance (1889-1981 - France)
TRAILER TO NAPOLEAN 1927 Link
PREVIEW
TRAILER up to 200K Link
|
The Impressionists at first concentrated on the image, using
optical tricks to illustrate the impressions of the characters:
dreams, memories, visions and thoughts. They made shots with a
distorted mirror, put excerpts of pictures through filters, or
divided the frame into smaller individual pictures. They emphasised
subjectivity with the "subjective camera"; using extreme
perspectives, and tilted angles and movements that showed the scene
through the eyes of the characters. They attached great importance
to the mise-en-scene (the staging). They encouraged untheatrical and
reserved acting, and used lighting effectively to illuminate sets
that were often designed by contemporary painters and architects in
the cubist or art deco style. After 1923 the Impressionists moved
away from the picture and camera focus to experiment with quick
rhythmical cut sequences, having been inspired, like many, by
Griffith's daring montages.
Rendering the world through emotions and impressions. The
filmmaker most commonly associated with this impressionist
avant-garde is Abel Gance, whose film Napoleon stands as one of the
great masterworks of cinema. Gance attempted to match the importance
to French history of the Emperor Bonaparte with a new form of
cinema. He did so via an epic silent film (roughly four hours in
length) which climaxes with a grandiose battle sequence shot using
an experimental widescreen process called "Polyvision." Polyvision
featured three cameras running next to one another. Sometimes the
Polyvision cameras were used to capture widescreen images of the
epic battle, while other times, it was used to give us three images
to be processed simultaneously.
Abel Gance, hated static scenes. "Napoleon" is full of shots
where the camera moves on pendulums and gyroscopes.
Albert Dieudonne as Napoleon in the spectacular 3
screen Polyvision finale of Napoleon. Polyvision predated Cinerma by
25 or so years. Link
Another example of Polyvision
The film is considered to be a
masterpiece of world cinema, pioneering, as it does, just about
every means of moving a camera known to man. Gance was also obsessed
with composing multiple images in the same frame, overlayering
double exposures and disolves one on top of the other in much the
same way as many digital artist do with computers these days.
ART AND CULTURE LINK Abel Gance revolutionized
film technology with a masterful mix of real-time editing and rapid
cutting, a technique he invented. ... Specifically, the controversial "Napoléon" introduced
audiences to hand-held cameras, 3D effects, and the highly
sophisticated Polyvision, which used a wide, triple screen to
present three distinct moving images. http://www.artandculture.com/cgi-bin/WebObjects/ACLive.woa/wa/artist?id=1287
|
|
Metropolis (1926, Fantascienza - con Alfred Abel, Fritz
Alberti, e Grete Berger)
Real Media Stream |
REAL MEDIA VERSION STREAMED AT:
http://xoom.virgilio.it/classicmovies/fantascienza.php
Other links http://www.st-andrews.ac.uk/~basement/reviews/metropolis.html
The most direct contribution was made by the special effects
photographer Schufftan, who invented a process which still bears his
name today: "miniatures are reflected onto a glass with a magnifying
mirrored surface, which is placed at a 45 angle relative to the
camera lens. This surface is scraped away from the areas in which
live action is to take place, leaving holes behind which the actual
sets are constructed and lit to correspond with the lighting of the
model." Link |
|
|
|
EARLY SOVIET CINEMA - FORMALISTS - CINEMA AND ART AS TOOLS FOR
SOCIAL CHANGE
|
|
|
At the film college in Moscow a group of young filmmakers
gathered under the leadership of Lev Kuleshov, who attempted to find
theoretical and experimental ways in which abstract thoughts could
be portrayed on film. The primary thesis was that in the cinema the
cut ranks ahead of the picture content, so meaning is communicated
through montage rather than mise-en-scene. "With montage", stated
Kuleshov, " one can destroy, repair, or entirely reformulate one's
material".
Among the most important representatives of the movement are
Sergei Eisenstein, Vsevolod Pudovkin, and Dziga Vertov. They showed
in their films the multiple possibilities of cinematic montage.
Eisenstein first promoted the "montage of attractions" and the
"collision montage", a quick sequence of emotionally charged
pictures, which in a shocking manner collide with one another in
order to shake the viewer and to bring him to new realisations. In
his first film "Strike", he combined images of the murder of
strikers against bloody sequences from a slaughterhouse. Montage
served Pudovkin as a means to illustrate feelings and had the goal
of awakening the emotions of the viewers rather than provoking them
to be reflective. The images of protesting factory workers
alternates with rays of sunlight, which tear through the walls of
clouds, forming a metaphor of revolutionary hope. Stalinist
totalitarianism finally put a halt to the desire for experimentation
of the Soviet avant-garde, and from then on, Soviet films were
supposed to offer either light entertainment or encourage the
formation of the socialist state.
Lev Kuleshov and Dziga Vertov - pioneers of Soviet cinema,
working under economic constraints, re-edited existing film-stock to
develop their ideas of film grammar. Kuleshov experimented with how
shots before and after an image affected its interpretation. He
realized he could modify an audience's reaction to a shot by changed
the images either side of it in a montage sequence. Vertov developed
an influential theory called Kino-Pravda (film truth) and stressed
the importance of rhythm in editing, for example, speeding up a
montage sequence towards its climax. Link |
|
Dziga Vertov The Man with the Movie
Camera |
Dziga Vertov As a young filmmaker and theoretician,
Vertov was at the forefront of a roaring debate about the role of
art in Soviet society. How would artistic endeavors best serve the
ideals and practices of the people and the State? With the 1919
publication of the "Kinoks-Revolution Manifesto," Vertov announced
his solution to the aesthetic conflict, and Soviet cinema was never
the same. ...
Show the masses fantastic images of the good life, Vertov
maintained, and they will lie about complacently, dreaming of a day
when they too can luxuriate in baths of plenty. Vertov loathed these
so-called fiction films and insisted that the future of cinema
depended on reporting the truth....
"Man with a Movie Camera" (1929) stunned audiences with its
highly self-conscious use of the camera as the eye to replace the
human eye. A day-in-the-life of an urban metropolis like Moscow,
"Man with a Movie Camera" employed the montage techniques that
Vertov mastered back in medical school. ...
Often deemed the "Father of Cinema Verité," Vertov's liberal
editing style and highly sophisticated camera techniques ensured his
venerable spot on cinema's timeline. ...
http://www.artandculture.com/cgi-bin/WebObjects/ACLive.woa/wa/artist?id=1284
Dziga Vertov's Man With a Movie Camera (1929) is a stunning
avant-garde, documentary meta-narrative which celebrates Soviet
workers and filmmaking. The film uses radical editing techniques and
cinematic pyrotechnics to portray a typical day in Moscow from dawn
to dusk. But Vertov isn't just recording reality, he transforms it
through the power of the camera's "kino-glaz" (cinema eye).
Vertov desired to create cinema that had its own "rhythm, one
lifted from nowhere else, and we find it in the movements of
things." For Vertov an emphasis on the psychological interfered with
the worker's "desire for kinship with the machine." And as a
peoples' artist, Vertov felt that the peoples' cinema must
"introduce creative joy into all mechanical labor" and "foster new
people."
As Vertov revealed the joys of work, the rhythm of workers and
machines, he also felt that filmmaking (as a largely technological
medium) was also a component of that mechanical reality.
Vertov uses kino-eye to transcend the very reality he
celebrates. In a 1923 manifesto, Vertov wrote "I am kino-eye, I am
mechanical eye, I, a machine, show you the world as only I can see
it." And he boldly asserted: "My path leads to the creation of a
fresh perception of the world I decipher in a new way a world
unknown to you." Again this ground-breaking film brings to fruition
Vertov's earlier vision of what cinema should be. His camera, in the
hands of brother Mikhail Kaufman, is never static; it travels where
we can't--up smokestacks, under train tracks--and through continuous
explosions of cinematic trickery--variable camera speeds, dissolves,
split-screen effects, the use of prismatic lenses, and tightly
structured montage--Vertov transforms not only reality, but
traditional narrative cinema. He moves outside of Hollywood
storytelling (three-act structures, goal-oriented characters), and
closer to an absolute language of cinema that he seeks.
http://www.imagesjournal.com/issue05/reviews/vertov.htm
|
|
|
|
|
The Battleship Potemkin Sergei Eisenstein(1925,
Drammatico - con Alexander Atonov)
Real Media Stream
In 1925, in order to commemorate the Revolution of 1905, the
Communist Party commissioned the renowned film "Potemkin" (also
called " battleship Potemkin"). The film was made in the Black Sea
port of Odessa. In 1958 it was voted the best film ever made, by an
international poll of critics.
|
Sergei Eisenstein Architect and Engineer
Eisenstein constructed these films using shots as his cinematic
building blocks. He avoided long takes, which detracted from the
control he could exert over his images and the impact they
subsequently had on an audience. The short shots were referred to as
shocks or attractions because they stood out and commanded attention
within a film. These shocks were edited together in a process called
montage, to convey a particular meaning. For example, in Strike the
nature of the slaughter perpetrated by the Cossack army is conveyed
by juxtaposing scenes of advancing soldiers with a bull being
slaughtered and ink being spilt over a street-map of the city being
attacked.
REAL MEDIA VERSION STREAMED AT:
http://xoom.virgilio.it/classicmovies/drammatico.php
Eisenstein sets his camera for the kind of
unconventional angle Link
Following from http://www.abamedia.com/rao/gallery/old/eisen.html The
architect in Eisenstein was inspired by Renaissance conceptions of
space. He studied Leonardo da Vinci's work and was influenced by
Freud's interpretation of da Vinci. Trying to bridge the gap in what
he felt was the distorted space induced by technology, Eisenstein
pushed the outer envelope of filmmaking. He attempted to understand
how the sensations of the machine age could be incorporated in the
grand style of the Renaissance ...
EisensteinÕs first film, the revolutionary "Strike," was produced
in 1924, following the publishing of his first article on theories
of editing in the review Lef, edited by the great poet, Mayakovsky.
He proposed a new editing form, the "montage of attractions" -- in
which arbitrarily chosen images, independent from the action, would
be presented not in chronological sequence but in whatever way would
create the maximum psychological impact. Thus, the filmmaker should
aim to establish in the consciousness of the spectators the elements
that would lead them to the idea he wants to communicate. He should
attempt to place them in the spiritual state or the psychological
situation that would give birth to that idea. He theorized that
cinema was a synthesis of art and science. These principles guided
Eisenstein's entire career, and had a major impact on filmmakers to
this day for its stark contrast to "American-style" narrative
montage.
Following from http://faculty.dwc.edu/wellman/film.htm
Battleship Potemkin (1925) in the sequence shot on the Odessa
Steps, provides the classic example of film montage. Rapid cuts,
shot and counter-shot, sustaining the narrative action and adding a
dimension of emotional excitation that is itself a source of visual
pleasure. Eisenstein's film is a fictionalized recreation of
episodes from the 1905 Revolution in Russia. In the tradition of
D.W. Griffith's epics like The Birth of a Nation (1915) and
Intolerance (1916). Extending the power of the history film through
his use of montage, Eisenstein's Battleship Potemkin, inscribes a
moment crucial to the founding ideology of Russia during the first
years of Stalin's dictatorship.
Sergei Eisenstein's Battleship Potemkin (1925) in the sequence
shot on the Odessa Steps, provides the classic example of film
montage. Rapid cuts, shot and counter-shot, sustaining the narrative
action and adding a dimension of emotional excitation that is itself
a source of visual pleasure. Eisenstein's film is a fictionalized
recreation of episodes from the 1905 Revolution in Russia. In the
tradition of D.W. Griffith's epics like The Birth of a Nation (1915)
and Intolerance (1916). Griffith's films established the genre of
the historical drama and like most such films inscribes contemporary
ideologies (including in Griffith's case an embrace of the Ku Klux
Klan in The Birth of a Nation). Extending the power of the history
film through his use of montage, Eisenstein's Battleship Potemkin,
inscribes a moment crucial to the founding ideology of Russia during
the first years of Stalin's dictatorship. http://faculty.dwc.edu/wellman/film.htm |
Montage of Attractions
The riveting effects of montage, produced in the cutting room and
the seemingly authentic recreation of history in Battleship Potemkin
return us our initial set of analytical parameters, those between
documentary footage shot in the camera and those constructed effects
that derive from editing and film plastics. Seeming authenticity is
not disturbed and is often enhanced by shot/counter-shot editing.
Visual pleasure we will see even normalizes itself to the hybrid
effects of the jump cuts used by Jean-Luc Godard in Breathless
(1959). From
|
|
|
|
|
| |