Monday, February 29, 2016

Student Film Documentaries: Early History of Film; Characteristics of Blockbusters; Jaws (Part 1)

EQ: Who were some of the early film stars, producers, and directors? What are some of the qualities of a blockbuster and how might we apply these characteristics to the film Jaws (1975)?

Student Film Documentaries

Rashid: Billy Bitzer
Robert: Thomas Harper Ince
Cameron: Nickelodeons
Jasmina: Lilian & Dorothy Gish, Mae Marsh
Rosalia: Vitagraph & Co.
Frieda: Kinemacolor
Alannah: Goldwyn, Fox, Warner Bros.
Olivia: Alice Guy Blanche
Avana: Lon Chaney, Sr.
Nandi: Lois Weber
Jahde: Frances Marion

Creative Writing Prompt: After screening these student films, please come up with your own idea for a "blockbuster" film. If you had an unlimited budget, what kind of film would you make? Take a few minutes and create an idea. See handouts.

Characteristics of a Blockbuster

Blockbuster films make money. So much money. Films that make money are often called "blockbuster" films. Those that lose money are called "bombs."

Here are some tongue-in-cheek rules concerning blockbuster films by Charlie Jane Anders:
  • If your kid hasn't heard of it, don't spend $200 million on it
  • Genre mash-ups only work if both genres are popular
  • Spend less on the first film in a series and more on the sequels
  • When dealing with a familiar hero or character, go back to the source material or original concept
  • Pay attention to the structure of the original (particularly in sequels)
  • Blockbuster films have to play overseas in the foreign market
  • Things that sound funny, should be funny (Sharknado, for example...)
  • Remember the human element: special effects does not a blockbuster make
  • Fans are a double-edged sword: they love your content/subject matter--but then...they love your content/subject matter.
Blockbusters are usually:
  • Advertised or heavily marketed
  • Based on advertised/heavily marketed material (books, games, pop cultural items, etc.)
  • Use familiar (well-known) directors or actors in major roles
  • Action films
  • Epic in scope and story (life versus death stuff...; the fate of all hangs in the balance...)
  • Costume dramas or historical fiction
  • Include special effects that involve explosions
  • Have a male protagonist
  • Deal with themes that can be easily recognizable (life, nature, death, love...)
  • Have an underlying religious theme or strong belief in the power of good
  • End happily for the protagonist, usually by saving the day
Of course there's no set guarantee that your film will be a blockbuster, but if you hit upon some of these elements, it is more likely you are making a blockbuster.

So let's see how this holds up as we watch the film Jaws (1975). Directed by Steven Spielberg. Written by Carl Gottlieb & Peter Benchley (from his novel: originally titled The Stillness of the Water). Before we begin let's learn a little about the film and read the first few pages of the script. See your handouts for details.

For more information about the film, please check here: Jaws and the full script is here.

HOMEWORK: None.

Sunday, February 28, 2016

Complete Documentary Projects; Academy Awards Discussion & the Modern Blockbuster

Please use the first 30 minutes of class this morning to complete your film projects. These are due. Several of you have completed your documentary and have sent me the link. Please make sure you do this after you upload your film to YouTube so that we can screen your work next class!

If you are done: please either review the Academy Award winners or...
Please check out the blockbuster information below. Read, watch video clips, and take notes on the material.

During 2nd period we will discuss the Academy Awards & Blockbusters.

The Modern Blockbuster

Sony unveiled their VTR (video tape recorder) in 1967, but it wasn't until the 1970's that it took the world by storm. The early versions cost a prohibitive $1,000 to $4,000! That's about 8-10 I-phones and at least as many TiVos--whoever uses those anymore?

Watching movies in your home threatened the movie industry, but under the Betamax VCR (1975) viewers could watch pornography without feeling guilty about it (the internet had not yet established itself). As fall-out, the porn and "X" film production grew, and later would help release a whole host of B-films which would not receive a wide release in cinemas. Many films today are not distributed except through direct-to-digital-video. Netflix, HBO, Amazon, etc. are all trying to create their own content as digital streaming becomes our next, greatest challenge to the movie industry. But first, a little history:

Steven Spielberg (American New Wave director/Auteur) filmed his blockbuster Jaws in 1975. The success of the book and the film began to show the possibility of mass-produced entertainment and gave film a legitimacy through popular culture. There were few film programs in colleges and schools at this time. You may recall Spielberg's other work (mostly blockbusters, like Jaws). After the Blockbuster phenomenon, film gained much attention (and money).

Writers like Michael Crichton and Stephen King became quite wealthy as popular authors since so many people went to see the movies based on their books. Now, bestsellers almost always get made into films as a way to capitalize on profits (J.K. Rowling's Harry Potter, for example). Stan Lee is also doing nicely as every year or so another Marvel superhero movie leads the summer blockbuster scene. Here are a few of Spielberg's films:

Close Encounters of the Third Kind (1977)
E.T. (1982)

George Lucas on the other hand created the single most influential film in the 1970's with his space opera (part IV) of the seminal Star Wars (1978). Both Jaws and Star Wars became the first two films to make more than $100 million, rocketing both directors into fame!

Star Wars (1977)
Raiders of the Lost Ark (1981) and the famous "melting face scene just for fun - SPOILER."

In 1982 the film Tron (1982) effectively used CGI for its special effects. Since then CGI has been married to the Hollywood Blockbuster.

Westworld (1973) (same author as Jurassic Park: Michael Crichton)
The Black Hole (1979)
Star Trek (1979) (VO by Orson Welles)

As you might note, CGI greatly improved the sci-fi genre.

Now, the goal of Hollywood remains to produce a blockbuster film. These are traditionally action-packed epics chock-ful of CGI and special effects. Many films also are mass produced so that even if the film fails at the box office, the production company can make back a loss by selling the music tracks, toys, or DVD's.

Recent blockbusters include:
Star Wars: The Force Awakens (2015)
Jurassic World (2015) 652.3 Million
Avatar (2009) $2,782,275,172 Billion
Titanic (1997) $2,185,246,990 Billion
The Avengers (2012) $552.7 Million (and counting)
The Dark Knight (2008) $533 Million
Spider Man (2002) $403.7 Million
E.T. (1982) $359.2 Million (see clip above)
Jurassic Park (1993) $357.1 Million
Forrest Gump (1994) $329.7 Million

Top 100 Box Office Blockbusters of All Time It pays to be a producer!

And for perspective, some top films that flopped:
47 Ronin (2013) 151 Million
Tomorrowland (2015)
Cutthroat Island (1995) loss of $147 Million
The Alamo (2004)  loss of $146 Million (we lost the battle as well)
The Adventures of Pluto Nash (2002) loss of $145 Million
Pan (2015) 

Wednesday, February 24, 2016

The Academy Awards; Film Documentary Project

This morning, please work on your documentary film projects. Aim to complete these today, if possible, and upload to Youtube. Please send me the URL link for your work in the comment section below. We will screen them next week.

If you finish early (before the end of the period) or even if you don't, please read and take notes on the following topic:

The Academy Awards

The Academy Awards®, known as the Oscars®, are the oldest, best known and famous film awards. The awards have been presented annually (the first ceremony was held in May, 1929) by the Academy of Motion Picture Arts and Sciences (AMPAS), based in Beverly Hills, California (founded in 1927).

"Except for the early years of the institution, the awards honored films made during the previous 12-month calendar year. Films also had to be over 40 minutes long to qualify as feature-length. Until 1954, the Oscars were presented mostly on a Thursday evening. From 1955 to 1958, they were presented on a Wednesday. From 1959 until 1998 the Oscars were, with a few exceptions, presented on a Monday night. Only since 1999 has the Awards ceremony taken place on a Sunday (traditionally in March). In 2004, the ceremony was moved even earlier (thus the February date) to improve ratings and to be more relevant to the awards 'season'.

Comments About the Awards Themselves:

The establishment of the Academy (and its awards system) has had a major effect and influence upon the film industry, due to the enormous boost a nomination or award (for a film, designer, or actor) creates, by giving prestige and bottom-line profits to a studio or performer.

Studios have often engaged in expensive marketing and advertising campaigns to sway votes. The Academy has, with limited success, tried to limit the influences of pressure groups and promotion, box office gross receipts, and studio public relations and marketing on voting results. It has also attempted to limit votes for melodramatic sentimentality, atonement for past mistakes, personal popularity, and "prestige" or epic scale, but those influences have often had a decided effect upon the outcome of some of the poll results.

Unfortunately, the critical worth, artistic vision, cultural influence, and innovative qualities of many films are not given the same voting weight. Especially since the 80s, moneymaking 'formula-made' blockbusters with glossy production values have often been crowd-pleasing titans (and Best Picture winners), but they haven't necessarily been great films with depth or critical acclaim by any measure." 

See Tim Dirk's site for "The Worst Academy Awards Oscars" for more information. Read the article online, then click "NEXT" at the bottom to continue viewing the article. This includes information about the Academy Award winners, as well.

"Like any other awards, recognitions, or "best" lists, the top nominees and winners do not necessarily reflect or objectively measure the greatest that cinematic history has to offer. Many of the most Deserving Films of All Time (see Films Without Awards) did not win Academy Awards® (and in some cases were not even included in the nominees). In addition, Top Box-Office Films aren't always guaranteed awards success either. And certain Film Genres (notably westerns, science fiction, and comedy) as well as independent films are not represented in balanced numbers throughout Oscar history." - Tim Dirks

For information about the 2016 Oscars, check out this site! You can find trailers for the Oscar nominations at this site. Please watch a few trailers. You might even predict the winners.

For those of you more socially conscious, consider this year's Academy Award boycott:


HOMEWORK: Complete your documentary film project. Read the article on the Oscars and watch the Academy Awards this Sunday, Feb. 28 (or if you cannot you can review the winners Monday--or if you wish to protest with the boycott, read and understand the links above concerning this issue and be prepared to discuss in class.)

Monday's class will examine the issue at hand as well as Blockbusters and the Academy Awards. Please come prepared to participate.

Tuesday, February 23, 2016

Filmmaking Resources

Looking to convert youtube video material to MP4's? Look here for help.
Basic Shot Types (1 min video)


EXTRA CREDIT (ongoing opportunities):
  • Watch any of the FULL LENGTH films linked on the course blog & review the film (300-500 words in length); you may repeat this option as many times as you'd like
  • Watch any Dryden Theater film selection (at the George Eastman House) & review the film (300-500 words in length); you may repeat this option as many times as you'd like
  • Make your own "basic shot type" or examination of a film clip/sequence documentary for a film you like. Here are a few models/examples in addition to the basic shot video above:
  • Make a film (this could be an actuality, a narrative sequence like Melies or Porter, or any idea you can come up with...go out and shoot a film!) Upload the URL when completed for extra credit in this course
  • Read a script from the Movie Script Database. Choose a script and read it. Report & review like film reviews above.

Monday, February 22, 2016

D.W. Griffith: Part 2; Documentary Project

After The Birth of a Nation (1915), shocked by the fact that people seemed to misunderstand the intent of that film, Griffith went on to make his masterpiece (and it truly is):  Intolerance (1916). Here are a few clips from the film.

Trailer for the restored version of Intolerance (trailer)
Babylon Long Shot/Crane Sequence (tinted)
The Fall of Babylon from Intolerance
Entire Film: Intolerance.

In 1919 Griffith established the film company United Artists with Charlie Chaplin, Douglas Fairbanks, Mary Pickford, and William S. Hart

Overall, Griffith directed over 500 films. He retired in 1931 and died in Los Angeles in 1948. In 1975 his picture was on a postage stamp and all the world loved him. But by 1999, The Director's Guild of America's National Board renamed the prestigious D.W. Griffith Award (first given in 1953 to such directors as Woody Allen, Stanley Kubrick, John Huston, Alfred Hitchcock, Ingmar Bergman, John Ford, Akira Kurosawa, and Cecil B. DeMille to name but a few) because of Griffith's racism.
"We do not fear censorship, for we have no wish to offend with improprieties or obscenities, but we do demand, as a right, the liberty to show the dark side of wrong, that we may illuminate the bright side of virtue - the same liberty that is conceded to the art of the written word - that art to which we owe the Bible and the works of Shakespeare."
--D.W. Griffith (1915)
"If in this work we have conveyed to the mind the ravages of war to the end that war may be held in abhorrence, this effort will not have been in vain." - D. W. Griffith (1915)

Please take a look at these clips and films starring one of his leading actresses: Lilian Gish.

Broken Blossoms (1919) (hey, Griffith wasn't just racist about colored people--here are some "yellow" peoples. Entire film (with Lilian Gish)
Way Down East (1920) (scene with Lilian Gish) One of the most amazing stunts ever pulled in cinema history. Please realize that these actors really were doing their own stunts in most cases. That water is cold and, yes, those are ice floes. Watch this short documentary clip describing how the stunt was filmed. Keyframe: Anatomy of a Griffith Scene.
Orphans of the Storm (1921) (Entire film, with sister Dorothy Gish)
Judith of Bethulia (1914) (part of the film with Lilian Gish; one of the first Biblical epics)
The Scarlet Letter (1926)  (scene with Lilian Gish)

Now it's off to the lab to work on your documentary projects. Aim to complete these by the end of the week. See me if you couldn't possibly do that.

HOMEWORK: Please read the articles on D.W. Griffith, Studios, and the Edison Monopoly Decision (previous handouts) & the article on photography from Gianetti's book: Understanding Movies. Complete notes as appropriate and answer questions on the handout/sheet on photography.

Thursday, February 11, 2016

D.W. Griffith; Film Documentary Project

D.W. GRIFFITH

D.W. Griffith was called the "Father of film technique" & "the man who invented Hollywood"

Birth of a Nation trailer.

With cinematographer G.W. Bitzer, he created and perfected the film devices:
  • the iris shot
  • the flashback
  • crosscutting
He directed the very controversial The Birth of a Nation (1915) Based on Thomas Dixon's stage play "The Clansman." Over 3 hours long, the racist epic included a cast of hundreds. The film contained many new film innovations:
  • Special use of subtitles
  • Its own musical score with orchestra
  • Introduction of night photography
  • Used a "still shot"
  • Used an "Iris shot"
  • Used parallel action
  • Used panning and tracking shots
  • Used close-ups to reveal intimate expressions of actors
  • Used fade outs and cameo-profiles
  • Used high-angles and panoramic (extreme) long shots
  • Used cross cutting between two scenes to create excitement and suspense
Here's a few clips from Birth of a Nation with hundreds of extras.
The film is now regarded as terribly racist as it actually has the KKK riding in to save the day. Here's a few more objectionable scenes:
Negro Majority in the House of Representatives
Origins of the Klan & The Klan to the Rescue!
Mae Marsh jumps to her death...(as Sis)
And the suggestive ending...

Here's the entire film, if you have the interest and 3-hours to spare. Or in 8 minutes if you don't (with commentary)

In the lab, please work on your documentary films. Once you have your script, create your voice over by recording your voice reading the voice over. Use photographs or youtube clips to go along with your script information.

Tuesday, February 9, 2016

Early Filmmakers: George Melies, Edwin S. Porter, Cecil Hepworth, Pathe Frere, Birt Acres & R.W. Paul

Melies and Porter both found a way to edit and arrange film to create a narrative story. With these two film directors we begin to expand the novelty and artistic quality of the medium. Across the pond in Britain, Cecil B. Hepworth continued the tradition.

If we were to reduce all films to a continuum, we would have realism on one end of the continuum and formalism on the other. The Lumiere Brothers, and many of Edison's films, are considered actualities and are little more than moving snapshots of real life in real settings shot on location in real places. Viewers were fascinated by these films partly because they had never seen a picture move, but also because the events the films captured were spontaneous and true. It don't get more real than this! The most real films are often considered to be documentaries--documents of real people, places, or events.

On the other side of the continuum is formalism. Formalist films are often avant-garde or metaphorical. Melies' films are perfect examples of this kind of film. Melies used trick photography, whimsical and fantastic subject matter that went beyond reality, and arranged his scenes deliberately for effect. While the camera stays at a safe viewing distance (long shot), the entire film is manipulated to create an effect on the viewer. When a director does these things (tricks like dissolves or stop motion or careful editing) he is beginning to lose the spontaneity of capturing real life, as all is "staged" and "un-real".

Today most films are considered the mid-range between realism and formalism. This mid-range is called classicism and most fiction films fall into this category.

As we watch these films, please record the title, name of director, and a 1-3 sentence description.

A TRIP TO THE MOON (1902), Directed by George Melies (The Astronomer's Dream - 1898)
THE GREAT TRAIN ROBBERY (1903), Directed by Edwin S. Porter
After screening the films, please complete the following:

France and the U.S. were quick to jump on the possibilities of film projection. But quick on their heels was Britain (and then other countries including Germany & Italy). These countries have a long and respected reputation when it comes to film making. They were there at the beginning.

Birt Acres & R.W. Paul

Birt Acres was born in the USA in 1854, orphaned at the age of fourteen during the American civil war and was taken in by his aunt. Around 1872 Acres was sent to Paris to complete his education at the Sorbonne. Acres returned to the United States four years later to lead the life of a Frontiersman and it during a period of eight or nine years became quite wealthy. Around 1885 he moved to England. He set up a studio in the seaside resort of Devon for the production of painted portraits and photography. In 1894 Acres was introduced to electrical engineer, Robert W. Paul. At this time Paul was in the process of manufacturing copies of Edison’s Kinetoscope and was anxious to construct a camera with which to produce films to show on his machines.

The pair worked together and Acres used the camera to make the first successful film in Britain - Incident at Clovelly Cottage in 1895. It was at this point where the two entered into partnership with a ten year business agreement. This agreement lasted only six weeks before splitting. During their brief partnership, the two shot films. It is widely believed that Paul was angry because Acres had patented his own Kinetic camera in his own name - almost identical to the one they had developed together. The resulting projector became known as the Kinetic Lantern, Kineopticon and the Cinematoscope. 

As for Paul, he invented the Theatrograph projector and shot the first "news" films. Paul also made various “Actuality” films,  and a short comedy - “The Soldier’s Courtship.” He is, also, curiously, responsible for the first Scrooge film. In 1898 Paul began construction on Britain’s first film studios in Muswell Hill, North London and during that summer produced over eighty short dramatic films. Paul’s production company peaked during 1900 and 1905 but he gradually became disenchanted with the business. He returned to his previous occupation, concentrating on electrical engineering.
Meanwhile, Acres gave the first public performance of his projector at the Royal Photographic Society in 1896 - five weeks before the screening of Lumière’s Cinématographe and Paul’s Theatograph. Acres formed his own company - the Northern Photographic Works which specialized in coating, perforating and processing film. In 1898 he unveiled the Birtac - the first 'sub-standard gauge' cine camera and projector, instead of normal 35mm film the camera used narrower width film - typically 17.5 mm. Unfortunately for Acres, within weeks, a rival 17.5 mm camera/projector was announced - the Biokam by the Warwick Trading Company. The Biokam benefitted from its heavy backing and cheapness - half the price of the Birtac. Regardless of this, Birt Acres invented the first amateur cine camera and remained in the film business until his death in 1918.
Upside Down (1899) (watch camera tricks)
 Scrooge, or Marley's Ghost (1901) (the first Scrooge film).
Birt Acres: Rough Sea at Dover (1895)
Arrest of a Pickpocket (date unknown, 1896+)
Rip Van Winkle (1895)

Cecil Hepworth
Cecil Hepworth (1874 –1953):
How it Feels to Be Run Over (1900)
Explosion of a Motor Car (1900)
Alice in Wonderland (1903) by Cecil Hepworth 
Rescued by Rover (1905), Cecil B. Hepworth 
That Fatal Sneeze (1907), Cecil B. Hepworth 
• Hepworth was an English film director, producer and screenwriter, he was among the founders of the British film industry and continued making films into the 1920s.
• His father was a famous magic lantern showman.
• He became involved in the early stages of British filmmaking, working for both Birt Acres and Charles Urban, and wrote the first British book on the subject in 1897.
• With his cousin Monty Wicks he set up the production company Hepworth and Co. — later renamed the Hepworth Manufacturing Company, then Hepworth Picture Plays.
• In 1899 they built a small film studio in Walton-on-Thames. The company produced about three films a week, sometimes with Hepworth directing.
• Rescued by Rover (1905) was a huge success at the box office, starring a collie in the title role. The film is now regarded as an important development in film grammar, with shots being effectively combined to emphasise the action. Hepworth was also one of the first to recognize the potential of film stars, both animal and human, with several recurring characters appearing in his films.
• The company continued making popular films into the 1920s.
• The company went public to fund a large studio development but lost money and closed.
• Tragically, all of Hepworth's original film negatives were melted down.

Pathe Freres Company

Charles Pathé (1863-1957), French motion-picture magnate, who, in the early 20th century, was the first to create a system for mass-producing motion pictures. It is thanks to The Pathe Frere Co. that films were shared and distributed around the world. Now, a film made in New York could be seen as far away as Japan. This is the start of a world-wide cinema (and a lucrative business venture...) Check out information about Pathe and some of his company's films:
Aladdin & the Magic Lamp (1907)
The Policeman's Little Run (1907) directed by Ferdinand Zecca
Slippery Jim (1910) directed by Ferdinand Zecca
Onesime Horloger (Onesime, Clock-Maker) (1912)
• Pathé began his career as an importer and merchant of the phonograph in France.
• He extended the business to include projectors and films, creating the company Pathé Frères in 1896.
• By 1901 he concentrated on film production, together with French director and producer Ferdinand Zecca.
• Pathé made films rapidly and reinvested the profits back into the business to improve the technical quality of his films.
• By 1905 the company was employing numerous production teams of scriptwriters, set builders, cameramen, directors, and actors, making short films in an assembly-line process.
• Pathe Company opened in New York in 1904 as a subsidiary of Pathe Freres (Bros.) in France and boasted a catalogue of 12,000 titles.
• In 1909, Pathe was asked to join Edison in forming the Motion Picture Patents Company (MPPC) to try to shut out smaller studios.
• In 1911, Pathe Weekly was issued. This is the first US newsreel.
• WWI took its toll on the company. Pathe ceased production in the US in 1914.
• In 1915, the Pathe Freres temporarily moved its headquarters to New York and changed its name to Pathe Exchange, Inc.
• In 1923, Pathe Exchange sold for 26 million Francs and came under the control of Merrill Lynch.
• In 1926, Joe Kennedy (father of John F. Kennedy) becomes president of the company, and a director.
• In 1930, Pathe Exchange merges with PDC, K-A-O and DeMille to become RKO

Hollywood has never been that original compared to early filmmakers. Here's a few films that keep getting made over and over again. Other films of the early 20th century:
  • Milano Films: Odissea (Italian cinema, 1911)
  • Milano Films: Dante's Inferno (Italian cinema, 1911--the oldest surviving feature length epic)

Saturday, February 6, 2016

Early Film History (con't); Documentary Film Project

LAB WORK:

In the lab answer the questions on the handout using this website and the article (part 1) by Tim Dirks. The next page (part 2) is found on the bottom of the screen. Follow the arrows to the right to advance the page. Complete Part One by answering the questions. If you finish before the bell rings, please begin to read/take notes on part two. Turn in your answers to Part One by the end of class today for participation credit.

Many of Edison's early films were shot by W.K.L. Dickson. Thomas Edison invented the idea of the Kinetoscope but it was Dickson who designed it between 1889-1892. His film studio was called the Black Maria. The first kinetoscope exhibition occurred in New York, NY in 1894.

Other Kinetoscope films (view and take notes on these sample films):
At the same time, in France, the Lumiere Bros. were also working on the invention of film, particularly a camera that could also project a film for the benefit of an audience. Learn more about The Lumiere Bros. (Documentary, 10 minutes) here when you are in the lab.
LAB WORK (continued): 

Please read & view parts 2-5 of Tim Dirk's article on films before 1920. After your reading, choose a topic to further research and create a short documentary film about the subject. 

DOCUMENTARY FILM project:
  • Start off with researching your topic. Take notes. Find sources to use (both online video perhaps and/or text).
  • Write a short VOICE OVER script for your documentary using the information you found out. Remember to mention in your script where you found information so that you are not plagiarizing! (According to...; ___ writes that...; etc.)
  • Your short voice over script should be about 1 page of double-spaced text. You will be expected to record this information for your documentary.
Try to complete the preliminary work for your documentary between this class and our next one (Feb. 10).

HOMEWORK: Work on your documentary film project script. It should be completed by next class so that you can begin to build your film. Read the handout on Edwin S. Porter & George Melies.

Coming Up: George Melies & Edwin S. Porter.

Wednesday, February 3, 2016

The Birth of Film & Film Invention

Essential Question: What are some key elements (inventions/inventors, technology, history, etc.) that contributed to the "birth of film"?

To warm up, using your annotated notes from the article on "The Birth of Film" complete the 3, 2, 1 Think, Pair, Share exercise from the graphic organizer you picked up this morning in class. Take a few minutes after announcements to discuss your findings with your partner.

The Birth of Film

Early film was little more than the thrill of capturing "real life." Finally, through technology, photographers were able to depict reality in a way never before possible. This had many uses. For one, it allowed people to witness strange or exotic locations, cultures, or people. Now someone who lived in New York City didn't have to spend a month on a steamer boat to visit far-away-lands. Presidents could be seen without having to campaign in your home town. Life could be seen as it "really" was. These slices of life are documentaries in the strictest sense. They document history, people, reality and life. They are  "actualities"-- little more than moving snapshots. Note there is no plot or character development--just real life.

But before there could be a "birth of film", there were some important discoveries and inventions that made these early films possible. Today we'll introduce some of them.

Let's play with some early film toys and inventions.

NOTE: If you missed last class or did not complete your lab work or homework, you can read about early film technology here at this link. In your notes, please identify, describe (and/or draw a picture) and note the significance of the following technology. The side bar on the website's left hand side has the links for each device.
  • Zoetrope
  • Praxinoscope
  • Kinetoscope
  • Cinematographe
  • Mutoscope
  • Vitascope
These are just some of the important events, inventions, and inventors that helped create the film industry. You should be familiar with them. Please take notes and study them for our upcoming test on this material.
Magic Lantern: Invented in the 17th century by Athanasius Kircher. The magic lantern projected pictures on a screen. It functioned like an overhead projector. Originally it used a candle as the light source.

Thaumatrope: Invented by Dr. John Ayrton Paris in 1824; utilized the theory of “persistence of vision”: Persistence of vision is the optical illusion where multiple images blend into a single image in the human mind. Without it, we would not be entertained by film as it wouldn't appear to "move"--hence, no "movies".

Fantascope, Phenakistiscope (“spindle viewer”), Fanatoscope: invented by Belgian inventor Joseph Plateau. Daedalum (Horner 1834)/Zoetrope (Lincoln 1867)
Daguerreotype: Invented in 1839 by Louis-Jacques-Monde Daguerre. The process of capturing images on silvered, copper metal plates - the beginning of photography.

Celluloid: Invented in 1869 by John Wesley Hyatt. Strips of thin film which could be developed with pictures.

Praxinoscope: Invented in 1877 by Charles Emile Reynaud. A film projector. This clip shows examples of Reynaud's animations
Light Bulb: Edison invented the long-lasting light bulb and secured the patent in 1879. Actually the light bulb predates this date. Edison patented the incandescent light bulb filament (specifically). 
The Photographic Gun: Often hailed as the "inventor of cinema" Etienne-Jules Marey invented his chronophotography or series photography, similar to Muybridge's attempts, which allowed for the taking of several photographs on the same "plate" in 1882.

The Films

Watch these early films from the late 1890's and early 1900's. As you watch, take notes in your journal/notebook about the director(s) and the titles and content of the film. Summarize in a few words or a sentence or two what each film is about. At the end of the collection, answer the following:
  • What do you notice about the films? 
  • What subject matter do they deal with? 
  • What do you notice about the shots and camera work in these films?
Edweard Muybridge (1830-1904): Our first pioneer of the art of film is the photographer Edweard Muybridge. Muybridge was a photographer who became famous when former California Governor Leland Stanford contacted him to help settle a bet over whether all four hooves of a running horse left the ground. Muybridge began experimenting with an array of 12 cameras photographing a galloping horse in a sequence of shots. Between 1878 and 1884, Muybridge perfected his method, proving that horses do have all four hooves off the ground at some point during their running stride. Muybridge worked at the University of Pennsylvania between 1883 and 1886, producing thousands of photographs of humans and animals in motion. He published several books featuring his motion photographs and toured Europe and North America, presenting his photographic methods using a projection device he'd developed, the Zoopraxiscope.

Some other interesting bits about Muybridge: During a break from his photographic research, his wife, Flora, had an affair with Major Harry Larkyns, a drama critic. Believing that Larkyns had fathered the couple's recently born son, Muybridge tracked him down, shot, and killed him. At his trial for murder in 1875, several witnesses testified that Muybridge's personality had changed after he received a head injury in which he lost his ability to taste and smell. The jury didn't buy the insanity defense, but acquitted Muybridge on the grounds of "justifiable homicide." Muybridge died in 1904. His contributions to art and photography spurred the works of other film inventors, many of which we will study today.

Please watch the following two films, the first a documentary: Photographs of Motion
and the second, a series of Muybridge's photographs, sped up to show motion (persistence of vision!)

So what's the oldest film ever made? Interesting story:
The oldest surviving film in existence at this point is Louis Le Prince's Roundhay Garden Scene (1888). This sequence was recorded on an 1885 Eastman Kodak paper base photographic film through Le Prince's single-lens combi-camera-projector. It moved at 12 frames per second.

Le Prince's life was also interesting and there's a mystery (and some say conspiracy) attached to his death. Le Prince was never able to perform a planned public demonstration in the United States of his films because he mysteriously vanished from a train on 16 September, 1890 --His body and luggage (including his film camera) were never found. Le Prince's disappearance allowed Thomas Edison to take credit for the invention of motion pictures in America, but now Le Prince has been heralded as 'The Father of Cinematography.'

Edison Kinetoscope films: (1894-1896)
Titles in this clip include: The Kiss, Serpentine Dances, Sandow the Strong Man, Comic Boxing, Cock  Fighting, The Barber Shop, Feeding the Chickens, Seminary Girls & Boxing Cats

Many of Edison's early films were shot by W.K.L. Dickson. Thomas Edison invented the idea of the Kinetoscope but it was Dickson who designed it between 1889-1892. His film studio was called the Black Maria. The first kinetoscope exhibition occurred in New York, NY in 1894.

Other Kinetoscope films:
At the same time, in France, the Lumiere Bros. were also working on the invention of film, particularly a camera that could also project a film for the benefit of an audience. Learn more about The Lumiere Bros. (Documentary, 10 minutes) here when you are in the lab.
LAB WORK:

In the lab answer the questions on the handout using this website and the article (part 1) by Tim Dirks. The next page (part 2) is found on the bottom of the screen. Follow the arrows to the right to advance the page. Complete Part One by answering the questions. If you finish before the bell rings, please begin to read/take notes on part two. Turn in your answers to Part One by the end of class today for participation credit.

As you read, consider what topic you may want to create a short, short documentary about. Take notes on key points not covered in the questions as well. We'll continue our research next class.

HOMEWORK: None.

Monday, February 1, 2016

Film Studies: Resources, Text, 100 Films of All Time; Pioneers of Cinema: Invention

#1. List your top 10 favorite films of all time.
#2. Name your favorite genres of film. (i,e. what do you prefer to watch?) Why?
After taking a moment to share your list with at least one other student, THEN:

The TOP Films of All Time - A Personal Response by YOU!

For our class, this website by film historian Tim Dirks, will provide you with a lot of excellent information. We will be using the link throughout our course as a reliable source of information.
Please go to the link (on the right side of this post): Film History.

Other Resources:
  • IMDB.com (this is the international movie data base, and can be very helpful to you in this course).
  • Metacritic (a website where you can find all sorts of film reviews for models regarding how to write a film review--and for your own enjoyment)
  • The Internet Script database. This site publishes many contemporary film scripts. It will be important to check your film script formatting and go here to read scripts. There is a link to this page to your right of this post.
  • Youtube.com Many of the clips we will be watching in this class come from sites like youtube.com. You are probably already familiar with this website.
Today, I'd like you to spend some time reviewing the top 100 films of all time in the lab. Please read Dirk's information, take a look through the list and note the following (perhaps in 3 columns or sections):
A. Which films on this list have you personally seen? (jot down a few titles in your journal)
B. Which films on this list have you heard about, but never had the chance to see? (jot down a few titles)
C. If a movie looks interesting to you, please jot down its title in your journal.
Then in a short personal response of about 300-500 words, talk about your experience with film. How knowledgeable are you about the topic? What films have become important or traditions for you or your family? Explain what the magic or cinema means to you? Reflect on what you learned today and write about your reaction to that. Or anything relevant about a personal response about film.300-500 words--go.

DISCUSSION: During the last 5 minutes of class today, please get into groups of 3-4. No one in your group should be someone you sit directly next to. You will likely have to move and meet new people. Discuss your list with your group members. You may also spend any time remaining in class discussing films you love or hate. Why do you love or hate the film? Discuss.

LAB WORK (after you complete your film response): In the meantime, please complete your response article and research early film technology. Please read about early film technology here. In your notes, please identify, or describe (and/or draw a picture) the significance of the following technology. The side bar on the website's left hand side has the links for each device.
  • Zoetrope
  • Praxinoscope
  • Kinetoscope
  • Cinematographe
  • Mutoscope
  • Vitascope
FURTHER NOTES: These are some of the important events, inventions, and inventors that helped create the film industry. You should be familiar with them. Please take notes and study them for an upcoming test on this material (probably for next week).
Magic Lantern: Invented in the 17th century by Athanasius Kircher. The magic lantern projected pictures on a screen. It functioned like an overhead projector. Originally it used a candle as the light source.

Thaumatrope: Invented by Dr. John Ayrton Paris in 1824; utilized the theory of “persistence of vision”

Fantascope, Phenakistiscope (“spindle viewer”), Fanatoscope: invented by Belgian inventor Joseph Plateau. Daedalum (Horner 1834)/Zoetrope (Lincoln 1867)
Daguerreotype: Invented in 1839 by Louis-Jacques-Monde Daguerre. The process of capturing images on silvered, copper metal plates - the beginning of photography.

Celluloid: Invented in 1869 by John Wesley Hyatt. Strips of thin film which could be developed with pictures.

Praxinoscope: Invented in 1877 by Charles Emile Reynaud. A film projector. This clip shows examples of Reynaud's animations. Recently, a filmmaker collected Reynaud's praxinoscope animations and created a digital film of what Reynaud might have been envisioning. Here is one of his animated films: Emile Reynaud: pauvre pierre animation (1892)
Light Bulb: Invented the long-lasting light bulb and secured the patent in 1879. Actually the light bulb predates this date. Edison patented the incandescent light bulb filament. 
The Photographic Gun: Often hailed as the "inventor of cinema" Etienne-Jules Marey invented his chronophotography or series photography, similar to Muybridge's attempts, which allowed for the taking of several photographs on the same "plate" in 1882.
One of the first pioneers of “film” was the artist/inventor Eadweard Muybridge: 1830 - 1904. He used several cameras to take a sequence of shots. Film was cut into strips and used in a praxinoscope. Muybridge invented his Zoopraxiscope, photos printed on a glass disc that rotated, to create the illusion of moving images. Here's what the first Zoopraxiscope clip looked like. We'll discuss Muybridge further next class.

HOMEWORK: Please read "The Birth of Film" and annotate the article for our discussion next class.

The Murky Middle (Even More Advice)

Aristotle wrote that stories should have a beginning, middle, and end. Middles can be difficult. You might have a smashing opening to a stor...