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.
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 (the first cat film meme!)
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:
George Melies and Edwin S. 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.
As you watch these films, please record the title, name of the director, and a 1-3 sentence description of its premise.
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 (the first cat film meme!)
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:
- Statue of Liberty (1898)
- The inauguration of President McKinley (1901)
- Scenes in New York City (1903) (sound added)
- Skyscrapers of New York (1906) (Mutoscope)
- Moscow Clad in Snow (1906)
- Arrival of a Train at La Ciotat (Lumiere Bros) (1895)
- Lion, London Zoological Gardens (Lumiere Bros) (1895)
- The Sprinkler Sprinkled (Lumiere Bros) (1895)
- Le Squelette Joyeux (the happy skeleton) (1895)
- Various actualities (documentaries)
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. Early audiences 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.
George Melies and Edwin S. 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.
George Melies outlined a narrative story by numbering scenes he would need for a film. You can see an example of this in your handout chapter on George Melies.
As you watch these films, please record the title, name of the director, and a 1-3 sentence description of its premise.
- A TRIP TO THE MOON (1902), Directed by George Melies (The Astronomer's Dream - 1898); (The Impossible Voyage, 1904); and (The Conquest of the Pole, 1912)
- THE GREAT TRAIN ROBBERY (1903), Directed by Edwin S. Porter
- The Life of an American Fireman (Edwin S. Porter, 1903)
- Uncle Tom's Cabin (Edwin S. Porter, 1903, with real live negroes!--the first African Americans in a feature film, albeit, main characters are still in blackface!) What is blackface? Here's a bit of history (see link!)
- Dream of a Rarebit Fiend (Edwin S. Porter, 1906)
Crash Course Film History #4 & Crash Course Film History #5 Edwin S. Porter
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