Thursday, February 14, 2019

Film Project: Silent Film/Arranged Scene

Due at the end of the marking period is a short film project. You may work alone or with a group of up to 4 people. Your task: Create and film a silent film of at least 2 minutes in length and up to 7 minutes).

Consider:

  • Arranged scene editing (The Great Train Robbery; A Trip to the Moon, etc.)
  • Melies trick photography
  • Porter's use of cross-cutting
  • D.W. Griffith's use of camera shots and transitions, tinting, etc.
  • Eisenstein's use of montage
I want to alert you of this since we will be heading for Feb. break. You can get started on an idea (and/or film) during this time...

More details on this project forthcoming.

Wednesday, February 13, 2019

D.W. Griffith & the Blockbuster Film; Minority Voices in Film

D.W. Griffith & the Blockbuster Film

The modern blockbuster (Crash Course #6) is not a new idea. In fact, as early as 1915, the Hollywood Blockbuster became a big deal and influenced many directors, writers, actors, and their audiences.

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

Birth of a Nation trailer.
Birth of a Nation in 8 Minutes, clip: Riot in the Master's Hall & other Birth of a Nation clips

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
Birth of a Nation (1915), cinematography by William "Billy" Bitzer.

After making the blockbuster American epic 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 true masterpiece:  Intolerance (1916). Here are a few clips from the film.


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.

Judith of Bethulia (1914) (part of the film with Lilian Gish; one of the first Biblical epics)
Broken Blossoms (1919) Entire film (with Lilian Gish)
True Heart Susie (1919) Entire film (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. Way Down East (1920, full film)
Orphans of the Storm (1921) (Entire film, with sister Dorothy Gish)
The Scarlet Letter (1926)  (scene with Lilian Gish)
Birth of a Nation (1915) (full film, remastered)

Minority Voices in Film History:

While most of the pioneers of early film were male Caucasians, the lack of minority voices in film was filled by two very important filmmakers: Alice Guy Blache and Oscar Micheux. While we will focus on these two primarily, they are far from the only minority voices around. Gay & Lesbian, Asian, Latino, and other influential filmmakers begin working in this time period.

Today, we will watch a few of their film clips and take notes of important details. By the end of the lesson you should begin to ask yourself the question: why is minority cinema important? What is the future of minority cinema? How does knowing a little history help minority artists?

Bert Williams' films: Fish (1916) and A Natural Born Gambler (1916) predate Oscar Michaeux as the first African American comedic actor to also write, direct, and star in his own films. Learn more about him here at this link.

Oscar Michaeux is credited as the first black film director. Within Our Gates (1919) (music underscore added recently) and his film in its entirety for those interested Within Our Gates (full film). Evelyn Preer was one of the early black actresses. She was also a popular singer. Here's one of her songs: It Takes a Good Woman to Keep a Good Man at Home. You can hear the rhythms of the jazz age (late 1920's). Think of the book Ragtime.

Zora Neale Hurston, writer and folklorist, made several film documentaries in the 1920's. Here's an example of some of her fieldwork (1928).

Sadly, in American film, the early work of female directors/writers is hard to find (or no longer exists). You can read about African American women's contribution to the film industry here. There's just not much to view. It is, also sadly, not until 1991 that the first African-American female director (Julie Dash) is allowed to make the first studio produced and widely distributed film Daughters of the Dust. However, since then, more black female directors have joined the ranks.

The first female director is:
Alice Guy Blache
The Cabbage Fairy (1896)
The Life of Christ (1906) (our first religious epic depicted in film, predating Cecil B. DeMille)
The Consequences of Feminism (1906)
Falling Leaves (1912)
Algie The Miner (1912)

Lois Weber, an American female, was also a silent film actress and then director. She invented the first use of the split screen technique in her film Suspense (1913).
Other films include the Blot (1921) and Hypocrites (the first full frontal nudity depicted in film outside of "art film" like Edweard Muybridge's work.) She, too, is important.

As for gay and lesbian films of the early silent film era, there are a few. Apart from two men dancing in the film by Edison, the first depiction of one of the sissy stereotype characters is Algie the Miner (1912, sound track added). The first butch male-to-male kissing scene is the fall of Babylon sequence in D.W. Griffith's Intolerance (1916). It also features a pretty kick-ass heroine: mountain girl.

A little gender bending: Vitagraph's A Florida Enchantment (1914); Here's Sidney Drew's full film: A Florida Enchantment (1914).

German film was one of the first to tackle gay subjects head-on. Here's the film Anders als die Andern (Different from the Others, 1919) by Richard Oswald. Here's a little about the significance of the film. It stars Conrad Veidt (more on him soon).

The lesbian film Madchen in Uniform was made in 1931 (and is a talky, so we won't but mention it here). If you're interested in this film, you may also like the 1933 film Anna und Elisabeth. (This is only a clip, sound is not original, of course.)

Recently, Barry Jenkins' film Moonlight (2016) just won best picture and best adapted screenplay.

Latino silent film information can be found here. There is little on line to watch (sorry about that). Bronco Billy and the Greaser (1914), directed by Gilbert Anderson (Bronco Billy). By far one of the most famous Latin actors was Antonio Moreno,  a Spanish-born actor/director, who often played the now stereotypical "Latin lover" role. Ramon Navarro (gay Mexican-American actor) was also popular during the 1920's was rumored to be Rudolph Valentino's secret lover. He ended up tragically murdered in 1968. Here's a link to a short amateur biography of the actor. He starred as Ben Hur in MGM's 1925 historical epic.

And Asian film star Sessue Hayakawa starred in such films as The Typhoon (1914) and The Dragon Painter (1919). He signed on with Paramount Pictures (Famous Players Lasky) where he worked with Cecil B. DeMille in such movies as The Cheat (1915). The first Japanese feature film was made in 1912, the Life Story of Tasuke Shiobara. Here is the Japanese film Jiraiya the Hero (20 min) in 1921.

Robert Flaherty's Nanook of the North (Robert Flaherty, 1922) is one of the most important early documentary films ever filmed. It follows the life and times of the Inuit hunter Nanook and his family. It is considered the first feature-length ethnographic documentary. Flaherty shot over 50k feet of film to make the film--which he shot on location in the cold north of Hudson Bay, Canada over the period of 55 days, traveling with the Inuit over 600 miles.

The director Dadasaheb Phalke is considered the father of Indian film, although Asian film begins in the late 1890's. It is interesting to note that the first optical toy (a primitive zoetrope) was invented by Ting Huan in 180 AD in China. By the end of the silent film era, most countries have begun to make films. Of particular note are the directors we will look at next class: Sergei Eisenstein & Robert Wiene and F.W. Murnau (German Expression films).

HOMEWORK: Reading: Complete the handout with the chapters on "The Edison Trust Monopoly" &  "The Creation of Hollywood" in the D.W. Griffith packet. Then please read the chapter: 

EXTRA CREDIT: Watch any of the following FULL films starring Lilian Gish: Intolerance (1916) or Birth of a Nation (1915, see above), Judith of Bethulia, Broken Blossoms, True Heart Susie, Way Down East, or Orphans of the Storm, Ben Hur. Write a short paragraph or two summary of the film, and a paragraph or two evaluation. What did you think of the film? Extra credit options can be turned in any time before the end of the marking period. 

Monday, February 11, 2019

The British Are Coming! France Distributes...Acres, Paul, Hepworth & Pathe

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 an 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 a 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)

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; a sequel: The Dog Outwits the Kidnapper (1908)
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 worldwide 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 catalog 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 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 film director.
• In 1930, Pathe Exchange merges with PDC, K-A-O, and DeMille to become RKO

EARLY FILMS & INVENTION:

Hollywood has never been that original compared to early filmmakers. Here are a few films that keep getting made over and over again. Other films of the early 20th century:
Italian Cinema:
  • Milano Films: Odissea (Italian cinema, 1911)
  • Milano Films: Dante's Inferno (Italian cinema, 1911--the oldest surviving feature-length epic)
Blue Films: 
HOMEWORK: Read about the styles of film and cinematography in the handout. If you missed some of these links or films, please view what we didn't complete during class. 

Thursday, February 7, 2019

Birth of Film; Viewing Muybridge through Melies

This morning please read the article on George Melies together and take notes. Then, plug in and watch the various clips and linked short films. Keep track of them as a group and take notes on key or important aspects of these film pioneers.

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.'

Now: 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?
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:
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).
Make sure you have watched: Crash Course Film #2 and third Crash Course Film #3 (homework from Wednesday).

Styles of Film:

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.

HOMEWORK: Please read the chapter on Edwin S. Porter. Take Cornell notes. Refer as well to the linked crash course films for additional information. If you did not view all the links, please do so as homework. 

Tuesday, February 5, 2019

Do The Right Thing (Conclusion); The Birth of Film; Early Film Inventions; Muybridge

This morning we will complete the film "Do the Right Thing" and discuss the film. Your analysis notes are due at the end of class.

Period 2: Early Film Inventions: Let's play around with a few visual toys and learn about the early, early days of film. These are just some of the important events, inventions, and inventors that helped create the film industry. You should be familiar with them. Take notes on the following terms/ideas.
Persistence of Vision: the optical illusion that allows the human mind to blend various images together into a single image. Provides the "move" part of a "movie". 
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.
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.'

Now: 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?
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:
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).
HOMEWORK: Please watch the second Crash Course Film #2 and third Crash Course Film #3. If you missed any of the linked films on this blog post, please watch them. Check the links for more information on key topics and take notes.

Friday, February 1, 2019

Spike Lee: Do the Right Thing: Day 2

Please turn in your script outline/storyboards today. We will continue viewing Spike Lee's Do the Right Thing today in class.

Spike Lee: Examining a Film

As we study film, one thing we will consider, apart from an examination of the history and context of a film, is the auteur or maker of the film. 

As you watch this film, please complete a film analysis sheet (this can also be found on our Google classroom site). This will be due when we complete the film. 

HOMEWORK: Please read the Chapter: Birth of Film & watch the following short film: Crash course Film Studies #1: Films are Magic. Take notes on key ideas and concepts. You may use the Cornell notes graphic organizer or your own notes. Taking notes can help you when you are tested on this material (and you will be). Remember you will need a film journal or notebook for this course!

Finally, also as homework, please post in the COMMENT section an answer to the following:

In the COMMENT section below, please answer the following questions (answer in the same post please):
  • Generally, how do you watch films? Do you stream films online? Do you watch primarily Youtube videos and not full-length films? Do you pay to see films at first run cinemas like Tinseltown or Regal or Lowes? Do you watch films in second run theaters like Cinemark in Brighton (Brighton Movies 10)? Do you go to small independent theaters like The Cinema or The Little Theater or the Dryden Theater? Do you watch DVD's, BlueRay, or VHS tapes? Do you use a network service like ROKU or HULU or Amazon Prime? Do you watch films on demand or from a cable or satellite dish network? Do you just have to imagine a film from what others tell you about it?
  • How important is watching/viewing films in your life or the life of your family? Is it a rare treat, a daily activity, or somewhere in between? Do you generally watch films alone, with a friend, with a relative, or with a group of people? 
  • What was the last film you saw (include where you saw it) and why did you see it? [The name, perhaps the year of the film, or when you last saw the film (yesterday, last weekend, 3 months ago, etc.?) and why you saw it: homework project, for school, to avoid schoolwork, as a social activity with friends, as a promise to your sibling, as a babysitter while waiting for a parent to come home, as a time killer, as an interested student of film or art, as a date, etc.]

Monday, January 28, 2019

100+ Films of All Time; Storyboards; Film Vocab. & Spike Lee

Introduction (of sorts): 20 min.

This course is designed to provide you with a wide foundation of Film History and Film Studies, while also giving you experience writing film scripts and film reviews/critiques (as such found in the field of Journalism). By its end, you will understand the art of film hopefully more than you do now, and will gain a better appreciation for the art of filmmaking. Some of you may like this course of study so much you will take film courses in college, major in film studies, or become professional filmmakers. Others will at least benefit from knowing (and appreciating) the art of film.

This course (as Playwriting) will mostly be found online. Deadlines and assignments (with instructions) will be posted on the blog as needed. Please check the blog daily (even when absent) so you do not fall behind.

To start, please note the following resources that you will be able to access throughout the course.
Handouts (Film vocabulary/terms; storyboarding; resources)
1. Today, please take the quiz on the top 100+ Films of All Time to see which films you have seen. It will serve as a basis for our course.
2. Keep the handy handouts throughout this course. You can find extra copies in our Google classroom. We will be using these terms and the vocabulary will help you analyze and criticize films we watch. We'll start using this today!
3. Begin to design your own "script":
  • Complete the concept creation worksheet. Since you will not be "making" this film, per se, you can have an unlimited budget to make this "film". Choose a movie genre you like, consider your characters, setting/locations, budget, audience, content of the story, your interests help you make a film you like, and quick impression (premise) of your story. Ex. This film is about...
  • Once you have a concept, outline the plot: exposition, rising action, conflict, climax, falling action, resolution, denouement. 
  • Choose one of your plot segments and use the idea to create your scene. Identify where the scene falls in the film, name the characters present, describe the visual part of the scene, identify the key action in the scene, what single line of dialogue is most important in the scene, and what does the character/protagonist or audience learn from this scene? Finally, summarize the scene (just like your premise). Ex. "This scene is about..."
  • Complete 6 shots that occur in your scene (1 shot per box). Draw a representation of what the camera sees in the box, then on the lines below the box, identify the type of shot and/or angle. Use the handout on "The Different Types of Shots" to help you.
Complete the handout for Monday, Feb. 3! See homework below. If you need a sample, look here:
sample storyboards from Do the Right Thing (or see handout for Jurassic Park).

Spike Lee: Examining a Film

As we study film, one thing we will consider, apart from an examination of the history and context of a film, is the auteur or maker of the film. This is often the director, but directors can sometimes star in their own films and also be credited with the authorship of the script. Some directors are also producers--handling all the financial and promotional aspects of the film, as well as the writing, directing, cinematography, editing, and sometimes acting. We will discuss the concept of auteurs later in the course.

Directors like Spike Lee are encouraged to make films for a black audience. Many other actors, directors, and writers begin expanding the ground opened by blaxploitation films, while other black directors are searching for voices that include black experiences or culture, some assimilate the subject, like the most recent films: Black Panther (Ryan Coogler, 2018), Moonlight (Barry Jenkins, 2016) and A Wrinkle in Time (Ava DuVernay, 2018), while others continue to examine Black cinema's traditional themes of racism, slavery and freedom (Amistad (directed by Steven Spielberg, 1997), Belle (Amma Asante, 2013), Dear White People (Justin Simien, 2014) Selma (Ava DuVernay, 2015), and Mudbound (Dee Rees, 2017) as just a few examples.

In any case, Spike Lee's films helped pave the way for black directors and writers in feature films. His films are often thoughtful, satiric, violent, and sexist. They represent the times in which they were made (for example life in the late 1980's in the film we will watch), but remain important reminders of how far and how far we still need to go on the issues of race and inclusive culture in the U.S. Here are a few sample films from Spike Lee.
Do the Right Thing (1989); Read the background information about the film. See the script handout and notice the way a film script is formatted. Script to Screen: Do the Right Thing

HOMEWORK: Work on your film concept. Complete and turn in by Monday, Feb. 3. As you watch the film, please complete a film analysis sheet (this can also be found on our Google classroom site). 

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...