Episode 1 – Birth of the Cinema[edit]
Introduction
- Saving Private Ryan (1998) dir. Steven Spielberg
- Used a peaceful beach, but made it feel chaotic
- Three Colors: Blue (1993) dir. Krzysztof Kieślowski
- using two different narratives to target viewer’s empathy
- Casablanca (1942) dir. Michael Curtiz
- Yearning, story, and stardom. all on studio set
- The Record of a Tenement Gentleman (1947) dir. Yasujirō Ozu
- The real classical movie. Not rushed.
- Shapes break up screen
- Odd Man Out (1947) dir. Carol Reed
- Using bubbles to reflect character’s troubled face
- Two or Three Things I Know About Her (1967) dir. Jean-Luc Godard
- Also bubbles as reflection. show conflict
- Taxi Driver (1976) dir. Martin Scorsese
- mimics idea of character looking into bubbles
- The French Connection (1971) dir. William Friedkin
1895-1918: The World Discovers a New Art Form or Birth of the Cinema
- Traffic Crossing Leeds Bridge (1888) dir. Louis Le Prince
- The Kiss (1896 film) (a.k.a. May Irwin Kiss) (1896) dir. William Heise
- made by Edison. Roof opened to follow the sun
- Workers Leaving the Lumière Factory (1895) dir. Louis Lumière
- Shot on lumiere camera
- documentary
- Arrival of a Train at La Ciotat (1896) dir. Louis Lumière
- One of first films that had a showing. unnerved audiences
- Annabelle Serpentine Dance (1894-1896 ?) dir. William Kennedy Dickson or William Heise
- Sandow (1894) dir. William Kennedy Dickson
- What Happened on Twenty-third Street, New York City (1901) dir. George S. Fleming and Edwin S. Porter
- Cendrillon (1899) dir. Georges Méliès
- stop and start filming. Do magic
- Le voyage dans la lune (1902) dir. Georges Méliès
- Stop and start instead of special effects
- La lune à un mètre (1898) dir. Georges Méliès
- same special effects
- The Kiss in the Tunnel (1899) dir. George Albert Smith
- Shoah (1985) dir. Claude Lanzmann
- 2001: A Space Odyssey (1968) dir. Stanley Kubrick
- The Sick Kitten (1903) dir. George Albert Smith
- October: Ten Days That Shook the World (1928) dir. Sergei Eisenstein
- Once Upon a Time in the West (1968) dir. Sergio Leone
- The Corbett-Fitzsimmons Fight (1897) dir. Enoch J. Rector
1903-1918: The Thrill Becomes Story or The Hollywood Dream
- Life of an American Fireman (1903) dir. Edwin S. Porter
- Cuts to follow rescue story
- Sherlock Jr. (1924) dir. Buster Keaton
- Used double projection.
- The Horse that Bolted (1907) dir. Charles Pathé
- Cut between two actions that did not change.
- Parallel editing, “meanwhile”.
- The Assassination of the Duke of Guise (a.k.a. The Assassination of the Duc de Guise) (1908) dir. Charles le Bargy and André Calmettes
- Reverse angle shot
- Vivre sa vie (1962) dir. Jean-Luc Godard
- refused to turn camera to show actress’ face
- Those Awful Hats (1909) dir. D. W. Griffith
- Unknown actress
- The Mended Lute (1909) dir. D. W. Griffith
- Faked previsouly unknown actress’ death
- first actress to set pattern for stardom
- The Abyss (1910) dir. Urban Gad
- Europe had less censorship
- Stage Struck (1925) dir. Allan Dwan
- The Mysterious X (1914) dir. Benjamin Christensen
- Innovative use of light
- Good photography, cross cutting, drawing on screen. Very daring
- Häxan (1922) dir. Benjamin Christensen
- Many light sources, complex effects
- Ingeborg Holm (1913) dir. Victor Sjöström
- Naturalism and grace
- The Phantom Carriage (1921) dir. Victor Sjöström
- Multilayered
- stories within stories
- Re-exposes film to make ghost effects
- Shanghai Express (1932) dir. Josef von Sternberg
- Take exaggerated characters, make look real
- The Story of the Kelly Gang (1906) dir. Charles Tait
- in australia
- First smoething
- The Squaw Man (1914) dir. Oscar Apfel and Cecil B. DeMille
- Character is conflicted, makes eye contact
- uses sightlines to match their eyes
- Cliff switches sides
- The Empire Strikes Back (1980) dir. Irvin Kershner
- Also uses sightlines and continuity
- 180 degree rule
- Falling Leaves (1912) dir. Alice Guy-Blaché
- one of the first female and overall directors
- makes stories instead of events
- Suspense (1913) dir. Phillips Smalley and Lois Weber
- Starred in by director
- Sidways POV shot
- three part split screen
- Uses mirror to show police behind
- Uses creative camera angles to build suspense
- The Wind (1928) dir. Victor Sjöström
- Cut like thriller, filmed like dream
- Rescued from an Eagle’s Nest (1908) dir. J. Searle Dawley
- “cinema needs to show wind in trees”
- The House with Closed Shutters (1910) dir. D. W. Griffith
- Very stagey, airless
- Way Down East (1920) dir. D. W. Griffith
- Delicate, visual softness
- Visual realness
- Orphans of the Storm (1921) dir. D. W. Griffith
- Backlighting, give halos, actor stands out
- The Birth of a Nation (1915) dir. D. W. Griffith
- Edges fade out at edges
- Showed dangers of film, racist
- black audience members were attacked
- Rebirth of a Nation (2007) dir. DJ Spooky
- Reexamined birth of a nation
- Cabiria (1914) dir. Giovanni Pastrone
- Dolly shots
- Intolerance (1916) dir. D. W. Griffith
- 3 1/2 hours long
- tinted colors of scenes
- jump around with storylines
- show different events in different times have same emotion
- Souls on the Road (a.k.a. Rojo No Reikan) (1921) dir. Minoru Murata
- two storylines come together
- parallel editing, hope vs hopeless