Notes
The following material is from Wikipedia
Introduction
- Saving Private Ryan (1998) dir. Steven Spielberg
- The camera work feels like it is there, rather than being perfectly stable
- Three Colors: Blue (1993) dir. Krzysztof Kieślowski
- “Cinema is empathy machine”
- Casablanca (1942) dir. Michael Curtiz
- Hollywood is not classical
- The Record of a Tenement Gentleman (1947) dir. Yasujirō Ozu
- Japanese films are classics, not in a rush
- Odd Man Out (1947) dir. Carol Reed
- Reflections in bubbles
- Two or Three Things I Know About Her (1967) dir. Jean-Luc Godard
- Shows how absorbed character is in himself
- Taxi Driver (1976) dir. Martin Scorsese
- Relates to older films
- The French Connection (1971) dir. William Friedkin
- Camera shifts angles and perspectives to give a good image of what is going on
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
- moment that everyone could understand
- Workers Leaving the Lumière Factory (1895) dir. Louis Lumière
- One of the first films
- Where brothers worked
- Arrival of a Train at La Ciotat (1896) dir. Louis Lumière
- First film showed to audience
- Unsettled audience
- 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. Flemingand Edwin S. Porter
- Image bank to flip through
- Cendrillon (1899) dir. Georges Méliès
- One of the first cuts
- Le voyage dans la lune (1902) dir. Georges Méliès
- First special effects
- La lune à un mètre (1898) dir. Georges Méliès
- The Kiss in the Tunnel (1899) dir. George Albert Smith
- one of first to film from front of train “magic”
- Shoah (1985) dir. Claude Lanzmann
- Film about holocaust, used phantom ride
- 2001: A Space Odyssey (1968) dir. Stanley Kubrick
- phantom ride scene again, seems to zoom
- The Sick Kitten (1903) dir. George Albert Smith
- One of the first closeups, birthed closeuops
- October: Ten Days That Shook the World (1928) dir. Sergei Eisenstein
- Close ups game sense of tragedy
- Once Upon a Time in the West (1968) dir. Sergio Leone
- Close up reveals plot point
- The Corbett-Fitzsimmons Fight (1897) dir. Enoch J. Rector
- One of the first wide films, started widescreen
1903-1918: The Thrill Becomes Story or The Hollywood Dream
- Life of an American Fireman (1903) dir. Edwin S. Porter
- Different viewpoints, same action (cut for following story)
- Sherlock Jr. (1924) dir. Buster Keaton
- First scene with double exposure
- The Horse that Bolted (1907) dir. Charles Pathé
- Cuts showed what was happening at the same time, a “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
- One of first reverse angle shots, camera faces actor, rather than actor facing camera
- Vivre sa vie (1962) dir. Jean-Luc Godard
- put focus on the actor, rather than the set
- Those Awful Hats (1909) dir. D. W. Griffith
- “the imp girl”
- The Mended Lute (1909) dir. D. W. Griffith
- re appearance of “the imp girl,” first movie star
- The Abyss (1910) dir. Urban Gad
- another famous actor, Aston Nielson
- Stage Struck (1925) dir. Allan Dwan
- Big costumes and luxury
- The Mysterious X (1914) dir. Benjamin Christensen
- first thoughts or dream that an actor is feeling
- Häxan (1922) dir. Benjamin Christensen
- multiple lighting sources and complex effects
- Ingeborg Holm (1913) dir. Victor Sjöström
- Naturalism
- The Phantom Carriage (1921) dir. Victor Sjöström
- Complex lights and stories, effects
- Shanghai Express (1932) dir. Josef von Sternberg
- Glamorous feathers, framed in a window
- The Story of the Kelly Gang (1906) dir. Charles Tait
- First fesature length film, filmed in australia
- The Squaw Man (1914) dir. Oscar Apfel and Cecil B. DeMille
- first Hollywood feature, shows emotion, different cuts relating like they were in the same area
- The Empire Strikes Back (1980) dir. Irvin Kershner
- 180 degree rule works well, even 60 years later
- Falling Leaves (1912) dir. Alice Guy-Blaché
- One of first female directors
- emotional impact
- Suspense (1913) dir. Phillips Smalley and Lois Weber
- One of first split screens, showing different characters, camera in mirror.
- The Wind (1928) dir. Victor Sjöström
- Sand blasts visual image, usage of metaphorical wind blowing something away
- Rescued from an Eagle’s Nest (1908) dir. J. Searle Dawley
- showed wind in trees
- The House with Closed Shutters (1910) dir. D. W. Griffith
- Way Down East (1920) dir. D. W. Griffith
- light matches actress’ performance, introduced black edges around edge
- Orphans of the Storm (1921) dir. D. W. Griffith
- backlighting to make actors stand out
- The Birth of a Nation (1915) dir. D. W. Griffith
- Looks like Kentucky, but not
- Mixed epic with the intimate
- Rebirth of a Nation (2007) dir. DJ Spooky
- put drawings on image
- Cabiria (1914) dir. Giovanni Pastrone
- Some of the first dolly shots, used elephants for scale
- Intolerance (1916) dir. D. W. Griffith
- violent scenes tinted blue
- jumped storylines, different events from different eras
- Souls on the Road (a.k.a. Rojo No Reikan) (1921) dir. Minoru Murata
- two story lines that come together in the end