Essay on Discussion of the early pioneers of moving pictures

During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that,

The most famous films created by Lumiere brothers included: L’Arroseur arrose, Sortie des Usines Lumiera a Lyon (workers leaving the Lumiere factory), and the Arrivee d'un train en gare a La Ciotat Arrival of a Train at La Ciotat). Word cinema was derived from Cinematographe, and was born when Lumiere brothers presented their first commercial film to paying audience in the world’s first movie theater, that is how I believe the Lumiere brothers developed commercialized market for cinema.

Méliès was one of the first directors to progress cinematic technology, which paved the way for narratives as style of film (Leveridge, 2012: 98).

The birth of film began in 1872, when Leland Stanford bet a friend that a horse lifts all four of its legs off the ground when running. To settle the disagreement, Stanford employed photographer Eadweard Muybridge to take pictures. After settling the debate, Muybridge developed the first primitive cinema that he called “zoöpraxiscope”. The first films lasted only about a minute long, were black and white, and had no entertainment

The Lumiere brothers debuted their first motion picture on their brand new invention, the Cinematographe, in 1895. Since then, the movie industry has soared on to become one of the most influential mediums of the 20th and 21st century. 100 years later, Sarah Moon’s documentary Lumiere and Company (1995) reflected on the impact of the Lumiere brothers’ first films using testimonies and cinematic tributes from multiple international directors. Focusing on two Lumiere films; Workers Leaving the Factory (1895), and Demolition of a Wall (1896), as well as two cinematic tributes from two different directors; David Lynch, and Merzak Allouache, the everlasting impact of the Lumiere films can be recognized in both a current context and the context of

There are a wide array of interesting camera angles and editing techniques employed throughout, demonstrating movie capabilities and methods that had been developed and explored at that time (1929). An important aspect of this movie is in the ways scenes progress and the types of montage employed. Man

Though emerging from disparate circumstances, styles, and techniques, Raúl Ruiz’s 1977 experimental short-film Colloque de Chiens and Dziga Vertov’s 1929 groundbreaking experimental documentary Man with a Movie Camera find common ground in their strategic use of motion and stasis. Ruiz’s Colloque de Chiens is a film that is the product of its circumstances. Made on an extremely low budget during a strike in the production of Ruiz’s 1978 film The Suspended Vocation, the film is an experiment in delivering a convoluted story through an extremely limited means—still images. Vertov’s Man with a Movie camera, in contrast, is an experiment in pushing film technology to its limits. Lacking a plot, the filmic techniques of the film are both a

George Melies is a French illusionist who was consider “The father of narrative film” of his time. He changed the way many people were developing films by making many cinematic innovations. He was one of the best directors, he put double exposures in his films and essentially running the film through the camera twice to combine images together and when a scene was finished he would edit it immediately. A film George Melies directed was called “A trip to the Moon” that was released in 1902 which was one of his best popular films during that time as a silent film. His film had brought in major crowd’s which had such a high success rate for a short film that the film was pirated ample times by multiple countries.

One document that had a tremendous influence on the way films were produced in the

The innovative theories and filmmaking techniques of Dziga Vertov revolutionized the way films are made today. Man With a Movie Camera (1929), a documentary that represented the peak of the Soviet avant-garde film movement in the twenties, displayed techniques in montage, creative camera angles, rich imagery, but most importantly

The modern film industry was born around the beginning of the twentieth century. On April 23rd 1896 Thomas Edition showed the first publicly-projected motion picture at Koster and Bial's Music Hall in New York City. From there the film industry had an explosive growth rate. In fact,

Eisenstein and Vertov are two filmmakers/theorists that made films to illustrate and emphasize their film theories. One of Eisenstein’s theories is that film should have a dialectic approach to create conflict. Furthermore, he states that conflict will spark active thinking in the spectator 's mind. Another theory from Eisenstein is the methods of montage. There are five methods, but the one he highlights the most is the intellectual montage, which helps create an idea through juxtaposition to make the audience think about the film and social issues. In comparison, one of Vertov theories states that film is like a medium of movement. Furthermore, he explains the movement is required to create montage and bring shots together in harmony. Another theory from Vertov emphasizes the camera eye. He explains how the camera can show the truths of the world better than the human eye. In summary Eisenstein demonstrates his theory of conflict and intellectual montage in October (1928) and The Battleship Potemkin (1925). Plus, both films get the audience to think about life and society. In comparison Vertov displays his theories of movement to create montage and the importance of the camera eye in The Man with the Movie Camera (1929) to illustrate cinema as a whole and show the power of the camera eye. To conclude, both Eisenstein and Vertov are able to effectively display their theories in film.

In this essay I will be discussing five key points throughout Post Production history between the 1900s-1960s. Post Production is seen as a vital component in the cinematic industry as it essentially finalises the final products. Techniques that have been developed over the years are incredibly important, but they all have an origin. Although these techniques started out without overwhelming effect, they are now unbelievably crucial to how films are constructed. The five points I wish to discuss go as follows: The Great Train Robbery and Edwin Porter himself, D.W. Griffith and his overwhelming influence on editing, The Jazz Singer, the Kuleshov Effect and finally, 2001: A Space Odyssey. As well as discussing these key factors, this essay will take into consideration secondary material.

“If Georges Méliès was the first to ‘push the cinema toward the theatrical way,’ as he claimed, then Edwin S. Porter was the first to push the cinema

According to Benjamin (1937:799-800), a camera taking a film of a movie is a vision of someone else because they get to control the movement of the camera, the angles and what they chose to capture. This further illustrates and supports the idea if an exhibition value being of someone else’s experience.