Episode 1 – Birth of the Cinema
Introduction
- Saving Private Ryan (1998) dir. Steven Spielberg
a lie to tell the truth- this is filmmaking
- Three Colors: Blue (1993) dir. Krzysztof Kieślowski
cinema used as an empathy machine
- Casablanca (1942) dir. Michael Curtiz
Romantic films always in a rush
- The Record of a Tenement Gentleman (1947) dir. Yasujirō Ozu
there’s a pause in the story used to show realism
- Odd Man Out (1947) dir. Carol Reed
reflects truth that all humans feel that we can’t just produce mechanically.
- Two or Three Things I Know About Her (1967) dir. Jean-Luc Godard
images and ideas excite us
- Taxi Driver (1976) dir. Martin Scorsese
looking into bubbles to see trouble
- The French Connection (1971) dir. William Friedkin
much of what we assume about movies is off the mark. film making is racist by omission
1895-1918: The World Discovers a New Art Form or Birth of the Cinema
- Traffic Crossing Leeds Bridge (1888) dir. Louis Le Prince
regular place documented in the first actualites’
- The Kiss (1896 film) (a.k.a. May Irwin Kiss) (1896) dir. William Heise
created in the black moriah
- Workers Leaving the Lumière Factory (1895) dir. Louis Lumière
Lumieres believed in actualites, the factory shot was the place of the first movie that was shown by them.
- Arrival of a Train at La Ciotat (1896) dir. Louis Lumière
was innovative and unsettling to the audience
- Annabelle Serpentine Dance (1894-1896 ?) dir. William Kennedy Dickson or William Heise
a conception of reality that people could witness
- 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
first jump cut ever used in film to make a man appear
- Le voyage dans la lune (1902) dir. Georges Méliès
first special effects used by Georges Melies
- La lune à un mètre (1898) dir. Georges Méliès
inspired people with the dream to project because of Melies
- The Kiss in the Tunnel (1899) dir. George Albert Smith
first to film at the front of a train creating a slow tracking shot known as the phantom ride
- Shoah (1985) dir. Claude Lanzmann
Claude Lanzmann used the phantom ride to narrate the tracks that took the Jews to Auschwitz.
- 2001: A Space Odyssey (1968) dir. Stanley Kubrick
uses a tracking shot on light to make it feel as if the film itself is tripping
- The Sick Kitten (1903) dir. George Albert Smith
used the first close up to show the cat eating in more detail. created naturally and comfortably
closeups of a dead woman’s hand and hair being lowered by the bridge to show the feeling of despair in the scene.
- Once Upon a Time in the West (1968) dir. Sergio Leone
zoom and extreme closeup used to show the people that he realized something deep inside Fonda.
- The Corbett-Fitzsimmons Fight (1897) dir. Enoch J. Rector
became a quick way to show ideas and communicate
1903-1918: The Thrill Becomes Story or The Hollywood Dream
- Life of an American Fireman (1903) dir. Edwin S. Porter
by 1903 film makers had developed many of the key shots to show a story but couldn’t edit, this was the first film that was cut to see a progression of events and time.
- Sherlock Jr. (1924) dir. Buster Keaton
shot the first scene using double exposure to show that a man falls asleep to jump into a film.
- The Horse that Bolted (1907) dir. Charles Pathé
first introduced parallel story structure, not what happens next. shows what happens at the same time
- 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
first film that they would allow actors to turn around, giving birth to a different look into action
- Vivre sa vie (1962) dir. Jean-Luc Godard
was startling when he wouldn’t show the face of Anna Karina
- Those Awful Hats (1909) dir. D. W. Griffith
girl in this film was anonymous
- The Mended Lute (1909) dir. D. W. Griffith
Florence Lorence was burned into peoples mind after media outrage
Less censorship meant actors could be more sexual and hollywood learned from it in what they could have
- Stage Struck (1925) dir. Allan Dwan
added an element of sublime to their film inspiring a dreamy fictional feeling to the film, or sense of surreal.
- The Mysterious X (1914) dir. Benjamin Christensen
- Häxan (1922) dir. Benjamin Christensen
- Ingeborg Holm (1913) dir. Victor Sjöström
- The Phantom Carriage (1921) dir. Victor Sjöström
- Shanghai Express (1932) dir. Josef von Sternberg
- The Story of the Kelly Gang (1906) dir. Charles Tait
- The Squaw Man (1914) dir. Oscar Apfel and Cecil B. DeMille
- The Empire Strikes Back (1980) dir. Irvin Kershner
- Falling Leaves (1912) dir. Alice Guy-Blaché
- Suspense (1913) dir. Phillips Smalley and Lois Weber
- The Wind (1928) dir. Victor Sjöström
- Rescued from an Eagle’s Nest (1908) dir. J. Searle Dawley
- The House with Closed Shutters (1910) dir. D. W. Griffith
- Way Down East (1920) dir. D. W. Griffith
- Orphans of the Storm (1921) dir. D. W. Griffith
- The Birth of a Nation (1915) dir. D. W. Griffith
- Rebirth of a Nation (2007) dir. DJ Spooky
- Cabiria (1914) dir. Giovanni Pastrone
- Intolerance (1916) dir. D. W. Griffith
- Souls on the Road (a.k.a. Rojo No Reikan) (1921) dir. Minoru Murata