1. Early Cinema Lecture 2

2. Basic Terms Frame (2 senses) – Parameters of the image – One frame of a film strip Still image – A photograph; each frame is a still image – Production still vs. frame enlargement apparent motion and critical flicker fusion – 24 frames per second (current) vs. 16-20 frames per second (in early cinema) Sprockets Gauge: film width (e.g. 35mm, 16mm, 8mm, 70mm) Aspect ratio: until 1950s= 4:3 (width to height)

4. gauge sprocket frame

5. Early Cinema 1895 Beginning of cinema – three precursors Eadweard Muybridge (1830-1904)—multiple cameras to capture motion Étienne-Jules Marey (1830-1904)—invented chronophotography in the 1880s (recorded several phases of movement on one photographic surface) Thomas Edison (inventor of the first kinetoscope 1891) – Lumière brothers—responsible for the first public film screening in Paris on December 28 th 1895 using the cinematograph (which functioned as a camera, projector, and printer—all in one)

6. Eadweard Muybridge

8. Muybridge Link to UC Riverside Museum http://138.23.124.165/collections/permanent /object_genres/photographers/muybridge/ http://138.23.124.165/collections/permanent /object_genres/photographers/muybridge/

9. Étienne Jules Marey: graphic method

10. Étienne Jules Marey

11. É TIENNE J ULES M AREY : CHRONOPHOTOGRAPHY

14. Muybridge’s projection device: the zoopraxiscope

16. The Kinetoscope (peep-show device)

18. Kinetoscope Functioning

19. Kinetoscope parlor (circa 1894)

20. Edison and the Black Maria (me-rai-e) Studio

21. Mutoscope (peep-show device) 1895-1909

22. Mutoscope (peep-show device)-1895- 1909

23. The Cinematographe (Lumière)

24. Cinematographe (cont.)

25. F ORMAL INNOVATIONS 1: F ROM THE SINGLE SHOTS TO MULTIPLE SHOTS, FROM STILL CAMERA TO MOVING CAMERA Single shots – Actualities, direct address, “the fourth wall” Ex: Lumière, Edison Moving camera – The “phantom” ride films Ex: Lumière: “Leaving Jerusalem”; – Multi-shot “phantom” ride Ex: G.A. Smith: “The Kiss in the Tunnel”

26. S INGLE SHOT : L UMIÈRE 1896: C HILDREN DIGGING FOR CLAMS

27. S INGLE SHOT : L UMIÈRE 1896: P ROMENADE OF O STRICHES

28. M OVING C AMERA : P HANTOM RIDES L UMIÈRE, 1896: L EAVING J ERUSALEM BY R AILWAY

29. M OVING C AMERA, M ULTI - SHOT P HANTOM RIDE : G.A. S MITH, 1899: K ISS IN THE T UNNEL

30. F ORMAL INNOVATIONS 2: Multi-scene films – Shot transitions Dissolve – Ex: Méliès: “A Trip to the Moon” 1902 Straight cut – Ex: Williamson: “Stop, Thief!” 1901 Vertical wipe – Ex: G.A. Smith: “Mary Jane’s Mishap” Pull focus – Dream transition » Ex: G.A. Smith: “Let me Dream Again” 1900 – Scene Dissection Cut-in, insert, masking, point of view shots – Ex: G.A. Smith: “Granma’s Reading Glass” 1900 Camera repositioning and cut-in/insert – Ex: G.A. Smith: “The Sick Kitten” 1903 – Ex: G.A. Smith: “Mary Jane’s Mishap” 1903

31. M ULTIPLE SCENES 1: TRANSITIONS : DISSOLVES : M ÉLIÈS, 1902: F ROM T RIP TO THE M OON

32. M ULTI -S CENE FILMS 1: TRANSITIONS : STRAIGHT CUTS : W ILLIAMSON, “ CHASE FILMS,” 1901: S TOP T HIEF !

33. M ULTI -S CENE FILMS 1: TRANSITIONS : VERTICAL WIPE : G.A. S MITH, “M ARY J ANE M ISHAP,” 1903

34. M ULTIPLE SCENES 1: TRANSITIONS : P ULL FOCUS : G.A. S MITH, 1900: L ET ME D REAM A GAIN

35. M ULTI -S CENE FILMS 2: C UT - INS, MASKING, POINT - OF - VIEW [ P. O. V ] SHOTS : G.A. S MITH, 1900: G RANDMA ’ S R EADING G LASS

36. M ORE MASKING, CUT - INS, AND P. O. V. SHOTS : G.A. S MITH : “A S S EEN T HROUGH A T ELESCOPE,” 1900

37. M ORE MASKING, CUT - INS, AND P. O. V. SHOTS : P ATHÉ F RÈRES, “P EEPING T OM,” 1901

38. F ORMAL INNOVATIONS 2: C AMERA R EPOSITIONING : G.A. S MITH, “T HE S ICK K ITTEN ” 1903

39. F ORMAL INNOVATIONS 2: C AMERA R EPOSITIONING : G.A. S MITH,”M ARY JANE ’ S M ISHAP ”

40. F ORMAL INNOVATIONS 3: Multi-scene films (cont.) – Screen direction Ex: Méliès: “A Trip to the Moon” 1902 – Mental subjectivity (rendering interiority) Dreaming and visions – Set within a set » Ex: Zecca: “History of a Crime” 1901 – Photographic superimposition » Ex: Porter: “Life of an American Fireman” 1903 » Ex: “Mary Jane’s Mishap” 1903 – Perceptual subjectivity (creating ‘sensual impact’) Ex: Hepworth: “How it feels to be run over” 1900

41. F ORMAL INNOVATIONS 3: S CREEN D IRECTION : M ÉLIÈS, 1902

42. F ORMAL INNOVATIONS 3: D REAMING SET WITHIN A SET : “H ISTORY OF A C RIME ”

43. F ORMAL INNOVATIONS 3: D REAMING P HOTOGRAPHIC SUPERIMPOSITION : “L IFE OF AN A MERICAN F IREMAN ”

44. F ORMAL INNOVATIONS 3: VISIONS SUPERIMPOSITION : “M ARY J ANE ’ S M ISHAP ”

45. F ORMAL INNOVATIONS 3: P ERCEPTUAL S UBJECTIVITY : H EPWORTH : “H OW IT FEELS TO BE RUN OVER ”

46. F ORMAL INNOVATIONS 4 Multi-scene films (cont.) – Tricks Stop motion – Ex: Méliès: “A trip to the moon” – Ex: Hepworth: motorist Ex: Williamson: “The Big Swallow”

47. F ORMAL INNOVATIONS 4: M ÉLIÈS

50. F ORMAL INNOVATIONS 4: TRICKS : T HE B IG S WALLOW