1. Brief History of Film

2. Time & Motion
Paleolithic drawings of animals / superimposed images indicate motion / 32,000 B.C.E.

3. Time & Motion
Rouen Cathedral (End of Day, Full Light, Sunny Day), Claude Monet, , oil on canvas

4. Mobile Sculptures, Alexander Calder, 1893-94, oil on canvas
Time & Motion
Mobile Sculptures, Alexander Calder, , oil on canvas

5. The History of Moving Images
1878 – Eadweard Muybridge – motion studies (series of still
images documenting animals and people in motion)
Horse Galloping, Eadweard Muybridge, 1878, Collotype

6. The History of Moving Images
A thaumatrope is a toy that was popular in Victorian times. A disk or card with a picture on
each side is attached to two pieces of string. When the strings are twisted quickly between the
fingers the two pictures appear to combine into a single image due to persistence of vision.

7. The History of Moving Images
A flip book is a book with a series of pictures that vary gradually from one page to the next,
so that when the pages are turned rapidly, the pictures appear to animate by simulating motion
or some other change.

8. The History of Moving Images
A zoetrope is a device that produces an illusion of action from a rapid succession of static pictures.
It’s name comes from Greek and means the “wheel of life.

9. Alimation, a Film Featuring Food Zoetropes
Alimation by Alexandre Dubosc

10. The Invention of Film – Brief History
1. Film depends on “persistence of vision” phenomenon
2. Celluloid film was invented by George Eastman which
allowed to string single images together – 1888
3. Thomas Edison created 1st motion picture – 1894
4. Brothers Lumiere invented
a movie projector

11. What is Persistence of Vision?
Persistence of vision is the ability of the eye to retain
the impression of an image for a short time after the image
has disappeared.

12. 1st Public Exhibition of a Movie Picture
The Invention of Film
1st Public Exhibition of a Movie Picture

13. The Creation of The Movie Studios
1. Studios began to take shape – 1910s
2. Movies can be produced on a larger scale
3. All aspects of the movie industry are under one
roof: directing, producing, writing scripts, filming…
4. A concept of a “Movie Star” is created
5. The job of a producer becomes increasingly important

14. One of the 1st Commercial Films
Gone With the Wind, David O. Selznick, 1939, MGM Studios, Hollywood, CA

15. Filmmaking Vocabulary
1. “Shot” - an unbroken sequence of movie frames
2. “Pan Shot” – camera moving from side to side
3. “Traveling Shot” – camera moving back to front
4. “Cross-Cutting” – two or more shots are alternated
to foster the advancement of the story

16. Montage in Movies

17. What Does Montage Mean?
The word montage comes from the French verb monter “to put together”.
Montage is often associated with time-based media.
The word can be used to describe a wide range of creative practices that include photography, film, and sound.
Techniques can include but are not limited to:
Repetition
Juxtaposition
Sequencing
Appropriation
Manipulation

18. Ex: Juxtaposition
When we see 2 shots placed next to each other, our mind automatically creates the connection between them.

19. What Does Montage Mean?
“Although digital editing is usually used to create a seamless virtual space, this does not have to be its only goal.
Borders between different worlds do not have to be erased… individual layers can retain their separate identities rather then being merged into single space; different worlds can clash semantically rather than form a single universe.”
- Lev Manovich

20. Montage & Parallel Action
DW Griffith ( )
Was an American film director and cinema pioneer
Best known as the director of The Birth of a Nation (1915) and Intolerance (1916)
His films made pioneering use of advanced camera and narrative techniques (parallel action). Their immense popularity set the stage for the dominance of the feature- length film

21. The Birth of a Nation, DW Griffith
a silent movie about the life of 2 families during the Civil War
was highly controversial due to a very racist portrayal of African American men and the KKK as a leading force in the war

22. Collision Montage, Soviet Cinema
Sergei Eisenstein ( )
Was a pioneering Soviet film director and film theorist
Is often considered to be the “Father of Montage”
Best known as the director of silent films: The Battleship Potemkin (1925); October (1927)

23. Collision Montage, Soviet Cinema
Sergei Eisenstein – placed special emphasis on the art of editing. He believed that editing has to be dialectic (development is stressed through a back and forth movement between opposing propositions):
The conflict of two ideas produces a wholly new idea: a synthesis.
In film terms, the conflict between
shot A and shot B is not AB but a qualitatively new factor – C.

24. Collision Montage, Soviet Cinema
Transitions between shots should not be flowing,
but sharp, jolting, even violent.
For Eisenstein, editing produces hard collisions,
not subtle linkages. A smooth transition, he claimed
was an opportunity lost.

25. Collision Montage, Soviet Cinema
Dziga Vertov ( )
Was a Soviet pioneer documentary film, newsreel director and cinema theorist
Was mostly known for his expressive film editing techniques (or ‘montage’)
He assembled clips of film without regard for formal continuity, time, or even logic itself to achieve a ‘poetic’ effect which would grab the viewers

26. The Man With a Movie Camera, 1929
This highly experimental silent documentary presented urban life in Odessa and other Soviet cities
told a story in a non-linear way
started as a database of clips
introduced cinematic techniques such as double exposure, fast motion, slow motion, freeze frames, extreme close-ups, etc.

27. Dziga Vertov & His Films
Man With a Movie Camera, Dziga Vertov, 1929, (Movie Still)

28. Salvador Dali and Luis Bunuel
DalÍ and Buñuel (film director) had first met in Madrid in
1922, when they were students at the Royal Academy of
Fine Arts.
They produced two films
together – Un Chien Andalou
(1929) and L’Âge d’Or (1930).
Both are Surrealist in nature.

29. Un Chien Andalou, Dali and Bunuel
Movie Stills
Watch the entire movie here:

30. Luis Bunuel In one of his interviews, Buñuel stated that the
goal of the film had been to “make visible certain
subconscious states which we believe can only
be expressed by the cinema”.