1. F ROM THE CINEMA OF ATTRACTIONS TO THE CINEMA OF NARRATIVE INTEGRATION, PART 1 Lecture 4

2. How and why did filmmaking practice shift from a cinema of attractions in the pre-1908 period to a cinema of storytelling in the post-1908 period?

3. In order to answer that question we need to understand the following: a)What constitutes, at the level of form, the cinema of attractions? b)What constitutes, at the level of form, the cinema of narrative integration? c)What historical and economic factors explain the shift ? d)Why does the shift occur around 1908?

4. F ORMAL INNOVATIONS 1: FROM 1895-1903 F ROM THE SINGLE SHOTS TO MULTIPLE SHOTS, FROM STILL CAMERA TO MOVING CAMERA Single shots – Actualities, direct address, violate “the fourth wall” Ex: Lumière, Edison Moving camera (tracking and panning) – The “phantom” ride films (tracking) Ex: Lumière: “Leaving Jerusalem” 1896 – Multi-shot “phantom” ride (tracking) Ex: G.A. Smith: “The Kiss in the Tunnel” 1899 – Panning Ex: Porter: “Life of an American Fireman” 1903 Ex: Porter: “The Great Train Robbery” 1903

5. 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, masking, point of view shots – Ex: G.A. Smith: “Granma’s Reading Glass” 1900 Camera repositioning – Ex: G.A. Smith: “The Sick Kitten” 1903 – Ex: G.A. Smith: “Mary Jane’s Mishap” 1903

6. 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

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

8. F ORMAL INNOVATIONS 4 Multi-scene films (cont.) – Tricks Stop motion substitution – Ex: Méliès: “A trip to the moon” – Ex: Hepworth: “Explosion of a motor car” – Ex: Porter: “The Great Train Robbery” Ex: Williamson: “The Big Swallow”

9. Context for understanding trick films Issue of theatricality (see Tom Gunning 1991) – Theatricality IS NOT THE SAME AS attractions Features of theatricality: – Invocation of the proscenium stage – Distance between camera and filmed action (i.e. long shots) – Frontality – Artificial sets – No scene dissection; each scene corresponds to a single shot

10. Theatricality A Trip to the Moon, 1902

11. Theatricality Nero. Or the Fall of Rome, 1909

12. Context for understanding trick films Issue of theatricality (see Tom Gunning 1991) – Theatricality IS NOT THE SAME AS attractions or “cinematic spectacle” Méliès case (see André Gaudreault 1987) – narrative cinema does not begin with Méliès; he should not be considered the “father” of narrative cinema – Méliès was not a theatrical filmmaker – Méliès exemplifies the cinema of attractions

13. Méliès wrote in 1932: “In this type of film (fantasy films, flights of imagination, artistic, diabolical, fantastical or magical films), the most important thing lies in the ingeniousness and unexpectedness of the tricks, in the picturesque nature of the décors, in the artistic lay out of the characters and also in the main ‘hook’ and the grand finale. Contrary to what is usually done, my procedure for constructing this sort of film consisted in coming up with the details before the whole; the whole being nothing other than the ‘scenario’” (quoted in Gaudreault, 1987)

14. F ORMAL INNOVATIONS 4: M ÉLIÈS

17. F ORMAL INNOVATIONS 4: TRICKS : H EPWORTH “E XPLOSION OF A MOTOR CAR ” 1900

18. F ORMAL INNOVATIONS 4: TRICKS : P ORTER “T HE G REAT T RAIN R OBBERY ”

19. F ORMAL INNOVATIONS 4: TRICKS

20. Formal innovation 5: Cross-cutting and storytelling Temporality and simple succession editing (e.g. chase film) How to indicate the idea of “meanwhile” in film? – Gaudreault argues there are four ways: 1.Simultaneous action occurring in the same field (requires a wide shot) 2.Simultaneous action existing in the same frame a)Ex: opening shot “Life of an American Fireman” 3.Simultaneous actions presented in succession a)Ex: “Life of an American Fireman” (repeated action edits, a.k.a. temporal overlap) b)Ex: “Rescued by Rover” c)Ex: “The Great Train Robbery”: cross-cutting or simultaneous action in succession? 4.Cross-cutting of simultaneous action

21. Simultaneous action occurring in the same field Nero. Or the Fall of Rome, 1909

22. Simultaneous action existing in the same frame

23. Simultaneous actions presented in succession