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Photography as communication tool
Evolution of the film industry
Evolution of the film industry
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Art critic Robert Hughes once said, “People inscribe their histories, beliefs, attitudes, desires and dreams in the images they make.” When discussing the mediums of photography and cinema, this belief of Hughes is not very hard to process and understand. Images, whether they be still or moving, can transform their audiences to places they have either never been before or which they long to return to. Images have been transporting audiences for centuries thanks to both the mediums of photography and cinema and together they gone through many changes and developments. When careful consideration is given to these two mediums, it is acceptable to say that they will forever be intertwined, and that they have been interrelated forms of art, communication and entertainment ever since Thomas Edison successfully invented the first Kinetoscope in 1894. Photography itself, as well as the photographical aspects of cinema (cinematography), have influenced our society for decades and have literally shaped the pacing of our lives, changed what we think about and even what we think with.
Looking through a viewfinder and a lens to capture a single moment does not take a lot of expertise; it is really a simple thing to do. However, if a person truly appreciates the art of photography then they take their time and concentrate on the object, person or event they are trying to capture in order to find its true meaning and do the picture justice. “The professional photographer tries, when taking a photograph, to choose an instant which will persuade the public viewer to lend it an appropriate past and future. The photographer’s intelligence or his empathy with the subject defines for him what is appropriate. Yet unlike the story-tell...
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...nderstanding Movies, Eighth Edition. Upper Saddle River, New Jersey: Prentice-Hall, Inc., 1999.
Neale, Steve. Cinema and Technology: Image, Sound, Colour. Bloomington: Indiana University Press, 1985.
Petro, Patrice. ed. Fugitive Images From Photography to Video. Bloomington: Indiana University Press, 1995.
Ross, Steven J. ed. Movies and American Society. Malden: Blackwell Publishers Ltd., 2002.
Rossell, Deac. Living Pictures; The Origins of the Movies. Albany: State University of New York Press, 1998.
Willis, Anne-Marie. Photography and Film, Figures in/of History. Ed. Leslie Devereaux
and Roger Hillman. Fields of Vision: Essays in Film Studies, Visual Anthropology, and Photography. Los Angeles: University of California Press, 1995.
Burns, Paul T. The Complete History of the Discovery of Cinematography http://www.precinemahistory.net/htm. 2007.
Lewis, J. (2008). American Film: A History. New York, NY. W.W. Norton and Co. Inc. (p. 405,406,502).
Being a silent third party to a father screaming at his seven-year-old daughter for putting the inner tube in the wrong place. People watching has for a long time been one of my favorite activities as a third party you are able to see people for what they are, unbiased by already having known the person. Eugene Richards’s book has made me look at my hobby from an artistic vantage point. He’s made me start to think that one day I would like to be one behind a telephoto lens, capturing those moments that people don’t think anyone else saw. Richards photographs have made me realise that photography is more than a point a shoot process.
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
Jacquelyin Kilpatrick , Celluloid Indians. Native Americans and Film. Lincoln and London: University of Nebraska Press, 1999
5 Light, Ken. Tremain, Kerry. Witness in our Time: Working Lives of Documentary Photographers. Washington and London: Smithsonian Institution Press, 2000.
The camera is simply a portable extension of our eyes that captures images we may otherwise never see, and freezes them into eternity for our scrutiny. If photographs provide any true knowledge, it is that of a visual stimulus, a superficial comprehension that barely scratches the surfaces. What would photographs be without captions? Merely anonymous pictures of anonymous things, anonymous places, and anonymous people. Photography all...
Bordwell, David, and Kristin Thompson. Film Art: An Introduction. 5th ed. New York: McGraw-Hill, 1997.
Sklar, Robert. Movie-made America: A Social History of American Movies. New York: Random House, 1975. Print.
My grandfather has always talked about how much movies have changed in such a short amount of time. His favorite movie, E.T.: The Extra-Terrestrial, is an example of how editing and special effects have changed drastically since only 1982 and even from the early 1900s. Watching a movie from this year compared to a movie from the 1930s, the viewer would notice many differences ranging from effects, transitions and especially quality. When film started in the late 1800s, there was no digital technology to edit films. There have been many contributors in the film industry that have helped evolve film to its digital age of today. Edwin Porter was the first person in film history to create a narrative film. Lev Kuleshov created a technique gives films certain moods to it and can affect a person’s emotions just by the way images are juxtaposed and edited together. Danny Boyle is an example of a modern day director that developed a set of guidelines that a director should reciprocate while filming. Film editing has revolutionized and developed so much since the early 1900s to now because of important contributors throughout its history that developed new technology and techniques.
In Szarkowski’s essay ‘The Photographer’s Eye’, he discusses how photography has taught us to see from the unexpected vantage point, as well as how ‘photography’s ability to challenge and reject our schematized notions of reality is still fresh’ (Szarkowski. 1966. Page 11). When thinking about vantage point myself, two very different ideas of this characteristic of photography came to mind, which I will discuss and compare in this essay. Firstly, perhaps the more obvious, was the concept of where a photograph is taken from, for example looking at a subject or scene from a position that allows the photographer a favourable view. A very literal approach.
In this essay i am going to talk about the history of fim and the art movements which have a relationship to the cinematic modes of representation. the history of film began in the 1890s with the invention of the first motion picture camera. the first films were very short, usually less than one minute, and would usually be a single scene, from life or staged, of everyday life, public event or slapstick. there was no cinematic technique, no camera movements, and a flat compostition, like a stage. William Kennedy Laurie Dickson, is credited with the invention of a practicalle form of celluloid strip containing a sequence of images. the basis of a method of photographing and projecting moving images. Following this Thomas Edison introduced two pioneer inventions at the 1893 Chicago world fair, the kinetograph and the kinetoscope. the kinetograph was the first practical movie picture cameras. it was designed for films to be shown by one individual at a time, through a peephole window on top of the device. the first film publically shown on it was "Blacksmith Scene", directed by Dickson and shot by Heise. It was produced at the Edison moviemaking studio, known as the Black Maria.
When going for a walk, a person takes in the beauty around them. On this particular day, the refulgent sun is extra bright, making the sky a perfect blue. White, puffy clouds fill the sky, slowing moving at their own pace. The wind is peacefully calm, making the trees stand tall and proud. There is no humidity in the air. As this person walks down the road, they see a deer with her two fawns. The moment is absolutely beautiful. Moments like this happen only once in a great while, making us wanting to stay in the particular moment forever. Unfortunately, time moves on, but only if there were some way to capture the day’s magnificence. Thanks to Joseph Niépce, we can now capture these moments and others that take our breath away. The invention of the camera and its many makeovers has changed the art of photography.
‘Then came the films’; writes the German cultural theorist Walter Benjamin, evoking the arrival of a powerful new art form at the end of 19th century. By this statement, he tried to explain that films were not just another visual medium, but it has a clear differentiation from all previous mediums of visual culture.