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History of the film industry
History of the film industry
Essay important of movies for our society
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Art can be traced to the pre-historic era; it has evolved from pre-historic art to contemporary art. Over the centuries art has changed and taken various forms, under this huge spectrum comes Film. which is rather a new form of art. It has become a means of creative expression as well as performing the purposes of mass media such as providing the audiences with information, transmission of culture and amusement. The aim of the essay is to look at early cinema and compare and contrast between the editing techniques used by various filmmakers. The essay will look at editing techniques the French Filmmaker Georges Méliès’ applied in his films A Trip to The Moon and The Vanishing Lady, as I move forward I will look at American Filmmakers and their films such as Edwin Porter’s The Great Train Robbery and D.W Griffith’s Birth of a Nation and finally move to Russian Cinema in which I will look …show more content…
It inspired directors like Sergei Eisenstein and Lev Kuleshov. Russian auteurs saw editing as the basis of film hence using the shot instead of the scene as the key element of film language and meaning. “Dialectical montage to create dynamic juxtapositions aimed at eliciting specific intellectual and emotional responses. Their films sought to portray both the inhumanity of czarist rule and the revolutionary potential, daily labors, and communal bonds of the Soviet people.” “Eisenstein came to be known as the father of the montage where he would juxtapose symbolic or metaphoric images within the narrative for the purpose of manipulating the audience’s psychology.” An example of this occurs in his film Strike! Eisenstein uses intercuts shots of cattle being slaughtered in a slaughterhouse to symbolize the massacre being committed by the police on the factory workers and their families. Other examples of dialectical montage includes Sergei Eisenstein’s The Battle of Potempkin and Dziga Vertov’s A Man With a Movie Camera
The purpose with this paper is to study and compare two different directors, and to compare and contrast the two different works. How are they working with their movies and how do they use mise-en-scene? By studying two different directors that uses different techniques when making movies, we are going to find out how important mise en scene really is, and how it affects the movie.
Eisenstein, S. M. 1949, “Film Form: A Dialectic Approach to Film Form, Harcourt Brace and Company, U.S. The Battleship Potemkin 1925, motion picture, Goskino, Soviet Union. Kehr, D. 2011, “The condemned art of Soviet filmmakers”, New York Times, 13 October 2011, p.6) Kuleshov, L.V. 1922, “Americanism”, Kino-Fot, No.1, p.14-15 Taylor, R. & Christie, I. 1988, Factory: Soviet Cinema In Documents 1896 – 1939, Routledge, Oxon. Van Sijl, J 2005, Cinematic Storytelling: The 100 Most Powerful Film Conventions, Michael Wiese Productions, California.
Ondaatje, M. (2004). The Conversations: Walter Murch and the Art of Editing Film. New York: Alfred A. Knopf.
Filmmaker and theorist, Lev Kuleshov, is known today as the grandfather of Soviet Montage theory. His works include The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924), Death Ray (1925), The Great Consoler (1933) and We from the Urals (1943). Kuleshov’s life work has had a profound influence on the filmmakers around him and filmmakers today. One of his greatest triumphs was cofounding the Moskow Film School, the world’s first film school. In a time when filmmaking was still in its infancy, Kuleshov was perhaps the first to theorize about the power of this new story telling medium. These theories and experiments would pave the way for future Russian film giants like Pudovkin and Eisenstein (who briefly studied under him).
Oscar Wild once said, “The truth is rarely pure and never simple” and he is right. But no matter what the outcome is, or how complex the truth is, we will always strive for the truth. The concept of truth is no stranger to film documentaries, and one filmmaker that certainty was aware of that was Dziga Vertov. During the 1920’s Vertov created a newsreel series to promote the concept of ‘Kinopravda” which translated to English mean “Film truth.” Unfortunately, Vertov was ahead of his time, and this concept disappeared along the filmmakers’ path. It wasn’t until the 1960’s that other filmmakers around the world once again recognized the importance of the truth. Two movements with the purpose of revealing the truth of life, emerge in different parts of the world, Direct Cinema in North America and Cinema Vérité in France. Although, both had the same purpose, their approaches towards getting the truth make them completely different. Cinema Vérité’s approach gave the filmmakers a chance to manipulate and distort reality by participating and observing at the same time, while Direct Cinemas approach was strictly observational, and there is no better way to find out the truth than observing without interfering.
In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).
live, the way we speak, the way we act and more. There isn’t an art
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Film editing by definition is part of the creative postproduction process of filmmaking. In today’s modern world, film has made use of advanced digital technology to help with the editing. The editor or editors are usually given a complete compilation of all the footage. These various separate shots that can be regarded as ‘ raw’ footage. Their task is to create a finished motion picture through combining and selecting shots and putting them into a coherent sequence of events. Whenever we are viewing a film it is extremely difficult to consciously perceive all the editing that has been undertaken. Every single time there is a change from one image to another, this is an edit. For editors, it could be a possible annoyance or perhaps a blessing that critics and the audience never specifically point out the editor’s contribution. However it must be noted that film editors aren’t the only ones that will contribute to a films editing.
In the book American Film a History Jon Lewis focused on the beginning of cinema, the effect war took on propaganda and the major controversy’s that occurred with famed celebrities. Despite its history, cinema is still growing today. The end of cinema is just retiring specific techniques and old technology because its main technology is improving constantly!
‘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.
Adaptation of any kind has been a debate for many years. The debate on cinematic adaptations of literary works was for many years dominated by the questions of fidelity to the source and by the tendencies to prioritize the literary originals over their film versions (Whelehan, 2006). In the transference of a story from one form to another, there is the basic question of adherence to the source, of what can be lost (Stibetiu, 2001). There is also the question of what the filmmakers are being faithful to or is it the novel’s plot in every detail or the spirit of the original (Smith, 2016). These are only few query on the issue of fidelity in the film adaptation.
Movie is “a sequence of photographs projected onto a screen with sufficient rapidity as to create the illusion of motion and continuity” (The Free Dictionary). In modern society, people watch movie because one of the favorite activities in their leisure time. Following the development of film industry, more and more film genres appear.
The development of editing - Editing - actor, film, voice, cinema, scene, story. 2014. The development of editing - Editing - actor, film, voice, cinema, scene, story. [ONLINE] Available at:http://www.filmreference.com/encyclopedia/Criticism-Ideology/Editing-THE-DEVELOPMENT-OF-EDITING.html#ixzz2sNiIEQqt. [Accessed 10 February 2014].
Offering the unique ability to visually and audibly convey a story, films remain a cornerstone in modern society. Combined with a viewer’s desire to escape the everyday parameters of life, and the excitement of enthralling themselves deep into another world, many people enjoy what films stand to offer. With the rising popularity of films across the world, the amount of film makers increases every day. Many technological innovations mark the advancement of film making, but the essential process remains the same. Pre-production accounts for everything taken place before any shooting occurs, followed by the actual production of the film, post-production will then consist of piecing the film together, and finally the film must reach an audience. Each step of this process contributes to the final product, and does so in a unique right. The process of film making will now start chronologically, stemming from the idea of the story, producing that story into a film, editing that footage together, and finally delivering that story to its viewers.