Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
history of cinema essay
an essay on history of motion picture
short essay on the history of film
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: history of cinema essay
The technical evolution of film industry is one notable feature of modern civilization. The innovation of combining motion pictures with recorded sound. Black-and-white film gradually replaced by the colour motion picture film and the visual effect involve the integration of live-action footage and computer generated imagery to create a scenes which look realistic, but would be dangerous, costly or impossible to be recorded and the popularization of three-dimensional cinema. The developments of technique contribute the film industry to get closer to people’s perception, however, in the real life. The observation of objects would change if we look from different distance and angle. And this experience of perception cannot be done in film. Because of the lack of stereoscopic impression of film images, it limits our sense so that the actual we see might be different.
In 1920s, Sergei Eisenstein had predicted that the future of cinematography was tridimensional and there are many other film pioneers hold the same view. What most film histories leave out is that the Lumière Brothers were trying to achieve a three-dimensional image, Louis Lumière eventually re-shot L’Arrivée d’un Train with a stereoscopic film camera and exhibited it (along with a series of other 3D shorts) at French Academy of Science. The films were shot in two views of the scene and then printing the film in two different colors and combining them with layered film on one reel.
S3D (Stereoscopic 3D) film with better use of polarization systems were invited in 1930s and shown in the public in 1950s, however, after this initial huge excitement, S3D films were not widely recognized. Although the polarized stereoscopic film technology have been improved in all possible...
... middle of paper ...
...nounced that they developed a generator of holograms on a board with a circuit that generates holograms on the LCD panel.
The holography had demonstrated its potential. Now holograms are not so distant future any more. The idea of the holographic movies started becoming popular among filmmakers. Andrei Tarkovsky said, "The most important thing for cinema is for it to become holographic".
A hologram can be made not only with the light waves of a laser, but also with sound waves and other waves in the electro-magnetic spectrum. Acoustical holography can see through solid objects by using sound waves. Microwave holography detects images by recording the object’s radio waves. Some holograms made with ultraviolet light can record an image of particle such as atom or molecule.
Holography is one of the most significant discoveries humankind has ever made.
There first invention produced was the Technicolor System 1 Additive Color, which I’m sorry to say flopped massively due to the unfortunate screening of The Gulf Between in 1917 which only a few frames remain of this film today. This was the first public premier of the technology and was disastrous. The film was captured through two separate filters red and green and the light through those two filters was captured on a single reel of film, when processed this negative had red and green information captured on a black and white reel, when this was processed the reel was placed into a projector and then threw red and green filters. To project the image an adjustable prism that had to manually lined up by the projectionist as two separate images formed on the projection screen this did not work as planned as the projectionist failed to line up the images correctly.
The innovative theories and filmmaking techniques of Dziga Vertov revolutionized the way films are made today. Man With a Movie Camera (1929), a documentary that represented the peak of the Soviet avant-garde film movement in the twenties, displayed techniques in montage, creative camera angles, rich imagery, but most importantly allowed him to express his theories of his writings of Kino-eye (the camera). The film has a very simple plot that describes an average day in Russia, yet the final pieces of this film emerge a complex and fast-paced production that excites the audience. Vertov's ability to use radical editing techniques with unconventional filming to present ordinary things has inspired many directors around the world. And still now modern avant-garde movies apply many of these same techniques to dramatize simple and complex stories.
Mise en scene is a French theatrical term meaning “placing on stage,” or more accurately, the arrangement of all visual elements of a theatrical production within a given playing area or stage. The exact area of a playing area or stage is contained by the proscenium arch, which encloses the stage in a picture frame of sorts. However, the acting area is more ambiguous and acts with more fluidity by reaching out into the auditorium and audience. Whatever the margins of the stage may be, mise en scene is a three dimensional continuation of the space an audience occupies consisting of depth, width, and height. No matter how hard one tries to create a separate dimension from the audience, it is in vain as the audience always relates itself to the staging area. Mise en scene in movies is slightly more complicated than that of an actual theater, as it is a compilation of the visual principles of live theater in the form of a painting, hence the term “motion picture.” A filmmaker arranges objects and people within a given three-dimensional area as a stage director would. However, once it is photographed, the three-dimensional planes arranged by the director are flattened to a two-dimensional image of the real thing. This eliminates the third dimension from the film while it is still occupied by the audience, giving a movie the semblance of an audience in an art gallery. This being so, mis en scene in movies is therefore analogous to the art of painting in that an image of formal patterns and shapes is presented on a flat surface and is enclosed within a frame with the addition of that image having the ability to move freely within its confines. A thorough mise en scene evaluation can be an analysis of the way things are place on stage in...
The film industry has always been a modern industry where new inventions are constantly on the rise and put into films to improve the film lovers’ movie experiences. Just a few years ago, the world was introduced to a new third dimension. Instead of just using your imagination to put yourself in the same room as the characters on the screen, the 3-D effect did it for you. In Roger Ebert’s “Why I Hate 3-D,”
For example, the documentary ‘The Snake Wrangler’ shows the use of these techniques to appeal and engage the audience. The Snake Wrangler wasn’t constructed to entertain the audience but to rather convey a certain message to them. Philip Rosen shows what happens when we don’t use this method, using the earliest actuality films to make this point. In their making, the camera was simply set down and pointed in such a way as to film whatever was in front of it, at the moment when it was operated. It recorded fragments selected from the space and time continuum of the real world, such as the onrush of workers from the Lumière Factory. The projector then presented what the camera had registered and the significance of those shots lay in their photographic credibility: they seemed to show fragments of reality to the audience. This however didn’t allow the filmmaker with the opportunity to fill the text with meaning: in the instance, we found very little about the Lumière workers, other than that they are leaving the factory. Therefore, to give greater depth to these silent actuality films cinematic art is significant. The definition has stood the test of time because it allows for all manner of producer intervention. Yet it is also constantly challenged and always surrounded by controversies, for it prompts questions such as how much and what sort of actuality might remain after the creative
Before talking films were big people were fascinated with the idea of moving pictures in the
Approximately twenty years later, Edison made his first moving picture machine. Though he had hoped to combine the phonograph with the kinetoscope in order to produce a talking and moving film, he failed to do so, and simply left it as it was. Edison felt as though there was no future for this device, so he allowed others to copy the idea and make their own versions of it (Barnham). From there, it advanced until it became what’s considered a modern movie
Eadweard Muybridge was a director who made the first movie in 1878, The Horse in Motion. He used multiple cameras and put the individual pictures into a movie. Muybridge’s movie was just pictures of a galloping horse. Muybridge also invented the Zoopraxiscope,the first ever movie projector that made short films and movies. It was able to quickly project images, creating what is known as motion photography and the first movie to ever exist. To use the Zoopraxiscope a disc is put on the device and is turned. As the disc turns, the images are projected onto the screen and the movie starts ...
Technology has had a huge impact on the world, especially the film industry. It has had a long past and as the technology advances, it becomes more and more realistic. It all began with the first machine patented in the United States that showed animated pictures or movies. It was called the “wheel of life” or “zoopraxiscope” and was patented in 1867 by William Lincoln. Moving drawings or photographs were watched through a slit in the zoopraxiscope. However, modern motion picture making began with the invention of the motion picture camera. Frenchman Louis Lumiere is usually credited with the creation of the first motion picture camera in 1895, but several others were invented around the same time. What Lumiere invented was a portable motion picture camera, film processing unit and a projector called the Cinematography, all three functions in one invention. This made motion pictures very popular and it is also known as beginning the motion picture era. In 1895, Lumiere and his brother were the first to present projected, moving, photographic pictures to a paying audience of more than one person. However, they were also not the first to project film. In 1891, the Edison Company successfully demonstrated the Kinetoscope which allowed one person at a time to view moving pictures. Also in 1896, he showed the improved Vitascope projector and it was the first commercially successful projector in the United States.
The formal characteristics of the work are crucial in their produced effect upon the audience. It is a four panel screen landscape, whose size of 7354 cubic meters is made referent in the title. Despite its monumental size, the work does not function as an oppressive weapon but rather a positive force, one that is able to free us from our inhibitions. Rist frequently experiments with the various ways in which video can be projected onto surfaces. Though she does not push the technical boundaries of the video medium medium, she nonetheless pushes the limits within video projection. Requiring seven different projectors to be linked seamlessly, her work is a technical achievement for this feat alone. A large circular couch occupies the center of the exhibition space. Its shape is meant to be reminiscent of the human iris, but also bring to mind the iris of the camera as well.
For Michel Gondry’s film Eternal Sunshine of the Spotless Mind, I will give an analysis the technology and sound in film and film history by using some research from Monaco’s book in chapter two & four. My analysis of Eternal Sunshine of the Spotless Mind reveals the challenges that directors encounter when filming: having to explore the history of past filmmakers in order to prevent making mistakes and having to add touch up special effects to make the film feel more universal and credible for a modern audience.
As time and people are continually changing, so is knowledge and information; and in the film industry there are inevitable technological advances necessary to keep the attraction of the public. It is through graphic effects, sounds and visual recordings that all individuals see how we have evolved to present day digital technology; and it is because of the efforts and ideas of the first and latest great innovators of the twentieth century that we have advanced in film and computers.
With the discovery of techniques such as continuous editing, multiple camera angles, montage editing, and more, silent filmmaking developed from simple minute-long films to some of the most beautiful, awe-inspiring films that have ever been created—in only a few decades. In Visions of Light, someone alluded that if the invention of sound had come along a mere ten years later, visual storytelling would be years ahead of what it is today. This statement rings true. When looking at the immense amount of progress that was made during the silent era of films, one must consider where the art of film has been, where it is, and where it is
Now when you go back to the beginning of the making of film, it did not look and run the same way it does today. It did have a similar purpose, which was the “motion of pictures.” Now this was after the invention of photography, so the purpose of this was to put individual images in a way they looked as if they were moving.
If we go back beyond Lumière Brothers’ projection of their cinematography in Paris over Christmas 1895, which is too straightforward birth narration of cinema; ancient visual forms like Egyptian hieroglyphics or pre-cinematic technologies of image capture and projection, known as magic lanterns, employing a series of lenses and light sources, were early proof of humanity mesmerised by the play and tricks of light and shades.