Story of Film – Episode 1 – Birth of the Cinema

“Film” by adpowers is licensed under CC BY 2.0


The following material is from Wikipedia.

Saving Private Ryan (1998) dir. Steven Spielberg

Shot on beach in Ireland. Brought feeling to make us feel like we are there.

Three Colors: Blue (1993) dir. Krzysztof Kieślowski

using cinema with white light on screens for empathy.

Casablanca (1942) dir. Michael Curtiz

Highlights in eyes to draw attention. Too romantic to be classical.

The Record of a Tenement Gentleman (1947) dir. Yasujirō Ozu

Hollywood isn’t classical, Japan is.

Odd Man Out (1947) dir. Carol Reed

Looks at bubbles in spilled drink.

Two or Three Things I Know About Her (1967) dir. Jean-Luc Godard

A character is in trouble, bubbles in spilled drink.

Taxi Driver (1976) dir. Martin Scorsese

Looking into bubbles to see troubles.

The French Connection (1971) dir. William Friedkin

Car chasing train. Excitement through sound of tires.

1895-1918: The World Discovers a New Art Form or Birth of the Cinema

Traffic Crossing Leeds Bridge (1888) dir. Louis Le Prince

The Kiss (1896 film) (a.k.a. May Irwin Kiss) (1896) dir. William Heise

Workers Leaving the Lumière Factory (1895) dir. Louis Lumière

Short documentary of everyday life.

Arrival of a Train at La Ciotat (1896) dir. Louis Lumière

Audience felt the train was coming at them.

Annabelle Serpentine Dance (1894-1896 ?) dir. William Kennedy Dickson or William


Make people want to be a princess or hero or cowboy.

Sandow (1894) dir. William Kennedy Dickson

What Happened on Twenty-third Street, New York City (1901) dir. George S. Fleming and Edwin S. Porter

Give an image to flip through in heads.

Cendrillon (1899) dir. Georges Méliès

Made people seem to appear.

Le voyage dans la lune (1902) dir. Georges Méliès

First special effects.

La lune à un mètre (1898) dir. Georges Méliès

The Kiss in the Tunnel (1899) dir. George Albert Smith

Ghostly effect from filming on train.

Shoah (1985) dir. Claude Lanzmann

Shots from train making it very serious.

2001: A Space Odyssey (1968) dir. Stanley Kubrick

Phantom ride to go through colored light. Outer body experience.

The Sick Kitten (1903) dir. George Albert Smith

Close up to show cat eating.

October: Ten Days That Shook the World (1928) dir. Sergei Eisenstein

Close up to give sense of movement and tragedy with dead women.

Once Upon a Time in the West (1968) dir. Sergio Leone

Close up to understand he found the murderer.

The Corbett-Fitzsimmons Fight (1897) dir. Enoch J. Rector

Different size of film to show more action.

1903-1918: The Thrill Becomes Story or The Hollywood Dream

Life of an American Fireman (1903) dir. Edwin S. Porter

Street action is shown then the same action from inside.

Sherlock Jr. (1924) dir. Buster Keaton

Double exposure to show dream. A cut is then used.

The Horse that Bolted (1907) dir. Charles Pathé

Left horse on street, man climbs stairs, horse is eating food, cuts to man, cut to horse. Here it shows parallel editing.

The Assassination of the Duke of Guise (a.k.a. The Assassination of the Duc de Guise) (1908) dir. Charles le Bargy and André Calmettes

Showed back to camera, hen showed reverse angle shot.

Vivre sa vie (1962) dir. Jean-Luc Godard

No one knew actors, not even their name.

Those Awful Hats (1909) dir. D. W. Griffith

Actress known, but knew nothing else about her.

The Mended Lute (1909) dir. D. W. Griffith

Actress said was dead, but showed up again in this movie.

The Abyss (1910) dir. Urban Gad

Actress became famous. She was more sexual.

Stage Struck (1925) dir. Allan Dwan

showed costumes and added luxury.

The Mysterious X (1914) dir. Benjamin Christensen

Cross cutting. A dream caught on film.

Häxan (1922) dir. Benjamin Christensen

Multiple light sources, complex film.

Ingeborg Holm (1913) dir. Victor Sjöström

Naturalism and grace.

The Phantom Carriage (1921) dir. Victor Sjöström

multilayer film. Many moods and stories.

Shanghai Express (1932) dir. Josef von Sternberg

Youth and glamor.

The Story of the Kelly Gang (1906) dir. Charles Tait

First feature length movie.

The Squaw Man (1914) dir. Oscar Apfel and Cecil B. DeMille

First Hollywood movie. Eyes matched to add emotion. Broke 180 degree rule.

The Empire Strikes Back (1980) dir. Irvin Kershner

Followed rule to add effect.

Falling Leaves (1912) dir. Alice Guy-Blaché

Added movements to create story. Tied leaves on trees.

Suspense (1913) dir. Phillips Smalley and Lois Weber

Split screen to show all 3 people at same time. mirror shot.

The Wind (1928) dir. Victor Sjöström

Wind seems to blast imagine. Acted like thriller but felt like a dream.

Rescued from an Eagle’s Nest (1908) dir. J. Searle Dawley

Painted skyline.

The House with Closed Shutters (1910) dir. D. W. Griffith

Film needed to match the outside world. Natural details like wind in trees.

Way Down East (1920) dir. D. W. Griffith

Orphans of the Storm (1921) dir. D. W. Griffith

Visual softness and backlit to give hallow to hair.

The Birth of a Nation (1915) dir. D. W. Griffith

Showed danger of cinema. Showed racist flag.

Rebirth of a Nation (2007) dir. DJ Spooky

Looked like scribbling on screen.

Cabiria (1914) dir. Giovanni Pastrone

moving dolly shots. Using elephants to show scale.

Intolerance (1916) dir. D. W. Griffith

showed human intolerance. Multiple story lines. Using different times in history.

Souls on the Road (a.k.a. Rojo No Reikan) (1921) dir. Minoru Murata

2 story lines intertwined that come together in the end.

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