Episode 1 – Birth of the Cinema [edit]
Introduction
- Saving Private Ryan (1998) dir. Steven Spielberg
- Note: the camera movements make it feel like your also going underwater
- Three Colors: Blue (1993) dir. Krzysztof Kieślowski
- Casablanca (1942) dir. Michael Curtiz
- The Record of a Tenement Gentleman (1947) dir. Yasujirō Ozu
- Romantic films are always in a rush
- What drives movies? ideas
- Odd Man Out (1947) dir. Carol Reed
- Two or Three Things I Know About Her (1967) dir. Jean-Luc Godard
- Bubbles seeing their troubles (inspired by Carol Reed)
- Taxi Driver (1976) dir. Martin Scorsese
- The French Connection (1971) dir. William Friedkin
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
- To see films you had to look through something
- Workers Leaving the Lumière Factory (1895) dir. Louis Lumière
- In the first film of Lumiere, peoples everyday lives
- Arrival of a Train at La Ciotat (1896) dir. Louis Lumière
- Unearthed the audience felt like the train was coming at them
- Annabelle Serpentine Dance (1894-1896 ?) dir. William Kennedy Dickson or William Heise
- 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 us an image to flick back on when we’re happy or sad
- Cendrillon (1899) dir. Georges Méliès
- Le voyage dans la lune (1902) dir. Georges Méliès
- La lune à un mètre (1898) dir. Georges Méliès
- first special effect movie
- France took movies seriously
- France began to beacon filming and movies
- The Kiss in the Tunnel (1899) dir. George Albert Smith
- First to film in front of the train, making it seem like a phantom ride
- Shoah (1985) dir. Claude Lanzmann
- Phantom ride more serious
- 2001: A Space Odyssey (1968) dir. Stanley Kubrick
- Phantom ride but with special effects making it seem like an out of body experience
- The Sick Kitten (1903) dir. George Albert Smith
- This was how close up was born
- October: Ten Days That Shook the World (1928) dir. Sergei Eisenstein
- The close up gives the real sense of movement and tragedy
- Once Upon a Time in the West (1968) dir. Sergio Leone
- The Corbett-Fitzsimmons Fight (1897) dir. Enoch J. Rector
- Filmed with a boxing match, giving a broader image with what he used to film
1903-1918: The Thrill Becomes Story or The Hollywood Dream
- Life of an American Fireman (1903) dir. Edwin S. Porter
- Cuts to follow the story of the rescue
- People watching this felt concerned about the actor in danger
- Sherlock Jr. (1924) dir. Buster Keaton
- Used double projection
- The Horse that Bolted (1907) dir. Charles Pathé
- Cutting scenes back and forth
- editors have used this editing every since
- 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
- Reverse angle shots were created from this move
- Vivre sa vie (1962) dir. Jean-Luc Godard
- Those Awful Hats (1909) dir. D. W. Griffith
- The Mended Lute (1909) dir. D. W. Griffith
- The Abyss (1910) dir. Urban Gad
- Less censorship in Europe at the time
- Stage Struck (1925) dir. Allan Dwan
- The Mysterious X (1914) dir. Benjamin Christensen
- A dream drew on film
- Häxan (1922) dir. Benjamin Christensen
- Many light sources were great and the effects
- Ingeborg Holm (1913) dir. Victor Sjöström
- Naturalism and grace
- The Phantom Carriage (1921) dir. Victor Sjöström
- Had story within stories and moods within moods
- re-exposes the film to show the ghost of the actor
- Shanghai Express (1932) dir. Josef von Sternberg
- Movies started to be in the air
- The Story of the Kelly Gang (1906) dir. Charles Tait
- Filmed in Australia
- The Squaw Man (1914) dir. Oscar Apfel and Cecil B. DeMille
- The first Hollywood feature
- The Empire Strikes Back (1980) dir. Irvin Kershner
- Believe that they are looking at each other
- Falling Leaves (1912) dir. Alice Guy-Blaché
- First woman Director
- First-person to put a story in an arch
- Suspense (1913) dir. Phillips Smalley and Lois Weber
- Played the lead in her film
- USed a slit screen to show 3 different people
- The Wind (1928) dir. Victor Sjöström
- Showed true fear on the actor’s face
- Rescued from an Eagle’s Nest (1908) dir. J. Searle Dawley
- The House with Closed Shutters (1910) dir. D. W. Griffith
- He said something important that it needed to show the wind on the trees
- Way Down East (1920) dir. D. W. Griffith
- Natural detail
- Pumtom, showing how we fee towards the scene
- Orphans of the Storm (1921) dir. D. W. Griffith
- Visual softness
- Made characters pop out from the background
- The Birth of a Nation (1915) dir. D. W. Griffith
- Racism
- Rebirth of a Nation (2007) dir. DJ Spooky
- Cabiria (1914) dir. Giovanni Pastrone
- Moving dolly shots
- Intolerance (1916) dir. D. W. Griffith
- Love struggles through history
- 3 hours long
- Jump cuts
- Cuts showed all different events from different times had the same emotions
- Souls on the Road (a.k.a. Rojo No Reikan) (1921) dir. Minoru Murata
- Two storylines come together
- The first great Japanese film