Film CIA 1 Draft 1

8/8/2019 Film CIA 1 Draft 1

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Innovations Necessary for the Advent of Cinema:

A number of technologies, simple optical toys and mechanical inventions related to motion and visionwere developed in the early to late 19th century that were precursors to the birth of the motion pictureindustry: 1832 - the invention of the Fantascope (also called Phenakistiscope or "spindle viewer") byBelgian inventor Joseph Plateau, a device that simulated motion. A series or sequence of separate

pictures depicting stages of an activity, such as juggling or dancing, were arranged around the perimeter or edges of a slotted disk. When the disk was placed before a mirror and spun or rotated, a spectator looking through the slots 'perceived' a moving picture.

y 1834 - the invention of the D aedalum by British inventor Horner.Through which a spectator observed'moving' drawings.

y 1839 - the birth of still photography with the development of the first commercially-viable daguerreotype .

y 1861 - the invention of the K inematoscope an improved rotating paddle machine to view (by hand-cranking) a series of s tereo sc opi c still pictures on glass

y 1869 - the development of c elluloid by John Wesley Hyatt,

y 1870 - the first demonstration of the Phasmotrope (or Phasmatrope ) by Henry Renno Heyl inPhiladelphia, that showed a rapid succession of still or posed photographs of dancers, giving theillusion of motion

The Lumiere Brothers:

he innovative Lumiere brothers in France, Louis and Auguste (often called "the founding fathers of modern film"),who worked in a Lyons factory that manufactured photographic equipment and supplies, were inspired by Edison's

work. They created their own combo movie camera and projector - a more portable, hand-held and lightweightdevice that could be cranked by hand and could project movie images to several spectators. It was dubbedthe Cinematographe and patented in February, 1895. The multi-purpose device (combining camera, printer and

projecting capabilities in the same housing) was more profitable because more than a single spectator could watchthe film on a large screen. They used a film width of 35mm, and a speed of 16 frames per second - an industry normuntil the talkies. By the advent of sound film in the late 1920s, 24 fps became the standard.

The first public test and demonstration of the Lumieres' camera-projector system (the Cinematographe) was madeon March 22, 1895, in the Lumieres' basement. They caused a sensation with their first film, Workers Leaving the

Lumiere Factory ( La Sortie des Ouviers de L'Usine Lumiere a Lyon ), although it only consisted of an everydayoutdoor image - factory workers leaving the Lumiere factory gate for home or for a lunch break.

Foundations of the Prolific Film Industry:

Films really blossomed in the 1920s, expanding upon the foundations of film from earlier years. Most USfilm production at the start of the decade occurred in or near Hollywood on the West Coast, althoughsome films were still being made in New Jersey and in Astoria on Long Island (Paramount). By the mid-20s, movies were big business (with a capital investment totaling over $2 billion) with some theatresoffering double features. By the end of the decade, there were 20 Hollywood studios, and the demand for films was greater than ever. Most people are unaware that the greatest output of feature films in the USoccurred in the 1920s and 1930s (averaging about 800 film releases in a year) - nowadays, it isremarkable when production exceeds 500 films in a year.


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Throughout most of the decade, silent films were the predominant product of the film industry, havingevolved from vaudevillian roots. But the films were becoming bigger (or longer), costlier, and morepolished. They were being manufactured, assembly-line style, in Hollywood's 'entertainment factories,' inwhich production was broken down and organized into its various components (writing, costuming,makeup, directing, etc.).

German Expressionism and Its Influence:

An artistic movement termed Ex pre ss ioni sm was established in the prolific European film-making industryfollowing World War I. It flourished in the 1920s, especially in Germany in a 'golden age' of cinema (oftentermed 'Weimar Cinema'), due to fewer restrictions and less strict production schedules.

Expressionism was marked by stylization, dark shadows and dramatic ch iaro sc uro lighting, visual story-telling, grotesque characters, distorted or slanted angular shots (of streets, buildings, etc.) and abstractsets. Leading directors utilizing these new unconventional, atmospheric and surrealistic dramatic stylesincluded G.W. Pabst (known later for directing American actress Louise Brooks in Pandora's Box(1928) ), Paul Leni (who directed the 'old dark house' film The Cat and the Canary (1927) andUniversal's The Man Who Laughs (1928) with Conrad Veidt), F.W. Murnau and Fritz Lang.

Comedy Flourished: It was a great era for light-hearted silent comedy, with the triumvirate of humorists: Charlie Chaplin,Buster Keaton, and Harold Lloyd, and the early popularity of Roscoe "Fatty" Arbuckle until a scandaldestroyed his career in 1921. The popularity of Charlie Chaplin as the Tramp soared in movies after hisinitial films with Keystone, Essanay, and Mutual. As already stated, he co-founded United Artists studiosin 1919 with Mary Pickford, D. W. Griffith, and Douglas Fairbanks. His f ir s t silent feature film was FirstNational's 6-reel The K id (1921) (with child star Jackie Coogan), in which he portrayed the Tramp in anattempt to save an abandoned and orphaned child. (35 year old Chaplin married his underage, 16 year-old T h e Kid co-star Lita Grey in 1924).

The Birth of the Talkies:

By the late 1920s, the art of silent film had become remarkably mature. Although called silents, they werenever really silent but accompanied by sound organs, gramophone discs, musicians, sound effectsspecialists, live actors who delivered dialogue, and even full-scale orchestras. There would be twocompeting sound or recording systems developed during the early 'talkie' period: s ound-on-di sc ,and s ound-on- f il m .

In 1925-26, America technologically revolutionized the entire industry, with the formation of the V itap h oneCo m pany (a subsidiary created by Warner Bros. and Western Electric). Warner Bros. launched soundand talking pictures, with Bell Telephone Laboratory researchers, by developing a revolutionarysynchronized sound system called V itap h one (a short-lived s ound-on-di sc process developed in 1925that quickly became obsolete by 1931). This process allowed sound to be recorded on a phonographrecord that was electronically linked and synchronized with the film projector - but it was destined to befaulty due to inherent synchronization problems. Originally, Warner Bros. intended to use the system torecord only music and sound effects - notdialogue. The process was first used for short one- and two-reelfilms, mostly comedies and vaudeville acts.

The f ir s t feature-length film with synchronized Vitaphone sound effects and musical soundtrack (cannedmusic and sound effects recorded on large wax discs), but without spoken dialogue, was Warner Bros.'romantic swashbuckler adventure D on Juan (1926) .

The Jazz Singer: The World's First 'Talkie'


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In April, 1927, Warners built the first sound studio to produce a feature film with sound. Another soundfeature released on October 6, 1927, and directed by Alan Crosland for Warner Bros. revolutionizedmotion pictures forever. Producer Sam Warner died one day before the film's premiere at Warners'Theatre in New York City. It was the f ir s t feature-length talkie (and first musical), The Jazz Singer (1927) ,adapted from Samson Raphaelson's successful 1925-26 musical stage play (that starred George Jesselin the Broadway role). It was also the most expensive film in the studio's history, at a budget of about$500,000. Here was a revolutionary film that was mostly silent - with only about 350 'spontaneouslyspoken' words, but with six songs (in the film's partly-synchronized musical soundtrack). The film wasabout an aspiring Jewish cantor's son who wanted to become a jazz singer rather than a cantor in thesynagogue.

The G olden Age of Hollywood: From 1930 to 1948

The 1930s decade (and most of the 1940s as well) has been nostalgically labeled "T h e Golden Age o f Hollywood " (although most of the output of the decade was black-and-white). The 30s was also thedecade of the sound and color revolutions and the advance of the 'talkies', and the further development of film genres (gangster films, musicals, newspaper-reporting films, historical biopics, social-realism films,lighthearted screwball comedies, westerns and horror to name a few). It was the era in which the silentperiod ended, with many silent film stars not making the transition to sound (e.g., Vilmy Banky, John

Gilbert, and Norma Talmadge). By 1933, the economic effects of the Depression were being strongly felt,especially in decreased movie theatre attendance.

Hollywood D uring the War Years:

The early years of the 40s decade were not promising for the American film industry, especially followingthe late 1941 attack on Pearl Harbor by the Japanese, and the resultant loss of foreign markets.However, Hollywood film production rebounded and reached its profitable peak of efficiency during theyears 1943 to 1946 - a full decade and more after the rise of sound film production, now that the technicalchallenges of the early 30s sound era were far behind. Advances in film technology (sound recording,lighting, special effects, cinematography and use of color) meant that films were more watchable and'modern'. Following the end of the war, Hollywood's most profitable year in the decade was 1946, with all-time highs recorded for theatre attendance.

The world was headed toward rearmament and warfare in the early to mid-1940s, and the movie industry,like every other aspect of life, responded to the national war effort by making movies, producing manywar-time favorites, and having stars (and film industry employees) enlist or report for duty. The USgovernment's Office of War Information (OWI) , formed in 1942, served as an important propagandaagency during World War II, and coordinated its efforts with the film industry to record and photograph thenation's war-time activities. Tinseltown aided in the defensive mobilization, whether as combatants,propagandists, documentary, newsreel or short film-makers, educators, fund-raisers for relief funds or war bonds, entertainers, or morale-boosters. Films took on a more realistic rather than escapist tone, as theyhad done during the Depression years of the 30s.

The Quintessential 40s Film: Casablanca

The most subtle of all wartime propaganda films was the romantic story of self-sacrifice and heroicism inMichael Curtiz' archetypal 40s studio film Casablanca (1942) . It told about a disillusioned nightclub owner (Humphrey Bogart) and a former lover (Ingrid Bergman) separated by WWII in Paris. With a limitedrelease in late 1942 (and wider release in 1943), the resonant film was a timeless, beloved black andwhite work originally based on an unproduced play entitled Ev erybody Co m e s to Ri ck's . Thequintessential 40s film is best remembered its superior script, for piano-player Dooley Wilson's singingof A s T i m e Goe s By , and memorable lines of dialogue such as: "Round up the usual suspects" andBogart's "Here's looking at you, kid." Its success (it was awarded Best Picture, Best Director, and Best


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Screenplay) made Humphrey Bogart a major star, although his character reflected American neutralitywith the famous line: "I stick my neck out for nobody."

War-Related Films Abound:

The 40s also offered escapist entertainment, reassurance, and patriotic themes, such as William Wyler's

war-time film Mrs. Miniver (1942) , starring Walter Pidgeon and Oscar-winning courageous heroine Greer Garson as husband and wife. It was a moving tribute and account of courageous war-besieged Britishersreliving the trauma of Dunkirk and coping with the war's dangers in a village. Alfred Hitchcock, who hadrecently migrated to the US, directed Foreign Correspondent (1940) , ending it with a plea to the US torecognize the Nazi menace in Europe and end its isolationist stance.

Charlie Chaplin directed and starred in his first talking picture, The G reat D ictator (1940) , almost fiveyears after the release of his last silent film, Modern Times (1936) . It was a war-time, anti-fascist,satirical, thinly-veiled lampooning of the Third Reich and its dictatorial leader (rare among American films)in which a Hitler-like, despotic tyrant named Adenoid Hynkel ruled the kingdom of '(P)Tomania.' Its mostmemorable scene was the one in which Hynkel dances and tosses around a giant world globe/balloon.

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Film CIA 1 Draft 1