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CINEMA — 125 Years of Moving Images

SCENE TAKE CINEMA 125 Reel 02 · 1895 The First Audiences Lumière, Paris December 28, 1895. The Lumière brothers project ten short films at the Salon Indien...

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SCENE TAKE CINEMA 125 Reel 02 · 1895 The First Audiences Lumière, Paris December 28, 1895. The Lumière brothers project ten short films at the Salon Indien du Grand Café. L'Arrivée d'un train en gare de La Ciotat reportedly sends viewers diving from their seats. Cinema is born as a public, communal event — a shared startle. Key sections include: Cinema / 125 Years; The First Audiences; The Great Train Robbery; The Silent Language; "You ain't heard nothin' yet."; The Studio System; The Auteur Theory; New Hollywood; Blockbuster, VCR , Cable; The Digital Cut.

Key sections

  • 01Cinema / 125 Years
  • 02The First Audiences
  • 03The Great Train Robbery
  • 04The Silent Language
  • 05"You ain't heard nothin' yet."
  • 06The Studio System
  • 07The Auteur Theory
  • 08New Hollywood
  • 09Blockbuster, VCR , Cable
  • 10The Digital Cut
  • 11Streaming & the Death of "Film"
  • 12Cinema as Art
  • 13Further Viewing

Topics covered

catalogartcinema

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Slide outline
  1. 01Cinema / 125 Years
  2. 02The First Audiences
  3. 03The Great Train Robbery
  4. 04The Silent Language
  5. 05"You ain't heard nothin' yet."
  6. 06The Studio System
  7. 07The Auteur Theory
  8. 08New Hollywood
  9. 09Blockbuster, VCR , Cable
  10. 10The Digital Cut
  11. 11Streaming & the Death of "Film"
  12. 12Cinema as Art
  13. 13Further Viewing
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Presentation Transcript

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Slide 01

Cinema / 125 Years

  • A Picture in Motion · Reel 01
  • of Moving Images
  • PROD. NO. 0001 · SCENE 01 · TAKE 01
Slide 02

The First Audiences

  • Reel 02 · 1895
  • Lumière, Paris
  • December 28, 1895. The Lumière brothers project ten short films at the Salon Indien du Grand Café. L'Arrivée d'un train en gare de La Ciotat reportedly sends viewers diving from their seats. Cinema is born as a public, communal event — a shared startle.
  • Edison, New Jersey
  • Across the Atlantic, Edison and Dickson have already built the Kinetoscope: a single-viewer peephole machine. Different bet, different future. The Lumière model — light projected onto a wall, in a room full of strangers — is the one that wins.
  • FRAME 01
  • FRAME 02
  • FRAME 03
  • FRAME 04
  • FRAME 05
  • FORMAT 35mm · FRAMES 16/sec · DURATION ~50 SEC
Slide 03

The Great Train Robbery

  • Reel 03 · 1903
  • Edwin S. Porter cuts between scenes that aren't happening in the same place — a stagecoach, a telegraph office, a cabin, a chase — and a new grammar appears. The viewer's eye is taught to leap across space and time without losing the thread.
  • Twelve minutes long. One iconic close-up of an outlaw firing directly at the camera. By 1908 there are 8,000 nickelodeons in the United States. The narrative film is no longer an experiment — it is the format.
  • DIR EDWIN S. PORTER · STUDIO EDISON MFG. CO. · LENGTH 12 MIN
Slide 04

The Silent Language

  • Reel 04 · 1910s — 1920s
  • Without dialogue, filmmakers learn to say everything with the body, the cut, the lens, the shadow. The most expressive period in the history of the form is also the one with no voices.
  • Charlie Chaplin — The Kid (1921), City Lights (1931). Pathos and slapstick fused into one figure.
  • Buster Keaton — The General (1926). Stoic face, impossible stunts, real trains.
  • Sergei Eisenstein — Battleship Potemkin (1925). The Odessa Steps. Montage as ideological argument.
  • F. W. Murnau / Robert Wiene — German Expressionism. Nosferatu, Caligari. Painted shadows, tilted worlds.
  • ASPECT 1.33:1 · COLOR BLACK & WHITE · SOUND LIVE PIANO
Slide 05

"You ain't heard nothin' yet."

  • Reel 05 · October 6, 1927
  • Warner Bros. releases The Jazz Singer. Synchronized song. A handful of spoken lines. The audience hears the screen.
  • Within three years the silent film is dead. Cameras now sit inside soundproof booths the size of telephone boxes. Stages must be re-built. Many of the great silent stars cannot survive the microphone — voices that don't match the faces, accents that don't carry. An entire labor force is replaced. The industry retools, hard and fast.
  • DIR ALAN CROSLAND · STAR AL JOLSON · SYSTEM VITAPHONE
Slide 06

The Studio System

  • Reel 06 · 1930s — 1940s
  • Five majors and three minors run Hollywood like a manufacturing concern. Stars are under contract. Writers, directors, costumers, set designers all on payroll. Films come off the lot the way cars come off a line — and somehow, often, they are art.
  • Casablanca · 1942
  • Curtiz. Bogart. Bergman. Wartime sentiment turned into a perfect machine. Every line a quotation now.
  • Citizen Kane · 1941
  • Welles is 25. Deep focus, low ceilings, a lifetime told in flashbacks. Reframes what a film can do with time.
  • MGM · WARNER BROS. · PARAMOUNT · RKO · 20TH CENTURY FOX
Slide 07

The Auteur Theory

  • Reel 07 · 1950s — 1960s
  • At Cahiers du Cinéma in Paris, a clutch of young critics argue that the director — not the studio, not the writer — is the author of a film. They then go and prove it by making their own.
  • François Truffaut — The 400 Blows (1959). Childhood as documentary.
  • Jean-Luc Godard — Breathless (1960). Jump cuts. Direct address. Cool as a strategy.
  • Ingmar Bergman — The Seventh Seal (1957). Death plays chess.
  • Akira Kurosawa — Seven Samurai (1954). Long takes, real weather, the modern action film's blueprint.
  • MOVEMENT NOUVELLE VAGUE · TOOL HANDHELD ARRIFLEX
Slide 08

New Hollywood

  • Reel 08 · 1967 — 1980
  • The studio system is broken. The kids who watched Godard go to film school. They get keys to the lot just as the audience tilts young, unruly, post-Vietnam. For thirteen years the most commercial American films are also the strangest.
  • Coppola, Scorsese
  • The Godfather (1972). Mean Streets (1973). Taxi Driver (1976). Italian-American interior life as national myth.
  • Spielberg, Lucas
  • Jaws (1975) invents the wide release. Star Wars (1977) invents the franchise. The blockbuster is now a category.
  • RATING MPAA (1968) · CAMERA PANAVISION
Slide 09

Blockbuster, VCR, Cable

  • Reel 09 · 1980s — 1990s
  • The wide release becomes the only release that matters. Marketing budgets balloon to match production. Top Gun, Terminator 2, Jurassic Park: the spectacle film, polished to a shine.
  • Meanwhile, in the living room, the home tape player rewires the relationship between viewer and film. You can pause it. You can own it. You can rent something on a Friday and have it back by Tuesday. Cable expands the same logic. The cinema is no longer the only place cinema happens.
  • FORMAT VHS · COMPETITOR BETAMAX (LOST) · CHAIN BLOCKBUSTER VIDEO
Slide 10

The Digital Cut

  • Reel 10 · 2000s
  • Three quiet revolutions, all at once.
  • Editing. Avid and Final Cut replace the splicing block. Cuts become reversible, cheap, infinite. The edit is now a draft.
  • Capture. Digital cameras catch up to 35mm and then surpass it on cost. 28 Days Later (2002), Collateral (2004) — feature films shot on consumer-grade hardware.
  • CGI. Photorealistic things that do not exist. The Matrix, Lord of the Rings, the entire Pixar lineage.
  • And distribution gets blown apart: Napster, then BitTorrent, then YouTube. The studios spend a decade in court before they realize the war is over.
  • CODEC ProRes · CAMERA RED ONE (2007) · STUDIO PIXAR / WETA
Slide 11

Streaming & the Death of "Film"

  • Reel 11 · 2013 — present
  • Netflix stops mailing DVDs and starts making television. Then movies. Then everything. Within a decade every studio has its own service, every service is hemorrhaging cash, and the theater chains are negotiating for survival.
  • The word that replaces "film" is content. It is shorter. It carries no aesthetic claim. A two-hour drama and a six-hour limited series and a clip on a phone all share the same noun. Whether this is a flattening or a liberation is, at the moment, the central argument.
  • PLATFORM NETFLIX · HBO · A24 · MUBI · METRIC HOURS WATCHED
Slide 12

Cinema as Art

  • Reel 12 · The Form
  • Strip away the industry and the platforms and the receipts. What is left is a medium that does something no other medium does: it shows you a thing that is not there, in time, exactly as long as it wants you to see it.
  • Framing — what is in the rectangle, and what is just outside it.
  • Montage — meaning made by adjacency. Two shots become a third idea.
  • Mise en scène — every object in front of the lens is a deliberate object.
  • Duration — the only art that decides, second by second, how long you must look.
  • "A FILM IS A PETRIFIED FOUNTAIN OF THOUGHT." — JEAN COCTEAU
Slide 13

Further Viewing

  • Reel 13 · End Credits
  • Read
  • Film Form — Sergei Eisenstein
  • What Is Cinema? — André Bazin
  • Hitchcock/Truffaut — François Truffaut
  • The Story of Film — Mark Cousins
  • Easy Riders, Raging Bulls — Peter Biskind
  • Watch (YouTube)
  • youtube.com/results?search_query=history+of+cinema
  • youtube.com/results?search_query=citizen+kane+analysis
  • — FIN — · A PRESENTATION IN 13 REELS · © CATALOG
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