Preview: Historical Inspiration
For many a director, film history is an important source of inspiration. As an illustration watch the next movie fragment from 23e Street (1901), Edwin S. Porter. It shows a street in New York around 1900. The street has ventilation grids for refreshing the air of the Subway. One can imagine what will happen if the flow of air comes under the skirts of a woman. Start fragment.
More than fifty years later, the same tableau is used for one of the most famous scenes in the history of the movies. The following fragment from The Seven Year Itch (1955), Billy Wilder, shows how the same idea is re-used starring Marilyn Monroe in a classical pose. In a way one can say: history repeats itself. However the precise way of repeating is quite different.
| 1 | A Short History of Film [Viewing duration=02:16:27] | 24 |
| 1.1 | Introduction | 24 |
| Three Reasons | 24 | |
| Approach: Film Language, Color and Sound | 24 | |
| 1.2 | The Early Years (1895-1905) | 25 |
| Links from a Chain | 25 | |
| Recording | 25 | |
| Limitations in Time | 26 | |
| Limitations in Space | 26 | |
| Rules for Shot Succesion | 27 | |
| Scene and Breakdown | 29 | |
| Sequence: Multiple Scenes | 29 | |
| Leaps in in Time and Space | 29 | |
| 1.3 | Analysis: The Great Train Robbery (1903) | 31 |
| LessTtheatrical` | 32 | |
| Multiple Storylines | 32 | |
| Active Camera Handling | 33 | |
| Editing | 33 | |
| Decoupage of a Scene: 1903-1968 | 34 | |
| 1.4 | Towards a Film Language (1905 - 1915) | 35 |
| Decoupage: Shot Scales | 36 | |
| Decoupage: Camera Angles | 36 | |
| Decoupage: Frog and Bird Perspective | 37 | |
| Decoupage: Insert Shot | 38 | |
| Decoupage: Continuity Errors | 38 | |
| Image Composition | 39 | |
| Consistent Direction of Movement | 40 | |
| Match on Action | 40 | |
| Parallel Editing / Cross-cutting | 40 | |
| Modern Parallel Editing | 41 | |
| Travelling Shots | 41 | |
| Flashback / Flash-forward | 43 | |
| 1.5 | Further Developments (1915 - present) | 43 |
| Russian Montage (around 1920) | 44 | |
| Film in Color (1895-1935) | 44 | |
| Two Colors: Kinemacolor (1906-1915) | 44 | |
| Technicolor (1915-1935) | 45 | |
| Intertitles (1908-1930) | 46 | |
| Synchronous Sound (1895 - 1927) | 46 | |
| The Digital Era (1960 - present) | 47 | |
| Line 1: From Man Made to Computer Animations | 48 | |
| Line 2: Real World Animations | 48 | |
| Line 3: Special Effects | 48 | |
| 1.6 | Summary | 48 |
| Notes | 49 | |
| References | 50 |