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Film

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Jake Pocz
Jake Pocz

Film developed as an art form in the late 19th century with the invention of technologies like still photography, celluloid film strips, and early devices like the kinetoscope that allowed successive photos to be viewed as moving images. Over time, film evolved into a collaborative medium incorporating the work of directors, actors, cinematographers, editors and other roles. Directors work with ideas, images and effects to conceptualize scenes and express their vision, though they rely on entire production teams. Different film genres also emerged like silent comedies, gangster films, and others in response to technological advances and audience demand.

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FILM
Film • Another art form which has risen to tremendous heights within the last century is film or cinema. As its early name “motion pictures” declared, film brought yet another dimension into play—that of moving images. The possibilities of this medium created a new art form that was to become a powerful social and economic force, and a legacy of the 20th century to the world.
A Technology-driven Art • Cinema, just as all modern arts, has been greatly influenced by technology. • The transition from still photography came in the late 1800s with “series photography” and the invention of celluloid strip film. This allowed successive still photos of a moving subject to be captured on a strip of film advancing through a single camera.
Kinetoscope • a peepshow cabinet with an eyehole through which these earliest “movies” could be viewed one person at a time. A motor inside the cabinet moved the film strip along in a loop, with an electric bulb providing illumination from beneath.
The kinetoscope
“cinematographe, • Developed by French • a hand cranked camera, printer, and projector all in one that was lightweight enough to bring outside the studio.
The Collaborative Art of Filmmaking • Filmmaking, because of its technical complexity, involves entire teams of artists, writers, and production experts, supported by technicians taking charge of the cameras, lighting equipment, sets, props, costumes, and the like—all under the supervision of a film director.
Film directing • It is the director, like the painter and sculptor in traditional art, who envisions the final effect of the film on its viewers, visually, mentally, and emotionally. While the painter and sculptor work with physical materials, the film director works with ideas, images, sounds, and other effects to create this unique piece of art..
• He or she conceptualizes the scenes, directs the acting, supervises the cinematography and finally the editing and sound dubbing in much the same way as a visual artist composes an artwork. Clearly, however, the director does not do all these alone Film directing
Acting • - First and foremost, there was the art of acting for film. With live theater as the only form of acting at that time, film actors had to learn to express themselves without the exaggerated facial expressions and gestures used on stage. With the addition of sound in the 1930s, they then had to learn to deliver their lines naturally and believably.
Cinematography • Behind the scenes, there was cinematography or the art of film camera work. This captured the director’s vision of each scene through camera placement and movement, lighting, and other special techniques
Editing This was joined by film editing, the art of selecting the precise sections of film, then sequencing and joining them to achieve the director’s desired visual and emotional effect. Sound editing was also developed, as films began to include more ambitious
Production/Set design - • Underlying all these was the art of production and set design. This recreated in physical terms— through location, scenery, sets, lighting, costumes, and props—the mental image that the director had of how each scene should look, what period it should depict, and what atmosphere it should convey. This included creating worlds that did not exist as well as worlds that were long gone, designing each production component down to the very last detail.
Film Genres • The public response to motion pictures was immediate and enthusiastic. • With financial success came the rush to release more and more films, in an ever-wider variety— leading to the many film genres we know today
Charlie Chaplin in A Dog’s Life, 1918
• First there were the silent films starring Charlie Chaplin, and the “slapstick comedy” films of buster Keaton and later Laurel and Hardy. With sound still unavailable, these films relied on purely visual comedy that audiences found hilarious. Then, there emerged the gangster movie genre as well as horror and fantasy films that took advantage of the sound technology that was newly available at that time.
Film Genres • Silent film . Slapstick comedy • Horror film . Fantasy • war and disaster films, . westerns thrillers or suspense . historical or biographical films • film epics . film adaptations of literary • Classics futuristic or science fiction films, • Documentary films Art film (indie)

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Film

  • 2. Film • Another art form which has risen to tremendous heights within the last century is film or cinema. As its early name “motion pictures” declared, film brought yet another dimension into play—that of moving images. The possibilities of this medium created a new art form that was to become a powerful social and economic force, and a legacy of the 20th century to the world.
  • 3. A Technology-driven Art • Cinema, just as all modern arts, has been greatly influenced by technology. • The transition from still photography came in the late 1800s with “series photography” and the invention of celluloid strip film. This allowed successive still photos of a moving subject to be captured on a strip of film advancing through a single camera.
  • 4. Kinetoscope • a peepshow cabinet with an eyehole through which these earliest “movies” could be viewed one person at a time. A motor inside the cabinet moved the film strip along in a loop, with an electric bulb providing illumination from beneath.
  • 6. “cinematographe, • Developed by French • a hand cranked camera, printer, and projector all in one that was lightweight enough to bring outside the studio.
  • 7. The Collaborative Art of Filmmaking • Filmmaking, because of its technical complexity, involves entire teams of artists, writers, and production experts, supported by technicians taking charge of the cameras, lighting equipment, sets, props, costumes, and the like—all under the supervision of a film director.
  • 8. Film directing • It is the director, like the painter and sculptor in traditional art, who envisions the final effect of the film on its viewers, visually, mentally, and emotionally. While the painter and sculptor work with physical materials, the film director works with ideas, images, sounds, and other effects to create this unique piece of art..
  • 9. • He or she conceptualizes the scenes, directs the acting, supervises the cinematography and finally the editing and sound dubbing in much the same way as a visual artist composes an artwork. Clearly, however, the director does not do all these alone Film directing
  • 10. Acting • - First and foremost, there was the art of acting for film. With live theater as the only form of acting at that time, film actors had to learn to express themselves without the exaggerated facial expressions and gestures used on stage. With the addition of sound in the 1930s, they then had to learn to deliver their lines naturally and believably.
  • 11. Cinematography • Behind the scenes, there was cinematography or the art of film camera work. This captured the director’s vision of each scene through camera placement and movement, lighting, and other special techniques
  • 12. Editing This was joined by film editing, the art of selecting the precise sections of film, then sequencing and joining them to achieve the director’s desired visual and emotional effect. Sound editing was also developed, as films began to include more ambitious
  • 13. Production/Set design - • Underlying all these was the art of production and set design. This recreated in physical terms— through location, scenery, sets, lighting, costumes, and props—the mental image that the director had of how each scene should look, what period it should depict, and what atmosphere it should convey. This included creating worlds that did not exist as well as worlds that were long gone, designing each production component down to the very last detail.
  • 14. Film Genres • The public response to motion pictures was immediate and enthusiastic. • With financial success came the rush to release more and more films, in an ever-wider variety— leading to the many film genres we know today
  • 15. Charlie Chaplin in A Dog’s Life, 1918
  • 16. • First there were the silent films starring Charlie Chaplin, and the “slapstick comedy” films of buster Keaton and later Laurel and Hardy. With sound still unavailable, these films relied on purely visual comedy that audiences found hilarious. Then, there emerged the gangster movie genre as well as horror and fantasy films that took advantage of the sound technology that was newly available at that time.
  • 17. Film Genres • Silent film . Slapstick comedy • Horror film . Fantasy • war and disaster films, . westerns thrillers or suspense . historical or biographical films • film epics . film adaptations of literary • Classics futuristic or science fiction films, • Documentary films Art film (indie)