Les frères Lumière and the Cinématographe Lecture
Of the many people working to develop motion pictures in the late 1800s, the most successful were the partnerships between Thomas Edison and William Dickson in America and the Brothers Louis and Auguste Lumière in France.
Their experiments, spurred on by motion capture work by other photographers, provided the basis for motion picture photography and presentation, and their techniques can still be seen in the capture and projection of motion pictures today.
When the first motion pictures were created, editing did not exist. The novelty of seeing a moving image was such that not even a screen story was necessary. The earliest films were less than a minute in length. They could be as simple as La Sortie de l'Usine Lumière (Workers Leaving the Lumière Factory) (1895) or Arrivée d'un Train en Gare (Arrivalof a Train at the Station) (1895). One of the more popular films in New York was The Kiss (1896). Its success encouraged more films in a similar vein: A Boxing Bout (1896) and Skirt Dance (1896). Although George Méliès began producing more exotic "created" stories in France, such as Cinderella (1899) and A Trip to the Moon (1902), all of the early films shared certain characteristics. Editing was nonexistent or, at best, minimal in the case of Méliès.
What is remarkable about this period is that in 30 short years, the principles of classical editing were developed. In the early years, however, continuity, screen direction, and dramatic emphasis through editing were not even goals. Cameras were placed without thought to compositional or emotional considerations. Lighting was notional (no dramatic intention meant), even for interior scenes. Light, camera placement, and camera movement were not an important part of the filming process. In the earliest Auguste and Louis Lumière and Thomas Edison films, the camera recorded an event, an act, or an incident. Many of these early films were a single shot.
Their experiments, spurred on by motion capture work by other photographers, provided the basis for motion picture photography and presentation, and their techniques can still be seen in the capture and projection of motion pictures today.
When the first motion pictures were created, editing did not exist. The novelty of seeing a moving image was such that not even a screen story was necessary. The earliest films were less than a minute in length. They could be as simple as La Sortie de l'Usine Lumière (Workers Leaving the Lumière Factory) (1895) or Arrivée d'un Train en Gare (Arrivalof a Train at the Station) (1895). One of the more popular films in New York was The Kiss (1896). Its success encouraged more films in a similar vein: A Boxing Bout (1896) and Skirt Dance (1896). Although George Méliès began producing more exotic "created" stories in France, such as Cinderella (1899) and A Trip to the Moon (1902), all of the early films shared certain characteristics. Editing was nonexistent or, at best, minimal in the case of Méliès.
What is remarkable about this period is that in 30 short years, the principles of classical editing were developed. In the early years, however, continuity, screen direction, and dramatic emphasis through editing were not even goals. Cameras were placed without thought to compositional or emotional considerations. Lighting was notional (no dramatic intention meant), even for interior scenes. Light, camera placement, and camera movement were not an important part of the filming process. In the earliest Auguste and Louis Lumière and Thomas Edison films, the camera recorded an event, an act, or an incident. Many of these early films were a single shot.
Although Méliès's films grew to a length of 14 minutes, they remained a series of single shots: tableaus that recorded a performed scene. All of the shots were strung together. The camera was stationary and distant from the action. The physical lengths of the shots were not varied for impact. Performance, not pace, was the prevailing intention. The films were edited to the extent that they consisted of more than one shot, but A Trip to the Moon is no more than a series of amusing shots, each a scene unto itself. The shots tell a story, but not in the manner to which we are accustomed. It was not until the work of Edwin S. Porter that editing became more purposeful.
Although Méliès's films grew to a length of 14 minutes, they remained a series of single shots: tableaus that recorded a performed scene. All of the shots were strung together. The camera was stationary and distant from the action. The physical lengths of the shots were not varied for impact. Performance, not pace, was the prevailing intention. The films were edited to the extent that they consisted of more than one shot, but A Trip to the Moon is no more than a series of amusing shots, each a scene unto itself. The shots tell a story, but not in the manner to which we are accustomed. It was not until the work of Edwin S. Porter that editing became more purposeful.
Timeline of the Early Cinema
Click on the link below to view a timeline of Early Cinema
http://www.earlycinema.com/timeline/index.html
Blocking
Director Peter Marshall writes that every film shoot is divided into five parts: (6 if you include lunch).
1) Block - determining where the actors will be on the set and the first camera position
2) Light - time to light the set and position the camera for the first shot
3) Rehearse - camera rehearsal of the first set-up with the actors and crew
4) Tweak - make lighting and other adjustments
5) Shoot - shooting the first scene (then repeat the process) as many times as is needed to get the shot
More information on this is at: http://actioncutprint.com/filmmaking-articles/filmmakingarticle-05/
When we talk about blocking a scene, it means that we're basically rehearsing what we are going to do with the camera and the placement of the principals within the scene. It is a way of getting the rhythm and timing of a shot down so that you aren't wasting footage while you stumble and bumble through it with your actors not knowing where to stand, how fast to walk, or what to say at specific points in the camera's motion.
It may not be necessary to go through the steps of blocking out a scene if you're using mostly still or single-motion camera shots, but for complicated shots that use several sequences of motion without cutting, blocking a scene is imperative if you want to get things looking really smooth and professional.
The process of blocking a scene comes from the term used in theatrical productions to position the players on stage during a scene. In filmmaking it also encompasses their position within the frame of the camera, and thus the camera's movement and position are affected by it as well. Its derivation comes from a director in the 19th century who used actual blocks to work out the positions of his actors on a miniature stage before the live rehearsals took place.
Play Introduction to Blocking Video
Directing Talent
You will need to lead, provoke, and inspire your talent to get good results.
People who aren't used to being on camera have a difficult time pretending it isn't there and it isn't pointed right at them, but that's exactly what you have to get them to do if you want to bring out a believable performance in an inexperienced actor.
It's true that the classic line, "what's my motivation?" is often used satirically. Isn't that what you should be offering to the people in front of your camera, though? You owe it to them to explain who their character is, what they're like, where they come from and why they do what they do, regardless of whether your genre is comedy, drama, action or anything else.
The typical reaction of a person who is put in a situation where they feel uncomfortable is to do something that breaks the tension they feel. Some people can't stop smiling, or laugh uncontrollably and get red in the face. Others goof off and turn everything into a joke so nothing gets done. More shy people may clam up and feel like they aren't able to express themselves in any way but by delivering quiet, monotone lines.
Start with the no-brainers - tell them to relax, stretch, take a deep breath. Tell them to jump up and down a few times, shake it off. Take charge as much as possible.
Keep the camera pointed at them regardless of whether it's on or off. In fact, tell them that you're going to do a practice run-through of the scene or shot just for the purposes of blocking the scene, but then actually record it. Make sure you cover up the red "recording" light on the camera if you do this.
1) Block - determining where the actors will be on the set and the first camera position
2) Light - time to light the set and position the camera for the first shot
3) Rehearse - camera rehearsal of the first set-up with the actors and crew
4) Tweak - make lighting and other adjustments
5) Shoot - shooting the first scene (then repeat the process) as many times as is needed to get the shot
More information on this is at: http://actioncutprint.com/filmmaking-articles/filmmakingarticle-05/
When we talk about blocking a scene, it means that we're basically rehearsing what we are going to do with the camera and the placement of the principals within the scene. It is a way of getting the rhythm and timing of a shot down so that you aren't wasting footage while you stumble and bumble through it with your actors not knowing where to stand, how fast to walk, or what to say at specific points in the camera's motion.
It may not be necessary to go through the steps of blocking out a scene if you're using mostly still or single-motion camera shots, but for complicated shots that use several sequences of motion without cutting, blocking a scene is imperative if you want to get things looking really smooth and professional.
The process of blocking a scene comes from the term used in theatrical productions to position the players on stage during a scene. In filmmaking it also encompasses their position within the frame of the camera, and thus the camera's movement and position are affected by it as well. Its derivation comes from a director in the 19th century who used actual blocks to work out the positions of his actors on a miniature stage before the live rehearsals took place.
Play Introduction to Blocking Video
Directing Talent
You will need to lead, provoke, and inspire your talent to get good results.
People who aren't used to being on camera have a difficult time pretending it isn't there and it isn't pointed right at them, but that's exactly what you have to get them to do if you want to bring out a believable performance in an inexperienced actor.
It's true that the classic line, "what's my motivation?" is often used satirically. Isn't that what you should be offering to the people in front of your camera, though? You owe it to them to explain who their character is, what they're like, where they come from and why they do what they do, regardless of whether your genre is comedy, drama, action or anything else.
The typical reaction of a person who is put in a situation where they feel uncomfortable is to do something that breaks the tension they feel. Some people can't stop smiling, or laugh uncontrollably and get red in the face. Others goof off and turn everything into a joke so nothing gets done. More shy people may clam up and feel like they aren't able to express themselves in any way but by delivering quiet, monotone lines.
Start with the no-brainers - tell them to relax, stretch, take a deep breath. Tell them to jump up and down a few times, shake it off. Take charge as much as possible.
Keep the camera pointed at them regardless of whether it's on or off. In fact, tell them that you're going to do a practice run-through of the scene or shot just for the purposes of blocking the scene, but then actually record it. Make sure you cover up the red "recording" light on the camera if you do this.
Mise-en-Scène: Slow Down, Don't Be in Such a Hurry!
All the things that are "put in the scene": the setting, the decor, the lighting, the costumes, the performance etc. Narrative films often manipulate the elements of mise-en-scene, such as decor,costume, and acting to intensify or undermine the ostensible significance of a particular scene.
All of film dialectics recall the initial division between the Lumière brothers and Georges Méliès: the Lumière brothers were the realists; Méliès was the expressionist. The Lumières favored mise-en-scène, Méliès montage. To this day, a belief in pure mise-en-scène has been associated with realism while montage has been the tool favored by expressionists. There are great filmmakers on either side of the debate. See the next activity and below for the resource Georges Méliès - A Trip to the Moon (1902) as the example the expressionist style.
Montage: The Whole Is More Than the Sum of the Parts
Real life happens as mise-en-scène. You can't edit real life. But you can edit film: you can put this image next to that image, one shot opposed to another. You can move from one sequence to another far removed in time and space, with the simple effectiveness of a razor blade and some glue (or their infinitely easier electronic equivalents).
Play the video: Mise-en-Scène Montage Mashup to get the students oriented.
Does anyone remember a scene from a movie or show that had a particularly strong mise en scene?
All of film dialectics recall the initial division between the Lumière brothers and Georges Méliès: the Lumière brothers were the realists; Méliès was the expressionist. The Lumières favored mise-en-scène, Méliès montage. To this day, a belief in pure mise-en-scène has been associated with realism while montage has been the tool favored by expressionists. There are great filmmakers on either side of the debate. See the next activity and below for the resource Georges Méliès - A Trip to the Moon (1902) as the example the expressionist style.
Montage: The Whole Is More Than the Sum of the Parts
Real life happens as mise-en-scène. You can't edit real life. But you can edit film: you can put this image next to that image, one shot opposed to another. You can move from one sequence to another far removed in time and space, with the simple effectiveness of a razor blade and some glue (or their infinitely easier electronic equivalents).
Play the video: Mise-en-Scène Montage Mashup to get the students oriented.
Does anyone remember a scene from a movie or show that had a particularly strong mise en scene?
The file below is an Overview and Examples of Mise-en-scene
miseensceneoverviewandexamples | |
File Size: | 477 kb |
File Type: | miseensceneoverviewandexamples |
Assignment
Step up to the challenge of these great dirctors by creating a film based on the same criteria they were challenged with (minus the 100 year old camera). For this activity students will create a short video in the mise-en-scène style used by the Lumières and others. The following criteria is required to get full credit:
How to Read Film, James Monaco
http://www.readfilm.com/
Yale Film Analysis Web Site 2.0
http://classes.yale.edu/film-analysis/htmfiles/mise-en-scene.htm
Lumiere and Company (Lumière et compagnie)
Information: http://www.imdb.com/title/tt0113718/
Buy the video: http://www.amazon.com/Lumiere-Company-Patrice-Leconte/dp/1572522119
- Video is exactly 52 seconds in length (that was the length of a single film spool back then).
- It depicts an ordinary, everyday scene.
- There is no editing in post.
- Stationary camera placement on ground or on rolling platform (you can't tilt, pan, or zoom the camera).
- Use natural light as much as possible and supplement where needed with artificial light to enhance the scene.
- A-synchronous sound and music only (no sound recording at time of filming on the camera microphone).
- Only three filmed takes are allowed (unlimited rehearsals are permitted).
- Students should only look through the camera viewfinder of LCD monitor to set up the shot. Once the filming starts, the camera person is not allowed to look at the viewfinder or LCD display on the camera (this emulates how the old crank cameras used to work).
- Demonstrated understanding of the use of mise-en-scène: the natural look of the setting, the decor, the lighting, the costumes, the performance, the space.
How to Read Film, James Monaco
http://www.readfilm.com/
Yale Film Analysis Web Site 2.0
http://classes.yale.edu/film-analysis/htmfiles/mise-en-scene.htm
Lumiere and Company (Lumière et compagnie)
Information: http://www.imdb.com/title/tt0113718/
Buy the video: http://www.amazon.com/Lumiere-Company-Patrice-Leconte/dp/1572522119