In early 1895, Auguste and Louis Lumiere had invented the Cinematographe. The Cinematographe was set to compete with Edison’s Kinetograph. The Cinematograph used a film speed of 16 fps (frames per second) which meant that less film was used. Edison's device the Kinetograph was much more faster, using 46 fps. The brothers begun experiementing with moving images using the Cinematographe.
Melies witnessed the Lumiere brothers reveal the Cinematographe in 1895. He approached the brothers, hoping that he would be able to buy the device from them. Sadly,they turned him down.
After experimenting with their new device, the Lumiere Brothers privately screened their very first film documentary.It was called Workers leaving the Lumiere factory. The film was screened in Lyon at the Grand Café.
After being unsuccessful in purchasing the Cinematographe from the Lumiere brothers, George Melies begun looking into moving pictures. He went to London to find Robert Paul. Paul had created a device that combined a camera and a projector.Soon after, Melies created his own camera and projector device.
On january 1896, the Lumiere brothers released the film, L'arrivée d'un train en gare de La Ciotat (Also known as the arrival of the train). It was a 50 second silent film which showed a train stopping at a train station in France. The Cinematographe was positioned in a way in which the train looked like it was coming out of the screen.This lead to a strong reaction from the audience and they ran to the back of the room. It was overwhelming for the audience.
One day, Melies was filming in a street. While he was filming,his camera device jammed. It took him a couple of seconds to fix the issue. Later on, after processing the film, Melies was surprised by what he saw. The Bus that he was filming on the street turned into a hearse. Melies discovered that he could manipulate time by using this technique. He later went on to develop and test out this new technique.The technique is now known as a jump cut.
George Melies pushed what seemed to be the limit of film-making at the time. He was the first to include actual storylines in his films, unlike the Lumiere brothers. Melies also created the idea of using film sets.
While experimenting with his own films,melies created what would be known today as transitions. He created the Fade in and Fade out transitions. It was because of these "special effects" that he was known as a illusionist. Melies also created overlapping dissolves and the idea of stop motion photography.
In his film the haunted castle, Melies used Jump cuts to create disappearing and appearing effects.
When filming "the trip to the moon" Melies never moved the camera. He mounted the camera to the set and moved the props closer to the camera.
Edwin S. Porter, who worked in The Edison Manufacturing company took inspiration from Melies's work. This inspiration led him to create his own film called "the life of an american fireman"
Porter's first film used aspects both from the lumiere brothers and Melies's films. Porter created his own narratives by using stock footage. In the "life of an American Fireman" Porter often broke continuity by using temporal overlaps. For example in the scene where the fireman slides down the pole.
Having learned from his first film, Porter's Next film was more improved. For example Porter cut to different shots without using fades and other transitions. He was also selective with the different shots he used in one whole scene. An example of this is when the train is departing the station. Porter had taken the techniques he had learned from past film-makers and added his own techniques and knowledge to his films. By learning how to film (Lumiere) and create a story (Melies) Porter was able to further understand film making. This allowed him to come up with the idea of manipulating time in a scene. He learnt that arranging shots in a scene created meaning to the story.
D.W. Griffith was hired by Edwin S.Porter to star as the lead role in the film "Rescued from an Eagles's Nest (1908)"
After becoming a failed writer, Griffith was hired by Porter to star in a film. Griffith drew the attention of a production company called Biograph. Griffith was hired by Biograph as a director. This was when his film-making career started.
Griffith directed the film, the adventures of Dollie. This was the first film he directed. Griffith continued making films for Biograph.
In Griffith's film The Greaser's Gauntlet (1908), he created and used the cut-in transition.
Some of Griffith's Continuity Editing techniques included the Establishing shot, Shot Reverse Shot,Eyeline matching and Match on Action.
Griffith had built on what the other film-makers before him had done, and created a brand new concept, known as Continuity Editing. This is cutting to another shot in a way that maintains continuity in the film. This way of editing allowed Griffith to come up with the 180 degree rule. Griffith also created the idea of using Multi camera production. Cross Cutting, which was developed by Griffith was used in his films. This was cutting between two different scenes that were happening at the same time. Griffith often manipulated the pace of editing so that he could build the tension in his films. One example of this was in his film The Lonely Villa (1909)
Lev Kuleshov was given permission by the moscow film school to create his own group. This was known as the Kuleshov Workshop.
Griffith's last film Intolerance (1916) was shown for the first time in Moscow. The film caught the attention of Moscow. It became the most influential film in Moscow. Kuleshov started to study intolerance in his workshop. Kuleshov's workshop dissected Griffith's style of editing, they even went as far as to deconstruct the shots and reassemble them in different ways. This was to see the impact that different shots had. After doing all of this, Kuleshov was ready to test out what he had learned from D.W. Griffith's work. Kuleshov would begin to build from what Griffith had done and create his own unique way of storytelling.
Kuleshov created something called the Kuleshov effect. It was a theory that Kuleshov had tested. It stated that two shots that were unrelated could be put together to created meaning to audience. Kuleshov concluded that the meaning of a film was not only built purely on space and time,but the arrangement of shots in scenes of the film.
Montage editing was a totally different way of editing film. Unlike Continuity editing, montage was designed to create meaning to audience. A man called Sergei Eisenstein took Kuleshov's theory of Montage editing and built off it. Once again, the torch of filmmaking had been passed over to another person,who would become one of it's most important and historical figure ever.
Both Griffith and Eisenstein played significant roles in early cinema and the development of editing. However both had very different approaches in discovering ways to edit. Griffith was more practical in his ways of creating continuity techniques in his films. Griffith had developed continuity editing through practise. Griffith used editing techniques to create drama and entertainment in films. Eisenstein developed Montage editing through theory. He used Montage to make the audience think about what they were watching,creating meaning for the audience. In a way,it could be argued that Eisenstein was heavily influenced by his time in the Kuleshov workshop and the communication of propaganda after the civil war in Russia. His films were often about political issues. One could even go as far as to say that Montage editing back in Eisenstein's time was born from political propaganda.
Alfred Hitchcock born in London, worked in engineering before he first entered the film industry in 1920. He was employed by Islington studios (owned by Famous Players-Lasky Company). His role in the company was to design title cards for silent films. Years later, Hitchcock was working as an assistant director. He would then go on to direct his first film in 1923. Hitchcock was known as an Auteur. He often incorporated his own signature styles in his films.
The first film that Hitchcock directed was called Always Tell Your Wife.
As Hitchcock started to direct more films,he became known for making Thrillers films Worldwide.Hitchcock was known as the "master of suspense" . This was because he was very good at telling stories. In 1939 Hitchcock went to Hollywood to continue his film career.
Battleship Potemkin was one of Eisenstein's most successful films. Battleship Potemkin was Eisenstein's first test of montage editing. The film quickly became an international success, proving that montage editing worked.
Eisenstein created 5 methods of montage that he often used in his films. Metric montage- cutting to the beat. Rhythmic- editing to the pace (building up) Tonal montage- changing shots to tone. Over-tonal- This is combining rhythmic and tonal aspects. Intellectual- This was the type of montage that Eisenstein typically used in his films.This makes the audience think more( creating meaning)
As the years passed, The war between Continuity editing and Montage was becoming lopsided. Continuity was becoming more and more dominant. This was partly because western audiences preferred continuity editing. This was because it was used to tell a story for entertainment and to create an emotional impact. Montage editing was used for propaganda and to create meaning. Because of this, Montage editing did not particularly fit in with America's way of thinking when it came to film-making. This resulted in Montage editing becoming an alternative way of editing. However montage editing was not completely dismissed. Hollywood Continuity would later on absorb the concept of montage editing. This was called Hollywood montage.
The years from 1950 to 1960 were known as the modern period. This is the period that was also known as the age of the Auteur. An Auteur is an Artist who has an individual style. The events that were taking place during this period had caused a dramatic change in flimmaking. This was especially true in America. The culture in America was changing. Women were no longer bound by Husbands, The Civil rights movement was becoming more successful and the concept of freedom had dominated America. As a result of all of this, Films in America were changing to reflect this sudden change in America.
Jean Luc Godard was born in Paris in 1930. While studying at University, Godard became interested in the film culture of Paris.He would often attend film screenings. In the 1950s, Godard begun publishing film criticism. Godard would later on play a significant role in the "New Wave" of French filmmaking. (Nouveau Vague) Godard drew influence from Hitchcock's way of film-making.
Discontinuity Editing is the opposite of Continuity Editing. Rather than hiding mistakes and making everything flow well,Discontinuity editing is used to break continuity.
The word "Nouveau Vague" is french for "new wave". This was a period where french film-makers were making films as an art-form, and not for entertainment. Like America,this was also a period of change for french film-makers. It was clear that continuity editing had already won it's battle against montage editing. While one battle was over, another would begin. The battle between Hollywood film-making and the French artistic film-making. America begun releasing lots of Hollywood films, mostly for entertainment and to sell the propaganda of the American dream. This lead to America being associated with freedom. France did not like the fact that America were releasing these Hollywood films. This was because France felt as if America had taken their style of film-making and changed it. America had abandoned the unique meaning behind film-making. America was also making more money off films than France (who created film in the first place) France begun to oppose America along with it's continuity editing. They developed the concept of Discontinuity editing. France used discontinuity to break the rules that America had established. The rules that said how a film "should" be made in the eyes of America. France thought that films were becoming too predictable because of America.
Breathless was Godard's most influential film.He combined genres such as romance, violence and humour. He also used discontinuity editing, mostly in the form of jump cuts. The purpose of this was so that he could be unconventional. He wanted the film to be different from typical Hollywood films He wanted the the audience to question what they were watching. Using jump cuts was Godard's way of bringing artistic flare to his films. Godard even used non-Hollywood stereotypes in the film Breathless. For example in the trailer, montage is used to introduce the characters of the film. Godard uses the pretty girl stereotype instead of the using the damsel in distress.The use of jump cuts would later become Godard's artistic signature.
Psycho became one of Hitchcock's most iconic films. The film was ground breaking in terms of film-making. Hitchcock merged Montage editing with Continuity editing. In the Shower scene Hitchcock used 3 of the 5 types of montage. He used Metric,rhythmic and intellectual montage. Intellectual montage is used towards the end of the shower scene when the women falls. A cross- dissolve is also used between the shot of the plughole and the women's eye. This suggests that the women's life has run out or run down the drain. The fact that there is blood in the scene signifies this. Psycho shows that Hitchcock used montage but without the political meanings behind it. Montage was used in psycho by Hitchcock as an artistic style to make this particular scene more intellectual. In many of his films,Hitchcock used Camera and editing to tell stories, similar to D.W. Griffith's way of telling stories in films.
Stanley Kubrick was born in New York City. Early on Kubrick worked as a photographer for Look Magazine. He later begun exploring film-making in the 1950s. Kubrick was heavily influenced By Godard's work. This was because like Godard, Kubrick wanted to make films to be an artitst (Auteur). He believed in "art" cinema.
In 2001 Space Odyssey, Kubrick used discontinuity editing that was created by the french. This was partly because he was influenced by Godard, and wanted to be an Auteur. For example, Godard used Jump cuts and Match cuts to break the illusion of time and space. He does this in the scene where the ape throws the bone in the sky. The bone stays in the sky and then jump cuts to outer space. The purpose of this was to show the evolution and the dawn of man. Kubrick used discontinuity editing, not to oppose continuity, but to make it entertaining in Hollywood. 2001 Space Odyssey lacked dialogue, so it had to rely on visual elements. This allowed the audience to focus on Kubrick's artistic way of editing instead of the story-line. By doing this, Kubrick brought something new and different to the film. Kubrick also drew influence from Lev Kuleshov by using the Kuleshov effect. One example of this is the scene where Dave is talking to Hal 9000. The camera cuts between Dave and Hal's face to create meaning from their facial expressions. Even though Hal is a robotic machine with no emotions, Kubrick uses the Kuleshov effect to make Hal 9000 appear threatening. He brings Hal to life.
In Clockwork Orange, Kubrick once again Incorporated the Kuleshov effect, that was created by Lev Kuleshov back in the year 1916. Kubrick used this effect to create meaning.
This is the period from the year 1990 to the present day. The contemporary period marked the definite end of the war between continuity editing and Montage editing. It also ended the war between art cinema and Hollywood cinema. The film-makers of this time begun to use montage editing and discontinuity editing within their continuity editing sequences. This was often done to bring style to films. Film-makers of this period still believe in being Auteurs and bringing creative flare to films.
Born in Knoxville,Tennessee 1963,Quentin Tarantino grew up as a film enthusiast. He moved to California at the age of 4 where he developed his love for film. Tarantino hated school, and often spent his free time watching movies. Although he hated school,Tarantino enjoyed studying history. Eventually Tarantino dropped out of high school. A couple of years later, Tarantino landed a job at Video Archives(VA) in Manhattan Beach, California. During his time at VA, Tarantino came up with lots of script ideas with fellow colleagues. His creative ideas helped him write screenplays, such as True Romance and Natural Born Killers. Later on, Tarantino left Video Archives to work for a production company called Cinetel. It was there that he made his his directorial debut with Reservoir Dogs (1992) which he also starred in.Till this day,Tarantino still continues to make films.
The first film that Quentin Tarantino Directed. He also wrote the screenplay for this film.
Pulp Fiction is another film by Tarantino. It is a comedy and crime film. In the Adrenaline needle scene, Tarantino edits the pace of the scene. When the man is preparing the needle (1:30-1:35) the pace of the scene is slow. Tarantino does this to create and build tension. The pace quickens when the man finally injects the needle into the women's neck (1:43-1:47) Tarantino also uses close-ups to emphasize that the man is going to do something that could possibly be dangerous.
In the Kill Bill film series, Tarantino's creativity is on full display. He uses various editing techniques to create a parody- like film of 90s kung fu movies. He uses hollywood and common stereotypes to create humor. For example, Tarantino uses a character from new jersey, and throughout the films creates the impression that she is lazy and rude. This is often a stereotype of new jersey women. The Kill Bill film series is an example of Tarantino merging film genres. For example in the Kill Bill film series, Tarantino merges martial arts action with Adventure and comedy. In the kung fu training scene in Kill Bill Volume 2, Tarantino uses editing techniques to create pace and rhythm. The fighting is being edited to the movement of the fight. Tarantino also combined shots into sequences to create a continuity sequence. Tarantino was able to create and build a continuity sequence by using montage techniques.However like Alfred Hitchcock, Tarantino did not use Montage techniques for political reasons or to make the audience think. He used these techniques to create an interesting and artistic fighting scene. He used them for entertainment. Later on in the scene,Tarantino uses discontinuity editing. Tarantino deliberately breaks continuity.(0:36-0:41) He breaks continuity by breaking the 180 degree rule. The purpose of this was to give the impression that the story and film is not realistic.Tarantino wants the audience to see that the concept of the story and film is fake,that it is a staged fantasy. The fact that one of the characters is standing on a sword (0:20-0:26), hints to the audience that it is a fantasy story. By doing all of this,Tarantino, in a artistic,creative way, breaks the illusion of realism. The creative way in which Tarantino thinks, shows that he was influenced by film predecessors, especially the Auteurs in the modern period. One might even argue that Tarantino is a modern day Auteur.
Once again,Tarantino combines styles from different genres to create a parody-like fantasy film.In Inglorious Basterds, He merges Action/Adventure with comedy. Tarantino has become known for his merging of genres. It has become somewhat of a signature/artistic style for him. In inglorious Basterds, Tarantino uses Hollywood montage to introduce a character. The montage that is used in the scene is Rhythmic. Tarantino uses montage in this scene to show the passing of time (hollywood montage)
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