Hollywood and American Film: Early American Cinema
Hollywood and American Film: Early American Cinema CNPH 21400
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This 3 page Class Notes was uploaded by asmith28 on Saturday January 9, 2016. The Class Notes belongs to CNPH 21400 at Ithaca College taught by Andrew Utterson in Spring 2016. Since its upload, it has received 136 views. For similar materials see Hollywood and American in Film at Ithaca College.
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Date Created: 01/09/16
Hollywood & American Film: Early American Cinema Lecture 1 n o i s s e c c u s k c i u q n i d e y a l p s e g a m i s e t a t s e c n e i c S & t r A : s m u i d e m : r u c c o e p o c s a t i V e h t r e t f a l l u f s e e s a c i r e m A : s n o s a e r 2 r o f d i p a r o s Film Screenings: Eadweard Muybridge - (1877) Early ideals of motion capture Kinetoscope - (1894) Sense of familiarity (home ﬁlms) A novelty “narrative” is introduced (see: seminary girls) Lumiere ﬁlms - (1895) “documentarian” in style A sense of experience (for someone who has never seen the movement of a lion they now can) A Trip to the Moon- (1902) Introduction of the narrative Constructed (set,costumes,actors) Adds spectacle through editing Travelogue - (1897-1910) True documentaries —> Sense of experience (see early ﬁlms) The Great Train Robbery - (1903) Film Language expands (narrative and editing) culturally more representative (compare: Trip to the Moon) Use of Planes of Action When the fourth wall is broken —> critics argue: genius or mistake? Corner in the Wheat - (1909) Emphasis on Acting (see: vaudeville) softer light (compare: Lumière) Depth of Field Symbolism more intricately woven into narrative (meta-narrative of cultural values) Musketeers of Pig Alley - (1912) More intricate set Words (written) are driving narrative Allows for a more complex story Space is being played with (see: going through doors to multiple connected locations) Heteronormative reconciliation (may form base for formulaic hollywood) **Disclosure: The above is based off of a subjective analysis of the ﬁlms presented. Furthermore, it is used to exemplify the means by which the ﬁlmic language grew. Each ﬁlm presented adds or builds off of the previous ﬁlm analyzed. Films may contain multiple ideals but if discussed in a prior ﬁlm the ideal is subject to isolation. **
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