Film Industry History

7/23/2019 Film Industry History

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The History

of Cinema

Movie making & theorganisation of theIndustry

Achievement

Standard 90599


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90599Demonstrate understanding of a

seci!c media industry

"#$ain and ana$yse ho% a seci!c mediaIndustry is organised and contro$$ed.

You are required to perceptively analyse the role of:

at least one important feature and/or one key personwithin the organisation of the industry.

At least one important internal or external control thatoperates within or over the industry.


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90599Demonstrate understanding of a

seci!c media industry This unit %i$$ revie%

The history of lm!making

The development of the"tudio system

The organisation of the"tudio ! #anagement $%inancing.

The roles& responsi'ilitiesand relationships in thelm!making process.

The production process

(ey )ersonnel

*elationships

The +ontrols ,the systemchecks $ 'alances -

nternal

xternal

A +ase "tudy ! Themaking of 0


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The "even Ages of %ilm

'ioneering Age

()9* + (9(,

-rom Sidesho% toArt -orm


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The Si$ent Age

(9(. + (9,/

The emergence ofHo$$y%ood

or$d ar I andthe e#odus from

"uroe


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The TransitionAge

(9,)+.,

-rom Si$ent to

Sound


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The Ho$$y%oodStudio Age

(9., + (91*

Domination 2y

the Studio3enre movies

or$d ar II


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TheInternationa$ist

Age(91/ + (959

Ho$$y%ood Studio

dec$ine

The cha$$enge ofT4


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The e% ave Age

(9*0 + (9)0

-rom -rance to the%or$d

Techno$ogica$innovation

Sma$$ sca$eroductions

Strong socia$ 6 o$itica$va$ue to !$m7


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The Mass Media Age

(9)0 + resent

-i$m & movies asart of the g$o2a$entertainment 6communications

mediaDigita$ roduction


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'ioneering Age

()9* + (9(,

-rom Sidesho% toArt -orm


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1istory

#echanisms forproducing movingimages had 'een

demonstrated fromthe 2345s. !6eotropes

praxinoscopes

kineoscopes


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1istory

These relied on the7persistence ofvision8 to provide

an illusion ofmovement if theimages were movedat su9cient speed

past the viewer.


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1istory

The development of the motion picture proector andlm stock allowed the development of lm.

arly motion pictures were static shots showing an eventor action with no editing or other cinematic techniquesas this series showing a nude walking demonstrates.


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1istory

arly lms were a visual art until the late 2;th centurywhen they developed into a narrative with a series ofscenes linked together to tell a story.

"cenes were 'roken up into multiple shots of varyingsi6es and angles.

+amera movement was used to add to the storydevelopment.

#usic was used to create mood using a pianist / organist

using either sheet music or a score as theyaccompanied the screen action.


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-i$m History

The rst audience toexperience a moving lmdid so in 23;orkersleaving the =umiere%actory ,23;


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-i$m History

August ,234@!2;


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-i$m History + Me$ies

*ealising the potential ofa good story ?eorge#elies

, 2342!2;B3- utilised lm tocreate fantastic stories

that took his charactersand audiences to themoon and 'eyond.


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The changing rocess of cinema

The changes in lm

process involve severalfactors.

?eorge 1uaco indentiesfour factors:

2. +urrent events $achievements. ,political

climate-@. The creativity of the lm!

makers who inCuencedthe team of crafts!peopleinvoled in the lms.

B. The technical

developments that could'e exploited.

. The capacity of a su9cientaudience to appreciate theresults.


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The Si$ent Age

(9(. + (9,/

The emergence ofHo$$y%ood

or$d ar I andthe e#odus from

"uroe


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Changing rocess of cinema The division 2et%een !$m and

movie creates t%o vie%s of

8ua$ity and urose7 #DE" F This is a commercial

diGerentiation F popularentertainment with a masscirculation of copies of the movie.The audience 'eing largely passive.

. The product of an industrydominated 'y the producer ,money-in which there is no individual lm!maker 'ut a team under theproducerHs control. ,The studiosystem.- The director is hired tocreate the movie from the script. Thenal version is& however& theresponsi'ility of the )roducer andditor.

The director of a movie is known as:metteur en scene F an interpreter ofa score / script.


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'rogressions + The Si$ent -i$m

%ilm makers experimented with the use of the camera to developnew techniques that would enhance their a'ility to tell a story.

2;2B: ?iovanni )astrone ,Ca2iria- moved his camera laterallyand slightly a'ove the level of the forreground thus changing theperspective of the audience from that theyHd previously had in

the =uniere lms. 2;@B: +arl #ayer directing ast aughfor %.>.#urnau

proposed a forward movement of the camera at dramaticmoments as if to thrust the audience into the action.


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'rogressions + The Si$ent -i$mThe "an #ho e$ploited this change #as %.&. Griffith (18'

19)8. *SA! #hose fil" +The ,irth of a -ation (191)! createdan e$plosie e$a"ination of the deelop"ent of the A"erican

nation fro" the Ciil &ar.

The fil"s until then #ere

narratie and anecdotal this

follo#ed seeral threads ofnarratie the friendly fa"ilies

in the -orth / South0 political

eents in &ashington0 #arfare

#ith friends in opposite ca"ps0

e$ploitation of the South0 #hite/ lac20 carpet aggers fro"

the -orth and the rise of the 3u

3lu$ 3lan.


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'rogressions + The Si$ent -i$mGriffith4s success #as also his undoing. 5is fil"s Intolerance

The Mother & The Lawand The Fall of Babylonput hi" intodet. As a result 6inanciers ceased to regard the fil""a2ers as

the 2ingpins of production and decided to uild up the fil"star in

their place to put control in the hands of the producer0 aided y

his tea" of organisers and #riters. (The 5olly#ood syste"!.

This faoured the "oie oer the fil" and reduced the ris2 for thean2s.

7t also "eant that the actor#as out of place in the "oie #orld as

his her ersatility #ould "a2e the" unrecognisale and

therefore alueless co""ercially.,ut they also introduced the langage (french #ay of spea2ing!

of the fil" long shot "id shot closeup and their

ariations.These ter"s allo#ed the editor to construct a "oie or

fil" to produce identified reactions fro" the audience.


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'rogressions + The Si$ent -i$m -77Marnau,2333!2;B2- inCuenced the

lm making process with the introduction ofthe design tool ! the story'oard. This is ascript visualised 'y drawings of every 'asicchange of camera angles in the lm.

#arnau was inCuenced 'y the swing to the

right in ?ermany post >/> where 'usinesstook advantage of the high inCation rate tomass produce lms at cheap rates.


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'rogressions + The Si$ent -i$m The story'oard design focus introduced techniques like 7visualpunning8 that ,e.g- involved showing the passage of time 'y

tracking towards a candle Came then dissolving into a lightedgas et or electric 'ul' from which they would track away to thenext sequence of the story.

This technique was replaced 'y nouvelle vague that introducedump cuts to show or allow the passage of time and space.

This was known as 7kultur!lm8 in ?ermany.

>orld >ar signaled the advance of the movie from the I"A.

This was 'ecause while urope was ghting a four year longwar& costing 25 million dead& the Americans only fought for sixmonths at a cost of 22


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The TransitionAge

(9,)+.,

-rom Si$ent to

Sound


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The Advent of Sound

"ound and lm were slow toaccommodate each other.

"ound technology wasclumsy and di9cult to link

to the speed of the lm. "ound made it di9cult to

lm in the open air& to lmwithout interfering withlighting& without interferingwith the way the actors

spoke and with the num'erof cameras a'le to 'e used.

"ound forced lm to adaptand develop new narrativetechniques.


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Sound Historica$ events and

the sound !$m7

The depression ,2;@;!Belles2;2-


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The Ho$$y%oodStudio Age

(9., + (91*

Domination 2ythe Studio

3enre movies

or$d ar II


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History

The increased costs of movie / lm making had createdthe "tudio system with its complex nancing and controlsystems designed to ensure that the mix of expensivetechnology& cast of actors and associated techniciansand nanciers would return a prot.

The previous slides outlined the technical developmentsand their links to the "tudio system.

The period 2;@5!


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History

The period 2;@5!


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History

"tudio a factory for lmproduction.

Technicians& Kirectors andactors all on salary and

expected to work as required'y contract.

Kirectors expected to producelms compared with modernsystem where a Kirector mayonly make one lm a year.

e.g. Letween 2;B5!B; the 'igdirectors: +urti6 made lms ,>arner Lros -& =eroymade B4 and Mohn %ord made@4.


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History

"tudio system meant thatKirector had little controlover nal product as nalediting was done 'y post!production unit with "tudioexecutives often making naldecisions.

:"S;T

"tudios had recognisa'le styles:

#?# ! glossy production valuesN middle 'row content.

)aramount F uropean

Iniversal F 1orror

*epu'lic F >estern


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History

This meant that lms across allstudios had intellectualconformity that reCectedpu'lic concerns& shared

myths $ mores as the lmswere designed to t into themarket rather than reCectthe concerns of theKirectors.


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1istory

or$d ar II"tudios 'ecame

propaganda machines for

the >ar Gort.%ilms patriotic and focused

on concerns of those onthe home!front as theyworried over those on

the 'attle eld as thestills from 7-reedomComes High


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TheInternationa$ist

Age

(91/ + (959

Ho$$y%ood Studio

dec$ineThe cha$$enge of

T4


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1istory 2;O!> delayed the TE age'ut post war the threat ofTE re!emerged.

2;4!


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1istory 2;O!arner Lros "tudio.

Kecca *ecords 'ought outIniversal.

#+A 'ought )aramountHs'ack catalogue then Kecca&

then Iniversal. ?ulf $ >estern 'ought

)aramount "tudios in 2;43.

Transamerica took overInited Artists.

*"I=T: +onglomeratesdominated the I" %ilmindustry 'y the end of the745s.


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1istory 2;O!


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The e% ave Age

(9*0 + (9)0

-rom -rance to the%or$d

Techno$ogica$innovation

Sma$$ sca$e

roductionsStrong socia$ 6 o$itica$

va$ue to !$m7


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-rench Cinema + the-rench Cinema + the

art formart form


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Jew >ave 2;45!35

The death of the "tudio systemhad international eGectsallowing the

re!emergence of competition

from urope ! particularly"weden&%rance and Lritain.

The collapse of the "tudio"ystem also encouraged the%ilm %estival circuit giving ascreen to lms made

outside of the I"Aconglomerates.

The Jew >ave allowedthe nascent uropean%ilm industry a time torecover from the I"

domination that hademerged as a result of>>.

1owever the resurgenceof I"A post 2;35 meantthat uropean lm!makers moved into TEproduction ! particularlyin the I(.


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The Mass Media Age

(9)0 + resent

-i$m & movies asart of the g$o2a$entertainment 6communications

mediaDigita$ roduction


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1istory! The #ass!#edia age

2;35 !@555NThe gro%th of the Cong$omerate in the (950+/0 eriod a$$o%ed for the emergence of Mass+

Media industry7

:"M"M=": that

2- A hori6ontal control of the media with the #edia +onglomerates a'le to exploit %ilm& TE& Looks& +K&record& KEK pu'lication for mass prot.

@- ndividual contracting systems for 7talent8 rather than salaried staG favoured 'y the "tudios. Actors&Kirectors& Technicians contracted for single movies.

B- The advent of the 7Llock'uster8 disaster genre as the +onglomerates look to mass saturation marketingand maximised prot.

- "maller )roduction houses move into specialised niche audience orientated lms e.g >oody Allan

This has changed the face of the %ilm ndustry ! particularly in terms of production and distri'ution.


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1istory! The #ass!#edia age

2;35 !@555N #odern %ilm industry has cross fertilisation from other nationalities8

industries: e.g. ndia& Asia $ Australasia.

xamples of lms: =ride & 're>udice: Lollywood interpretation ofclassic nglish text 'ride & 're>udice. A similar cross fertilsationhappened with 4anity -air.

Matri#utilised eGects from Asian lm: Crouching Tiger HiddenDragon7

;tu& a JP lm& was eGectively a >estern transposed into a JP setting.


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*eferences

e2+2ased

>ikipedia ! 1istory of %ilm ! this site has numerous hyper links to specic sites on "tudio "ystem andinternational lm industry.

Te#ts

1ow to *ead A %ilm: #onaco. DI). 2;32

"tudying the #edia: DH"ullivan& Kutton $ *ayner. DI). @55B

"?T S"@;"C"

The "tudio "ystem in Action 2;B5!

Film Industry History

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