U31

LO1.1-3 / LO1.2-31

The first form of editing and film technology began in the 17th century with the use of magic lanterns. This then got the ball rolling forming into the first still photograph taken using a glass plate technique, in 1827 by Claude Niepce [1]. This then moved onto the Phenakistoscope (1832), then to the Zoetrope (1834), on to Henry Fox Talbot making an important advancement in photograph production with the introduction of negatives on paper [2] in 1839. 1846 was an important year in the development of the motion pictures [3] with the invention of the intermittent mechanisms. Emile Reynaud brought out the Praxinoscope in 1872- an illusion device that was similar to the Zoetrope. In 1878 Eadweard Muybridge after five years has success of capturing movement, adapting the Zoetrope to produce his Zoopraxinoscope [4]. In 1882 Etienne Jules Marey inspired by Muybridge's animal locomotion studies [5], made other rapid animal movements.

The real movement of film and editing technology began in 1888 when a man named George Eastman creates a still camera which produces photographs on sensitized paper [6] with the brand name Kodak. In the same year Etinne Marey builds a box type moving picture camera [7], that uses strips of paper film. Also in 1888 Thomas A. Edison and W.K.L Dickson began preparing their work for their Kinetograph camera and Kinetograph viewing box; which was completed in 1891- using Eastman film cut into wide inch strips [8] then holes were punched so that toothed gears to pull the film through the camera [9]. In 1892 Reynaud used his Praxinoscope to hold exhibitions using long strips of hand-painted frames [10]. By 1893 Edison and Dickson built their studio in New Jersey using their kinetoscope to produce films and was ready for film production at the end of January [11].

The Lumiere family, were the largest manufacturer of photographic plates in Europe in 1894. In the same year Lumiere brothers Louis and Auguste were approached to make cheaper films- leading to the creation of a device called the Cinematographe; that was both a recording device and a projecting device [12]. The Cinematographe used flexible film cut into 35mm wide strips [13], but also used intermittent mechanism modeled on the sewing machine [14]. Although Edison used 46 frames per second the Lumiere brothers used 16 frames per second. By 1895 the Lumiere brothers had went on to shoot their first short film- on the Cinematographe camera- known as La Sortie de l Usine Lumiere a Lyon (Workers leaving the Lumiere Factory at Lyon) [15]. This film was just a static, set, long shot of workers leaving the factory. Lasting only 1 minute and 55 seconds, the piece has no narrative or story or no edits. The Lumiere brothers without knowing were creating films that would go on to inspire other directors like Meiles or Porter to create a films that arent just positioned to one shot and can be cross cut to multiple shots.

In 1902, the technology of editing and filming had moved on to a more complicated form that the Lumiere brothers. French director, George Melies creates his film Voyage to the Moon in 1902- a fifteen-minute piece written by Jules Verne and H.G Wells [16]. This film was a first for its time with its interesting sci-fi fantasy sets and theme. Meiles expressed innovative special effect techniques [17]. Throughout this film Melies was the first to use editing techniques such as fade ins and outs but also the dissolve to create the first real narrative films [18]. Meiles work held continuity editing, a first of its time and special effects that would go onto inspire other directors.

The following year Edwin S. Porter, a young director and cameraman for Edison Manufacturing [19], went on to create two films that year- Life of an American Fireman and The Great Train Robbery. In both these films Porter set out to develop a modern concept of continuity [20]. Throughout the making of these films Porter discovered that, the unit of film structure was the shot rather than the scene [21]. Porters style of editing, with its cutting and continuity proved that film didnt have to be one long shot and could be made into a story told on screen.

By the 1940s, editing had moved on a great amount; such as styles like the soviet montage, cross cutting and continuity. Technology also moved forward as in 1923 the first TV was made by John Logie Baird; in 1927 was the first time there was a broadcasted TV show- Man with a Flower in his mouth. Camera equipment was becoming bigger and lenses were being created so that directors could get better focus and shots.

In 1915, director D.W Griffiths brought out a film named The Birth of a Nation, the film involved camera and editing techniques of panoramic long shots, iris effect, still shots, cross cutting and panning shots [22]. This was highly creative at its time and was a large movement in the style of filming and editing. This film went on to inspire films of today.

In 1948, Italian director, De Sica made his moving piece, Bicycle thieves- this film holds a smooth, seamless style of editing. De Sica uses invisible cuts [23], this type of editing kept the audience in tune with the intriguing, blocking and compelling performances [24]; but also his use of parallel compositions [25]. Throughout the piece De Sica matches his framing from cut to cut particularly in horizontal space [26]. De Sica used editing well throughout the film, with the use of parallel composition tricks the eye into passing over the cut [27]. This film holds great influence of its time with its smooth continuity and loveable narrative.

Overall the movement of editing has changed rapidly over the past 150 years, but even today directors use techniques and tricks that were used as a simple, new wave idea 150 years ago.

Bibliography

1. http://www.earlycinema.com/timeline/2. http://www.earlycinema.com/timeline/3. http://www.earlycinema.com/timeline/4. http://www.earlycinema.com/timeline/5. http://www.earlycinema.com/timeline/6. http://www.earlycinema.com/timeline/7. http://www.earlycinema.com/timeline/8. http://www.earlycinema.com/timeline/9. http://www.earlycinema.com/timeline/10. http://www.earlycinema.com/timeline/11. http://www.earlycinema.com/timeline/12. http://www.earlycinema.com/timeline/13. http://www.earlycinema.com/timeline/14. http://www.earlycinema.com/timeline/15. http://www.earlycinema.com/timeline/16. http://www.earlycinema.com/timeline/17. http://www.earlycinema.com/timeline/18. http://www.imdb.com/name/nm0617588/bio?ref_=nm_ov_bio_sm19. http://www.imdb.com/name/nm0692105/bio?ref_=nm_ov_bio_sm20. http://www.imdb.com/name/nm0692105/bio?ref_=nm_ov_bio_sm21. http://www.imdb.com/name/nm0692105/bio?ref_=nm_ov_bio_sm22. http://www.slideshare.net/katierothery/history-of-editing?related=123. www.livingincine.com/2012/07/bicycle-theives-lesson-of-invisible.html24. www.livingincine.com/2012/07/bicycle-theives-lesson-of-invisible.html25. www.livingincine.com/2012/07/bicycle-theives-lesson-of-invisible.html26. www.livingincine.com/2012/07/bicycle-theives-lesson-of-invisible.html27. www.livingincine.com/2012/07/bicycle-theives-lesson-of-invisible.html