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FILM STYLE & TECHNOLOGY TO 1930

FILM STYLE & TECHNOLOGY TO 1930. TECHNOLOGY, STYLE & STANDARDIZATION. TECHNOLOGICAL CHANGE & THE MODE OF PRODUCTION. Technological change explained by 1 or more of 3 basic causes PRODUCTION EFFICIENCY Cut costs, make results predictable, solve particular problems PRODUCT DIFFERENTIATION

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FILM STYLE & TECHNOLOGY TO 1930

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  1. FILM STYLE & TECHNOLOGYTO 1930 TECHNOLOGY, STYLE & STANDARDIZATION

  2. TECHNOLOGICAL CHANGE & THE MODE OF PRODUCTION • Technological change explained by 1 or more of 3 basic causes • PRODUCTION EFFICIENCY • Cut costs, make results predictable, solve particular problems • PRODUCT DIFFERENTIATION • Differentiate a studio’s films (within limits)

  3. TECHNOLOGICAL CHANGE & THE MODE OF PRODUCTION • ADHERENCE TO STANDARDS OF QUALITY • Increased the quality of the product • Fit conception of quality embraced by CHC • Better (clearer) storytelling • Greater realism of the mise-en-scène • Enhanced spectacle

  4. TECHNOLOGICAL CHANGE & THE MODE OF PRODUCTION • Could complement & collide with 1 another • Any change would result in change in other areas also

  5. FILM TECHNOLOGY & THE CLASSICAL STYLE • 4 aspects of change • DIRECTION • Trend or trended change • Stylistic change occurs within a set of set of possibilities • Style trends toward or away from certain options for many reasons

  6. FILM TECHNOLOGY & THE CLASSICAL STYLE • FUNCTION • Innovation considered an option if it fulfills the same function as an already-accepted option • More acceptable if it fulfills additional functions (easier to use, saves money, increases verisimilitude, etc.)

  7. FILM TECHNOLOGY & THE CLASSICAL STYLE • TIMING • Technology not used until capitalism needs it • Innovations may be available, but not used until there is a perceived need • CAUSATION • Typically, explanations rely on artist & inventor; artist needs something, inventor invents it • More useful to look at H’wood institutions (companies, trade groups, etc.)

  8. FILM TECHNOLOGY & THE CLASSICAL STYLE • TECHNOLOGY & H’WOOD INSTITUTIONS • Studios reluctant to devote $ to “R &D” • Preferred to rely on trade organizations: • THE AMERICAN SOCIETY OF CINEMATOGRAPHERS • THE SOCIETY OF MOTION PICTURE ENGINEERS • THE ACADEMY OF MOTION PICTURE ARTS & SCIENCES • Spread common ideas about “good” filmmaking, production problems, acceptable options, etc. • Suppliers looked to them for ideas about what was needed, what solutions were acceptable, etc.

  9. INITIAL STANDARDIZATION OF THE BASIC TECHNOLOGY • STANDARDIZING CAMERAS • CRITERIA FOR ADOPTING CAMERA TECHNOLOGY • QUALITY: ability to create a clear, steady image; controllability • EFFICIENCY: durability, ease of handling • NOVELTY: versatility (special effects, etc.) • Development slow due to patent control by the Trust

  10. INITIAL STANDARDIZATION OF THE BASIC TECHNOLOGY • After legal decision 1912, 4 types of cameras popular in Hollywood: • Bell & Howell • Steady registration • Easily controllable, esp. in focusing • Akeley • Used in such situations as aerial photography • Held only 200 feet of film & image not as steady as the B&H

  11. Bell & Howell

  12. Bell & Howell

  13. Akeley

  14. INITIAL STANDARDIZATION OF THE BASIC TECHNOLOGY • Mitchell • Faster focusing system, & built-in matte holders • Inferior registration • Eyemo • Spring-driven motor, small; could be put in unusual places • Held only 100 feet of film & could use a limited range of lenses

  15. Mitchell

  16. INITIAL STANDARDIZATION OF THE BASIC TECHNOLOGY • STANDARDIZING LIGHTING EQUIPMENT • CRITERIA FOR ADOPTING LIGHTING TECHNOLOGY • QUALITY: clear, steady image; controllability • EFFICIENCY: durability; ease of handling; efficiency (in use of energy) • NOVELTY: versatility (special effects, etc.)

  17. INITIAL STANDARDIZATION OF THE BASIC TECHNOLOGY • DIFFUSED SUNLIGHT • Sunlight was later diffused by muslin to make it more even & controllable

  18. INITIAL STANDARDIZATION OF THE BASIC TECHNOLOGY • DIFFUSED SUNLIGHT • Sunlight diffused by muslin to make it more even & controllable • MERCURY-VAPOR LAMPS • Most efficient type • Least directional, useless for motivated lighting

  19. MERCURY-VAPOR LAMP

  20. INITIAL STANDARDIZATION OF THE BASIC TECHNOLOGY • ARC LAMPS • Good directional lighting • Difficult to handle • INCANDESCENT LIGHTS • Easiest to handle • Inefficient & low in actinicity (less of the light registered an image on film) • All 3 came to be used together simultaneously

  21. INITIAL STANDARDIZATION OF THE BASIC TECHNOLOGY • EDITING • Most important innovation was the WORKPRINT • Positive print used in initial editing, instead of original negative • LABORATORY TECHNOLOGY • Hand development was replaced by machine development • More efficient, but decreased control

  22. FILM STYLE & TECHNOLOGYTO 1930 TECHNOLOGY, STYLE & STANDARDIZATION

  23. ORTHOCHROMATIC TO PANCHROMATIC STOCK • ORTHOCHROMATIC FILM STOCK (ORTHO) • DISADVANTAGES • Insensitive to yellow & red • Blonde hair looked dark, leading to rim lighting • Red make-up showed up as deep black • Blue photographed as white • Clouds did not show up • Blue eyes looked white • Directors & cinematographers used blue filters or glasses to see mise-en-scène

  24. ORTHOCHROMATIC TO PANCHROMATIC STOCK • PANCHROMATIC FILM STOCK (PANCHRO) • Came in 1913 due to experimentation with color cinematography • DISADVANTAGES • More expensive than ortho • Slower (needed more light) • Physically unstable • ADVANTAGE • Sensitive to entire color spectrum

  25. ORTHOCHROMATIC TO PANCHROMATIC STOCK • In 1920s, speed of panchro increased • Became a regular Eastman Kodak product in 1923 • In 1925, Eastman Kodak: • Lowered the cost of panchro • Increased the speed • Improved its durability • Actively promoted it • Studios then willing to use it instead of chromo because: • Easier to use with the mise-en-scène • Saved money on lighting (worked better with inkies) • By 1928, panchro used in 85% of all shots

  26. THE SOFT STYLE OF CINEMATOGRAPHY • By mid-20s, filmmakers adopted soft style of cinematography • Experimentation began in mid-teens in an attempt to imitate still photography • Seen as a way to separate character from background • Appealed to the aesthetic of pictorial beauty popular among cinematographers • Many of them had begun as still photographers • They sought to associate films with art

  27. THE SOFT STYLE OF CINEMATOGRAPHY • Films used “normal” photography with selected close shots in the soft style • By mid-20s, soft shots for glamour purposes very common; many stars insisted upon it • Presented a problem for continuity: • Often a clash between hard & soft shots • Considered a price worth paying for added product differentiation of pictorial beauty, star glamour & promotion • Later, efforts made to minimize the clash

  28. THE MAZDA TESTS • 1928, H’wood conducted “Mazda tests” • Promoted use of incandescent lights (“Mazdas”) • Established panchro & inkies for 30+ years • Promoted soft style • These tests also: • Cemented link between H’wood & manufacturers; professional organizations became formal liaisons • Provided model of cooperation among studios & manufacturers used in diffusion of sound technology

  29. MAZDA LAMP

  30. MAZDA LAMP

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