Tuesday, 22 September 2020
AFM WEEK 3 NOTES
AFM
LECTURE 3 - Emergence of
Classical Hollywood
- Edwin S Porter
• Worked for Edison’s Vitascope
• Projectionist
• Wanted to make a film like ‘trip to the moon’ - Created ‘the life of an American
Fireman’
- Cross-cut between inside and outside of the scene
- “The Great Train Robbery”
• Interior scenes: audiences were already familiar, so nothing to get used to
• Exterior scene: Tilt of the camera
• Ending Shot: robber shooting the audience, cinema of attractions element
• Porter’s Crucial Contribution
- The arrangement of actors and objects within a scene
- The relation of shots with one another
- Establishes a realistic-narrative as oppose to Melees-style fantasy
- David Griffith
1
, Tuesday, 22 September 2020
- Creator of close-ups - meant to bring audiences closer to characters
emotionally
- ‘The Unseen Enemy” - 1912 - use of ‘parallel editing’ where events are
happening at the same time and shots are edited to show that
-
2
AFM WEEK 3 NOTES
AFM
LECTURE 3 - Emergence of
Classical Hollywood
- Edwin S Porter
• Worked for Edison’s Vitascope
• Projectionist
• Wanted to make a film like ‘trip to the moon’ - Created ‘the life of an American
Fireman’
- Cross-cut between inside and outside of the scene
- “The Great Train Robbery”
• Interior scenes: audiences were already familiar, so nothing to get used to
• Exterior scene: Tilt of the camera
• Ending Shot: robber shooting the audience, cinema of attractions element
• Porter’s Crucial Contribution
- The arrangement of actors and objects within a scene
- The relation of shots with one another
- Establishes a realistic-narrative as oppose to Melees-style fantasy
- David Griffith
1
, Tuesday, 22 September 2020
- Creator of close-ups - meant to bring audiences closer to characters
emotionally
- ‘The Unseen Enemy” - 1912 - use of ‘parallel editing’ where events are
happening at the same time and shots are edited to show that
-
2
