{"id":140,"date":"2019-01-16T20:05:07","date_gmt":"2019-01-16T20:05:07","guid":{"rendered":"https:\/\/220.jcdelama.info\/?page_id=140"},"modified":"2024-12-30T12:39:00","modified_gmt":"2024-12-30T12:39:00","slug":"the-dawn-of-cinema-ii","status":"publish","type":"page","link":"https:\/\/220.jcdelama.info\/?page_id=140","title":{"rendered":"The Dawn of Cinema II"},"content":{"rendered":"\n<div class=\"wp-block-genesis-blocks-gb-columns gb-slate-section-hero-title gpb-slate-section-hero-title gb-layout-columns-1 one-column gb-has-background-dim gb-has-background-dim-20 gb-background-cover gb-background-no-repeat gb-has-custom-background-color gb-has-custom-text-color gb-columns-center alignfull\" style=\"padding-top:5em;padding-right:1em;padding-bottom:5em;padding-left:1em;background-color:#1f1f1f;color:#f5f5f5;background-image:url(https:\/\/220.jcdelama.info\/wp-content\/uploads\/2022\/07\/Potemkin1.jpeg);background-position:53% 51%\"><div class=\"gb-layout-column-wrap gb-block-layout-column-gap-1 gb-is-responsive-column\" style=\"max-width:1200px\">\n<div class=\"wp-block-genesis-blocks-gb-column gb-block-layout-column\"><div class=\"gb-block-layout-column-inner\">\n<div class=\"wp-block-genesis-blocks-gb-columns gb-layout-columns-2 gb-2-col-wideleft gb-columns-center alignfull\"><div class=\"gb-layout-column-wrap gb-block-layout-column-gap-8 gb-is-responsive-column\" style=\"max-width:1200px\">\n<div class=\"wp-block-genesis-blocks-gb-column gb-block-layout-column gb-is-vertically-aligned-top\"><div class=\"gb-block-layout-column-inner\">\n<h2 class=\"has-text-color\" style=\"color:#f5f5f5;font-size:60px\">Dawn of Cinema<\/h2>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-genesis-blocks-gb-column gb-block-layout-column gb-is-vertically-aligned-center\"><div class=\"gb-block-layout-column-inner\">\n<p><\/p>\n<\/div><\/div>\n<\/div><\/div>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n<p><\/p>\n\n\n\n<h4>Readings:<\/h4>\n\n\n\n<ul><li><a href=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/5-BirthOfaNation.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Birth of a Nation<\/a><\/li><li><a href=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/01\/4-Potemkin.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Battleship Potemkin<\/a><\/li><\/ul>\n\n\n\n<h2>David W. Griffith<\/h2>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/06\/DawnOfCinema6_Griffith1.mp3\"><\/audio><\/figure>\n\n\n\n<ul><li> The father of \u201cfilm technique\u201d (1875-1948)<\/li><li>Biograph Company (1908 \u2013 1913) \u00bbG. W. \u201cBilly&#8221; Bitzer<\/li><li>Narrative techniques: <ul><li>Deep elaboration of the mise-en-sc\u00e8ne. <\/li><li>Use of naturalistic exteriors <\/li><li>Tracking shots <\/li><li>Crane shots <\/li><li>Graphic Techniques as \u201cfade\u201d, or \u201ciris\u201d <\/li><li>Narrative Techniques (Editing parallel scenes) <\/li><li>Screen acting  <\/li><\/ul><\/li><li>With all these elements of film-making that he invented or refined, Griffith created a <strong>FILM SYNTAX<\/strong> that would determine the language of cinema in the next decades<\/li><\/ul>\n\n\n\n<h2> Elements of Film Syntax <\/h2>\n\n\n<span class=\"su-lightbox\" data-mfp-src=\"https:\/\/319.jcdelama.info\/film-syntax\/\" data-mfp-type=\"iframe\" data-mobile=\"yes\">Click here to open the online lecture<\/span>\n\n\n\n<ul><li>Shot \/ take<ul><li>Static Shots: <ul><li>Close up (extreme close up) <\/li><li>Medium Long Shot <\/li><li>Medium Shot <\/li><li>Full Shot (extreme full shot)<\/li><li>Low Shot<\/li><li>High Shot<\/li><\/ul><\/li><li>Dynamic Shots:<ul><li>Pan Shot or Travelling Shot <\/li><li>Tracking Shot \/&nbsp; Parallel Tracking shot <\/li><li>Crane Shot <\/li><\/ul><\/li><\/ul><\/li><li>Scene<\/li><li>Sequence <\/li><\/ul>\n\n\n\n<h2> Griffith\u2019s Golden Age <\/h2>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/06\/DawnOfCinema7_Griffith2.mp3\"><\/audio><\/figure>\n\n\n\n<ul><li> The Birth of a Nation (1915) <\/li><li>Intolerance (1916)&nbsp; <\/li><li>Broken Blossoms (1919)<\/li><li>Way Down East (1920) <\/li><li>Orphans of the Storm (1921)  <\/li><li>Star System: Lillian Gish, Mary Pickford, Blanche Sweet, Lionel Barrymore, Donald Crisp, Henry B. Walthall and Wallace Reid. <\/li><\/ul>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity\"\/>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"epyt-video-wrapper\"><iframe loading=\"lazy\"  id=\"_ytid_78956\"  width=\"480\" height=\"360\"  data-origwidth=\"480\" data-origheight=\"360\"  data-relstop=\"1\" src=\"https:\/\/www.youtube.com\/embed\/9t-7SVbLjBw?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=0&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;disablekb=0&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity\"\/>\n\n\n\n<h2> Russian Ideological Realism <\/h2>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/06\/DawnOfCinema8_Russian1.mp3\"><\/audio><\/figure>\n\n\n\n<ul><li>No magic, symbolic or imaginary elements. <\/li><li>Movies as rapid soviet revolutionary propaganda \u2013 as a means of mass persuasion. <\/li><li>Lev Kuleshow: <ul><li>The Kuleshow Effect <\/li><li>The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924) <\/li><\/ul><\/li><li>Dziga Vertov: <ul><li>Kino-Pravda (Cinema truth, 1922-25) <\/li><li>The Man with the Movie Camera (1929) <\/li><\/ul><\/li><li>Vsevolod I. Pudovkin: <ul><li>The Mechanics of Brain (1925) <\/li><li>Mother (1926)<\/li><li>The End of St. Petersburg (1927 <\/li><\/ul><\/li><\/ul>\n\n\n\n<h3>The Kuleshow Effect <\/h3>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"epyt-video-wrapper\"><iframe loading=\"lazy\"  id=\"_ytid_75708\"  width=\"480\" height=\"360\"  data-origwidth=\"480\" data-origheight=\"360\"  data-relstop=\"1\" src=\"https:\/\/www.youtube.com\/embed\/_gGl3LJ7vHc?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=0&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;disablekb=0&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<h3>Sergei M. Eisenstein (1898-1948) <\/h3>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/220.jcdelama.info\/wp-content\/uploads\/2019\/06\/DawnOfCinema9_Russian2.mp3\"><\/audio><\/figure>\n\n\n\n<ul><li> Directorial Debut: The Wise Man (1923)<\/li><li>Do You Hear, Moscow? (1923)<\/li><li>October (1929)<\/li><li>The General Line (1929)<\/li><li>The Battleship Potemkin (1925)<ul><li>Originally planned to celebrate the 20<sup>th<\/sup> anniversary of the 1905 soviet revolution. <\/li><li>The film is divided into five acts: Men and Maggots; Drama on the Quarterdeck; An Appeal from the Dead, The Odessa Steps; and Meeting the Squadron. <\/li><li>The film is 86 minutes long and contains 1346 shots. <\/li><li>The Odessa Steps scene has an average shot length of 2 second. <\/li><li>Eisenstein intercut moments of personal tragedy into scenes of documentary realism. <\/li><\/ul><\/li><\/ul>\n\n\n\n<h3>The Battleship Potemkin &#8211; Odessa Steps Sequence<\/h3>\n\n\n<figure class=\"wp-block-embed wp-block-embed-youtube is-type-video is-provider-youtube epyt-figure\"><div class=\"wp-block-embed__wrapper\"><div class=\"epyt-video-wrapper\"><iframe loading=\"lazy\"  id=\"_ytid_41198\"  width=\"480\" height=\"360\"  data-origwidth=\"480\" data-origheight=\"360\"  data-relstop=\"1\" src=\"https:\/\/www.youtube.com\/embed\/K1Vx3AOpVDo?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=0&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;disablekb=0&#038;\" class=\"__youtube_prefs__  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/div><\/div><\/figure>\n\n\n<p>You can also watch the whole movie in this link:<\/p>\n\n\n<figure class=\"wp-block-embed wp-block-embed-youtube is-type-video is-provider-youtube epyt-figure\"><div class=\"wp-block-embed__wrapper\"><div class=\"epyt-video-wrapper\"><iframe loading=\"lazy\"  id=\"_ytid_82130\"  width=\"480\" height=\"270\"  data-origwidth=\"480\" data-origheight=\"270\"  data-relstop=\"1\" src=\"https:\/\/www.youtube.com\/embed\/a_bkBbrdyyw?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=0&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;disablekb=0&#038;\" class=\"__youtube_prefs__  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/div><\/div><\/figure>","protected":false},"excerpt":{"rendered":"<p>Readings: Birth of a Nation Battleship Potemkin David W. Griffith The father of \u201cfilm technique\u201d (1875-1948) Biograph Company (1908 \u2013 1913) \u00bbG. W. \u201cBilly&#8221; Bitzer Narrative techniques: Deep elaboration of the mise-en-sc\u00e8ne. Use of naturalistic exteriors Tracking shots Crane shots Graphic Techniques as \u201cfade\u201d, or \u201ciris\u201d Narrative Techniques (Editing parallel scenes) Screen acting With all [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_genesis_hide_title":true,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":""},"featured_image_src":null,"featured_image_src_square":null,"_links":{"self":[{"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=\/wp\/v2\/pages\/140"}],"collection":[{"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=140"}],"version-history":[{"count":12,"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=\/wp\/v2\/pages\/140\/revisions"}],"predecessor-version":[{"id":1236,"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=\/wp\/v2\/pages\/140\/revisions\/1236"}],"wp:attachment":[{"href":"https:\/\/220.jcdelama.info\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=140"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}