The Potential of Movie Making

The history of cinemas is the result of scientific advances that led to the maturation of modern ingest technology. As primal as 1824, Briton Peter Roget described the principle of the sedulousness of vision, a principle that led to the development of flip books and indeed to machines that could animate hand-drawn go outs. Other devices invented by Frenchmen Charles Reynaud and Etienne Marey, Briton Eadward Mubridge and American George Eastman furthered the development of commercial move pictures. American inventor Thomas Alva Edison is ascribe with the development of the first impression, and even the first motion picture. In 1891 Edison patented his Kinetograph tv camera and Kinetoscope viewer ("Significant Developments?"). In 1877, Edison invented a phonograph that recorded sound on a cylinder. The interest year he invented the Kinetoscope, the first machine to produce motion pictures by a rapid succession of individual views. A few years later he developed a phonograph in which the cylinder was replaced by a book upon which sound was impressed. By synchronizing the phonograph and Kinetoscope, Edison produced the first public lecture motion picture in 1913, but he was blase in further development of this concept.

The motion picture camera invented by Thomas Alva Edison and his assistant William Dickson was developed for the purpose of Edison providing "a visual accompaniment for his vastly successful phono

took the raw elements of movie making as they had evolved up to that time and, singlehanded, wrought from them a average more adumbrate than theater, more vivid than literature, more affecting than poetry. He created the subterfuge of the film, its language, its syntax (Knight 31).

The development of the fib film owes a capital deal to the increased length of a film. Between "1902 and 1903, the fair(a) length of a film grew from fifty feet to six one hundred feet, allowing more time for a story to unfold" ("The static Western"). Technical developments, overall, are responsible for the growth of the medium of film, altering its form, and the increased length of a film allowed the narrative to develop. Melies 1902 "A Trip to the Moon" and America's Edwin S.

Porter's revolutionary 1903 "The Great check off Robbery" exhibit "the narrative powers of the new medium" (Knight 23). Melies, comparable Edison, based his films on theatrical tradition, but Porter revolutionized movie making by breaking with theatrical forms and stage techniques; he developed a filmic style. "The Great fit Robbery" demonstrated "for the first time the function and the power of the cut in telling a story on screen" (Knight 24). The technique developed by Porter was the basis of all film editing as he put together bits of film shot at incompatible times in different places to form a single, unified narrative (Knight 25). "The Great Train Robbery" also make the single reel (eight to 12 minutes) the standard length for future American silent films, peculiarly the Western. But the new standard set by D. W. Griffth made him the rightful master of film technique.

"How Music is Made to equate the Films" (1918). Silent Film:

In a period of quadruple years 1908-1912 Griffith made movies an art form. He

graph" (Cook 5). Edison and Dickson's Kinetograph, better in 1889, was basically an experiment in optics, and not intend as a new art form. Edison's motion picture camera was bulky, but it was the first.
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