The document discusses the history of editing and how various inventions influenced the development of cinema. It describes early image projectors like the magic lantern in the 17th century and improvements over time including the Argand lamp in the 1790s. It also discusses devices in the late 1800s like the zoetrope and praxinoscope that helped evolve moving images. Key figures who contributed include Eadweard Muybridge through his motion studies in the 1860s-1870s and the Lumiere brothers who held the first film screening in 1895. Lev Kuleshov also created the Kuleshov effect in the 1910s-1920s to demonstrate how editing can manipulate audience perception.
The document discusses the history of editing and how various inventions influenced the development of cinema. It describes early image projectors like the magic lantern in the 17th century and improvements over time including the Argand lamp in the 1790s. It also discusses devices in the late 1800s like the zoetrope and praxinoscope that helped evolve moving images. Key figures who contributed include Eadweard Muybridge through his motion studies in the 1860s-1870s and the Lumiere brothers who held the first film screening in 1895. Lev Kuleshov also created the Kuleshov effect in the 1910s-1920s to demonstrate how editing can manipulate audience perception.
The document discusses the history of editing and how various inventions influenced the development of cinema. It describes early image projectors like the magic lantern in the 17th century and improvements over time including the Argand lamp in the 1790s. It also discusses devices in the late 1800s like the zoetrope and praxinoscope that helped evolve moving images. Key figures who contributed include Eadweard Muybridge through his motion studies in the 1860s-1870s and the Lumiere brothers who held the first film screening in 1895. Lev Kuleshov also created the Kuleshov effect in the 1910s-1920s to demonstrate how editing can manipulate audience perception.
The document discusses the history of editing and how various inventions influenced the development of cinema. It describes early image projectors like the magic lantern in the 17th century and improvements over time including the Argand lamp in the 1790s. It also discusses devices in the late 1800s like the zoetrope and praxinoscope that helped evolve moving images. Key figures who contributed include Eadweard Muybridge through his motion studies in the 1860s-1870s and the Lumiere brothers who held the first film screening in 1895. Lev Kuleshov also created the Kuleshov effect in the 1910s-1920s to demonstrate how editing can manipulate audience perception.
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History of editing
There are many different inventions and events that have had an effect on how and why cinema is how it is today. The magic lantern is one of the earliest image projectors and was developed in the 17th century. It was mainly used for educational and entertainment purposes and operate by having a concave mirror in the back of a light source to get as much light as possible through a small rectangular sheet of glass which was where the photographic image was projected and then onwards into a lens at the front of the camera. Light sources for the cameras in the 16 th century included sunlight, candles and oil lamps. In the 1790s the Argand lamp was invented to help make images clearer when projected. In the 1860s limelight was invented which once again improved image quality. In the same year, the arc lamp was invented which improved the safety and convenience of the original magic lantern however it did not improve the brightness of the light source which was a large problem. The magic lantern also evolved so that it was able to project moving images aswell as stationary images, this could be done in various ways. One way of doing this is by having various magic lanterns focused on one point which allows you to move a slide from one magic lantern whilst also having a stationary slide, making it seem like one slide has a moving component as they are all focused at the same point. Another way of doing this is by having two glass slides. One with a stationary part of the image on with and the other with the part with the part of the image that moved and them moving the second image behind the stationary image, creating the effect that the slide, as a whole, moved. The second invention that helped film evolve over time is the Zoetrope. A zoetrope is a device where a series of images or photos are placed in a circle on the inner of the cylinder and viewing slits are added at the top. The person who is using the zoetrope will let it spin whilst looking in the rotating slits at the images on the opposite slide of the cylinder to create the effect that the stationary images are moving. The invention of the praxinoscope in 1877 by Charles-Emile Reynaud helped cinema evolve greatly. The praxinoscope works by using a strip of pictures in a circle on the inner circle of the device and putting a mirror on the opposite side to view it. In 1889 Reynard developed the Theatre Optique which was an improved version of the praxinoscope that could project images on a screen from a longer roll of pictures. This also allowed him to show hand-drawn cartoons aswell as photographs. The praxinoscope was adapted in the 20 th century and was called The Red Raven Magic Mirror. The Magic Mirror was a sixteen sided praxinoscope and worked by being placed over a record players spindle. As the record played the viewer could view the images moving in the centre of Magic Mirror. It was introduced in the US in 1956 and was later introduced in Europe and Japan in the 1960s under various different names. The praxinoscope was a huge leap forward in film and editing as it was one if the first inventions of a device that could be used to show an audience both photographs and hard drawn images and led onto the invention of the Magic Mirror. One person who had a large input into how film and cinema has developed over time is Eadweard Muybridge. Muybridge is famous for his work in motion-picture
projection and work in photographic studies. Muybridge used a heavy view
camera and stacks of glass negatives to take and produce his photographs which was a huge physical risk. He took up photography professionally in 1861 learning the wet-plate collodion process. Today however he is famous for his work in 1867 and 1878 where he used multiple cameras to capture the motion in stop-motion photographs. By using this method Muybridge was able to prove that horses do have all 4 hooves off the ground when in a trot. The Lumiere brothers also had a large influence into how film and edit has developed over time. The reason behind their success is that they were the first people to hold a screening of a film. They shot their first film Sortie de lusine Lumiere de Lyon (workers leaving the Lumiere factory) in 1894 and held a screen for that, along with 9 other short films, on 28 th December 1895 at Salon lndien du Grand Caf in Paris. Each film was roughly 50 seconds long and the event was a large success. The brothers then went off to do a tour in 1896 in which they visited the first place a movie was played outside Paris, Brussels, on March 7th 1896. They refused to sell their cameras to other film makers and after making the bold statement that the cinema is an invention without any future they turned their attention to colour photography. In 1903 they created colour photography and released it to the market in 1907. This is why throughout the 20th century the Lumiere brothers and their company played a major part in photographic products in Europe and why they changed the way we see cinema today. Lev Kuleshov was a Russian filmmaker in the 1910s and 1920s and is famous for creating the Kuleshov effect. To show how the Kuleshov effect worked by Kuleshov editing a short film in which an expressionless man, Ivan Mosjoukine, was alternated with various shots such as a plate of soup, a girl in a coffin and a woman on a divan. The finished film made the audience believe that the expression on Mosjoukines face changed depending on the image that he was looking at changed. For example, when he was looking at the plate of soup it made the audience believe that his facial expression showed hunger and when he was shown the photo of the woman of the divan the audience believed that his facial expression showed desire however, both images were the exact same.
