The cinema

The cinema By Sarah Pecherski & Olivia Focetola - 2M6 - December 2013 Summary Introduction Technical evolution Black and white (with and without sound) The sound The color The image The special effects 3D Video Conclusion The big stages of the cinematographic industry. Technical evolution (Sarah) : ... The black and the white mute: Since 1920, the silent movy takes a big scale It is even imposed by studios. It lasted until the fifties and revealed the first one big stars of the cinema such as Greta Garbo, Marlène Dietrich or Rudolph Valentino. During the 20s, all the studios create movies about the same model - The Western. The famous directors in the 20s such as James Cruz and John Ford who realized movies mythical as The caravan westward or still the iron horse turn in California. In 1925 the Western is fast caught up by the comedy which takes away very fast an international success thanks to Charlie Chaplin, Harold Lloyd or still Buster Keaton. In the cinema, the sound track is generally represented by a band which plays at the same time as parades the film. So the spectators have the image and the sound, there is no voice. The black and white with sound : The sound arrived in 1928 but the concept was before thought. In 1926, Warner Bros (one of the biggest film productions) is for court of money and then presents to the public the first sound disk, the Vitaphone. The purpose is to allow the film-maker to take place bands and traditional attractions on stage to liven up the movie. In 1927 when Warner Bros took out the first talking film The Singer of jazz. The sound (Sarah) : , The colour (Sarah) : ... The image : To let our brain recognizez a continous movement 24 images have to pass twice in one second in front of the lamp of projection. Initially in the cinema, projectors made, 16-18 times, the image parade per second, it's why the movement seemed less fluid. There are two sorts of images : Pano and Scope. Generally, the image Scope takes up all the screen but have a fine line of separation between every image. The image is stretched out on film but during the projection, the image Scope takes all the screen contrary to the image Pano. The image Pano is proportionned well on the film. During the projection, the image Pano will be compressed so this fine line of separation is also on the screen so as to give to the spectators a panoramic effect. The special effects: The first special "effects" were realized by George Méliès in 1898. By shooting a scene, he discovers, accidentally, the possibility of modifying an image. His camera stopped suddently. One minute takes place before he can put back on the way the mechanism. Much to his surprise, by looking at the movie, he can notice that the visible bus on the last image before the breakdown was converted in a hearse on the first image after he fix the camera! The process of transformation of a character or an object by an other one is invented. He notices that by turning faster the lever of the camera, he obtains in the projection an effect of slow motion and on the contrary turning more slowly, everything accelerates. He realizes the multiplication of a character or the separation of the head and the body by impressing of the film piece by piece so that the same actor can appear on each of them or so that his body is "erased" by a mask fixed to the objective of the camera. Other optical deformations of the image ensue from these discoveries. Nowadays, the special effects are very different. For example, 3D which is a big revolution, allows the spectator to have the impression, thanks to glasses, that the characters of the movie are outer the screen. 3D without glasses is quite new. 3D - Today's cinema (Sarah) : ... Conclusion : In conclusion, this subject was very difficult to understand in French so more difficult to translate in English. But this subject brought me full of new things, I found very interesting to make a work on all this. Bibliography Sources : Books :