Photography Motion Artist through history have tried to

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Photography & Motion • Artist through history have tried to create the illusion of

Photography & Motion • Artist through history have tried to create the illusion of motion in a still image. • Eadward Muybridge devised a method to take pictures of a racehorse. • He set up 24 cameras, each connected to a black thread stretched across the racecourse. • In 1887, he published Animal Locomotion, his most important work. He showed people & animals in sequential motion. • As films & cameras became faster, photographers discovered the ability to stop motion to the split second. • In the 1950 s, Berenice Abbott shot a multiple stop-action • photograph of a pendulum.

Eadward Muybridge devised a method to take pictures of a racehorse. He set up

Eadward Muybridge devised a method to take pictures of a racehorse. He set up 24 cameras, each connected to a black thread stretched across the racecourse .

In the 1950, Berenic e Abbott shot a multiple stopaction photogra ph of a

In the 1950, Berenic e Abbott shot a multiple stopaction photogra ph of a pendulu m

FILM The History of Films & Filmmakers

FILM The History of Films & Filmmakers

The works of Edweard Muybridge’s Studies of motion • Muybridge's photos showed the horse

The works of Edweard Muybridge’s Studies of motion • Muybridge's photos showed the horse with all four feet off the ground • Muybridge went on a lecture tour showing his photographs on a moving-image device he called the zoopraxiscope

zoopraxiscope

zoopraxiscope

Commercial application of motion pictures evolved after three major developments. • In 1888 George

Commercial application of motion pictures evolved after three major developments. • In 1888 George Eastman introduced celluloid film, allowing for stringing images together. • Thomas Edison created the first genuine motion picture in 1894. • The creation of film projector.

Thomas Edison Fred Ott’s Sneeze. 1894

Thomas Edison Fred Ott’s Sneeze. 1894

Cinematographe camera/projector designed by Auguste and Louis Lumiere March 1895

Cinematographe camera/projector designed by Auguste and Louis Lumiere March 1895

Exploring the possibilities: Special Effects and Animation The word animation means, “bringing to life”.

Exploring the possibilities: Special Effects and Animation The word animation means, “bringing to life”.

A Trip to the Moon, directed by French filmmaker George Melies. 1902

A Trip to the Moon, directed by French filmmaker George Melies. 1902

Winsor Mc. Cay. Gertie the Trained Dinosaur. 1914

Winsor Mc. Cay. Gertie the Trained Dinosaur. 1914

 • Gertie the Trained Dinosaur uses a technique called pixilation. • A frame-by-frame

• Gertie the Trained Dinosaur uses a technique called pixilation. • A frame-by-frame making several drawings of the image in sequence to suggest motion. • 12 to 24 drawings are required per second of running time in order to create the illusion of smooth motion. • Ex. a three minute cartoon in length would require up to 4, 320 individual drawings.

Epic • “Epic” in films suggests a picture that’s long, crowded, and grand. •

Epic • “Epic” in films suggests a picture that’s long, crowded, and grand. • Epic film has a story taken from significant points in history or the Bible. • Epic film has a moral to preach to its audience • The pioneer of epics was David Wark Griffith or D. W. Griffith

D. W. Griffith THE BIRTH OF A NATION 1914

D. W. Griffith THE BIRTH OF A NATION 1914

D. W. Griffith innovator in filming techniques • A Shot -is unbroken sequence of

D. W. Griffith innovator in filming techniques • A Shot -is unbroken sequence of movie frames with the camera rolling. Before Griffith, the standard in film had been the full shot, showing the actors from head to toe. • Griffith experimented with a range of shots for dramatic effects: The medium shot (from waist-up) The close-up (head and shoulders) The extreme close-up (part of the face) The long shot (seen from a distance He perfected the technique of crosscutting in which two or scenes are alternated to advance the action of the film. He used the iris shot (the edges are blackened to create a circle of interest) effectively. • • •

Soviet Russian film-maker Sergei Eisenstein • In filmmaking editing is fundamental to storytelling. •

Soviet Russian film-maker Sergei Eisenstein • In filmmaking editing is fundamental to storytelling. • Sergei Eisenstein is one of the most influential early masters of editing. • interested in the expressive possibilities of editing, changing the rhythm of how quickly one shot succeeded another, breaking a single action down into several shots, alternating shots of different subjects so the viewer would understand a symbolic connection between them.

The Battleship Potemkin, directed by Sergei Eisenstein. 1925

The Battleship Potemkin, directed by Sergei Eisenstein. 1925

Studio Systems • Studios are organizations that produce movies on a large scale. •

Studio Systems • Studios are organizations that produce movies on a large scale. • The organism they developed for making movies is called a studio system. • Under one roof, studios such as Paramount, Warner Brothers, and Metro Goldwyn Mayer (MGM)-integrated all aspects of the film. Writers, actors, directors, professionals such as camera operators, costume and set designers, scenery painters, lighting experts, make-up artists, etc.

FILMMAKERS Charles Chaplin David O. Selznick Orson Welles Ingmar Bergman Federico Fellini Alfred Hitchcock

FILMMAKERS Charles Chaplin David O. Selznick Orson Welles Ingmar Bergman Federico Fellini Alfred Hitchcock Woody Allen

Charles Chaplin ‘Modern Times’ is considered to be his greatest film. The theme of

Charles Chaplin ‘Modern Times’ is considered to be his greatest film. The theme of man vs. machine.

David O. Selznick “Gone with the Wind” Color photography for films was introduced in

David O. Selznick “Gone with the Wind” Color photography for films was introduced in early 1930 s

Orson Welles “Citizen Kane” in 1941

Orson Welles “Citizen Kane” in 1941

Ingmar Bergman “ The Seventh Seal”, made in 1957

Ingmar Bergman “ The Seventh Seal”, made in 1957

Federico Fellini “La Dolce Vita “from 1959 translated “the sweet life”

Federico Fellini “La Dolce Vita “from 1959 translated “the sweet life”

Woody Allen “The Purple Rose of Cairo” 1984

Woody Allen “The Purple Rose of Cairo” 1984

Artists and Film Salvador Dali and Luis Buñuel Andy Warhol

Artists and Film Salvador Dali and Luis Buñuel Andy Warhol

Luis Buñuel and Salvador Dalí’s surrealistic “An Andalusian Dog. ” 1928

Luis Buñuel and Salvador Dalí’s surrealistic “An Andalusian Dog. ” 1928

Andy Warhol. Empire. 1964. 16 mm film, black and white, silent, 8 hours 5

Andy Warhol. Empire. 1964. 16 mm film, black and white, silent, 8 hours 5 minutes at 16 frames per second

Independent Vision • “Art Cinema” an independent movie that does not conform to popular

Independent Vision • “Art Cinema” an independent movie that does not conform to popular storytelling techniques or aim to please a mass audience. • That has a single vision. An Auteur approach. • Shown in small specialized theaters, by cinema societies, or by art museums • (venues apart from major commercial theaters).

Star Wars - Revenge Of The Sith • half of the film created digitally.

Star Wars - Revenge Of The Sith • half of the film created digitally. • numerous artists worked on 21, 000 shots • layering digitally rendered sets, computer animated characters, and computergenerated effects over footage of human actors or scale models.

Video Art With Video art the image is created on the television screen by

Video Art With Video art the image is created on the television screen by manipulating dials, selecting colors, combining figures and other elements • Nam June Paik. TV Buddha. 1974. Closed-circuit video

Peter Campus’s Three Transitions, 1973

Peter Campus’s Three Transitions, 1973

Tony Oursler. Insomnia. 1996. Six pillows, cloth, LCD video projector, VCR, vidoetape; tripod performer.

Tony Oursler. Insomnia. 1996. Six pillows, cloth, LCD video projector, VCR, vidoetape; tripod performer. Engaging the viewer.

Tony Oursler & Tracy Leipold. Coo. 2003. DVD Projection on fiberglass sculpture, height 43”

Tony Oursler & Tracy Leipold. Coo. 2003. DVD Projection on fiberglass sculpture, height 43”

Shirin Neshat’s “Rapture”

Shirin Neshat’s “Rapture”