Cinematography in the 1930s

 

Later still, new technologies for example the Vitascope and inventions by the French team of Louis and Auguste Lumiere set a new standard for film.

December 28th 1895 can also be regarded as the birthday of projected film presented inside a theater. It was then that Antoine LumiTre from Lyon, the director of the plant creating film materials and the father of August and Louis LumiTre, hosted during the Grand CafT of Paris a show of living pictures. It was shot by cameras that his sons had developed, and presented with projectors they had constructed. It was the very first time the term 'cinTmatographe' was used, formed of the Greek words 'kinTma' (movement) and 'graphein' (to write, to draw, to inscribe). In between individuals invited was also the director on the Houdini Theater, the master illusionist Georges MTliFs (History of Cinematography, 2003).

According to Giannetti and Eyman (2001, p. 11), "the motion picture was an invention with quite a few inventors." Early films were pretty brief and it was not until 1903 once Edwin S. Porter created The Very good Train Robbery that movies became longer and special final results for instance matte shots of a train passing as seen through a stationhouse window as well as many distance shots appeared.

Permeating many of the Hollywood films of this era, says Dimendberg (2003), are films that focus on remarkably dissimilar themes, locations, and characters. With some notable exceptions, quite a few from the films created in this decade had been created to cheer audiences suffering inside the ill final results on the Great Depression. Consequently, although realism was produced like a key cinematographic focus within the 1930s, numerous cinematographers worked with directors and producers who painted vivid pictures of quite glamorous worlds representing what Dimendberg (2003) considers to be an artificial coherence rather than a harmony among the furnishings symptomatic of the exercise of the designer instead of the idiosyncratic accumulation of objects over the course of an individual or institutional history.

This is specially evident, says Black (19950, in films for instance All Quiet on the Western Front, a war film that detailed the horrors of war in manner that created a strong anti-war message implicit for audiences. Cinematographer Arthur Edson was responsible for the dramatic use of light and shadow (known in art as chiaroscuro) that make this film unique in early film history.

One with the most essential developments impacting upon Hollywood cinematography during the 1930s was the development of the Technicolor technique which became out there in 1931 (1930s: Technicolor and beyond, 2003). The provision of the beam-splitting prism behind the objective in the Technicolor 3-strip camera produced it impossible to use the wide angle objectives typically offered during the early 1930s. Technicians set about providing a lens of short focal length and wide relative aperture of the lengthy back focal distance needed to clear the prism.

 

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