Download - FILM STYLE & TECHNOLOGY TO 1930 TECHNOLOGY, STYLE & STANDARDIZATION.

FILM STYLE & TECHNOLOGY

TO 1930TECHNOLOGY, STYLE &

STANDARDIZATION

TECHNOLOGICAL CHANGE & THE MODE OF

PRODUCTION Technological change explained by 1

or more of 3 basic causes PRODUCTION EFFICIENCY

Cut costs, make results predictable, solve particular problems

PRODUCT DIFFERENTIATION Differentiate a studio’s films (within limits)


PRODUCTION ADHERENCE TO STANDARDS OF QUALITY

Increased the quality of the product Fit conception of quality embraced by CHC

Better (clearer) storytelling Greater realism of the mise-en-scène Enhanced spectacle


PRODUCTION Could complement & collide with 1

another Any change would result in change in

other areas also

FILM TECHNOLOGY & THE CLASSICAL STYLE

4 aspects of change DIRECTION

Trend or trended change Stylistic change occurs within a set of set of

possibilities Style trends toward or away from certain

options for many reasons


FUNCTION Innovation considered an option if it fulfills

the same function as an already-accepted option

More acceptable if it fulfills additional functions (easier to use, saves money, increases verisimilitude, etc.)


TIMING Technology not used until capitalism needs it Innovations may be available, but not used

until there is a perceived need CAUSATION

Typically, explanations rely on artist & inventor; artist needs something, inventor invents it

More useful to look at H’wood institutions (companies, trade groups, etc.)


TECHNOLOGY & H’WOOD INSTITUTIONS Studios reluctant to devote $ to “R &D” Preferred to rely on trade organizations:

THE AMERICAN SOCIETY OF CINEMATOGRAPHERS THE SOCIETY OF MOTION PICTURE ENGINEERS THE ACADEMY OF MOTION PICTURE ARTS & SCIENCES

Spread common ideas about “good” filmmaking, production problems, acceptable options, etc.

Suppliers looked to them for ideas about what was needed, what solutions were acceptable, etc.

INITIAL STANDARDIZATION OF THE BASIC TECHNOLOGY

STANDARDIZING CAMERAS CRITERIA FOR ADOPTING CAMERA

TECHNOLOGY QUALITY: ability to create a clear, steady

image; controllability EFFICIENCY: durability, ease of handling NOVELTY: versatility (special effects, etc.)

Development slow due to patent control by the Trust


After legal decision 1912, 4 types of cameras popular in Hollywood:

Bell & Howell Steady registration Easily controllable, esp. in focusing

Akeley Used in such situations as aerial

photography Held only 200 feet of film & image not as

steady as the B&H

Bell & Howell

Akeley


Mitchell Faster focusing system, & built-in matte

holders Inferior registration

Eyemo Spring-driven motor, small; could be put in

unusual places Held only 100 feet of film & could use a

limited range of lenses

Mitchell


STANDARDIZING LIGHTING EQUIPMENT

CRITERIA FOR ADOPTING LIGHTING TECHNOLOGY

QUALITY: clear, steady image; controllability

EFFICIENCY: durability; ease of handling; efficiency (in use of energy)

NOVELTY: versatility (special effects, etc.)


DIFFUSED SUNLIGHT Sunlight was later diffused by muslin to

make it more even & controllable


DIFFUSED SUNLIGHT Sunlight diffused by muslin to make it more

even & controllable MERCURY-VAPOR LAMPS

Most efficient type Least directional, useless for motivated

lighting

MERCURY-VAPOR LAMP


ARC LAMPS Good directional lighting Difficult to handle

INCANDESCENT LIGHTS Easiest to handle Inefficient & low in actinicity (less of the

light registered an image on film) All 3 came to be used together

simultaneously

INITIAL STANDARDIZATION OF

THE BASIC TECHNOLOGY EDITING

Most important innovation was the WORKPRINT

Positive print used in initial editing, instead of original negative

LABORATORY TECHNOLOGY Hand development was replaced by

machine development More efficient, but decreased control

FILM STYLE & TECHNOLOGY

TO 1930TECHNOLOGY, STYLE &

STANDARDIZATION

ORTHOCHROMATIC FILM STOCK (ORTHO)

DISADVANTAGES Insensitive to yellow & red

Blonde hair looked dark, leading to rim lighting Red make-up showed up as deep black

Blue photographed as white Clouds did not show up Blue eyes looked white

Directors & cinematographers used blue filters or glasses to see mise-en-scène

ORTHOCHROMATIC TO PANCHROMATIC STOCK


PANCHROMATIC FILM STOCK (PANCHRO)

Came in 1913 due to experimentation with color cinematography

DISADVANTAGES More expensive than ortho Slower (needed more light) Physically unstable

ADVANTAGE Sensitive to entire color spectrum


In 1920s, speed of panchro increased Became a regular Eastman Kodak product in 1923 In 1925, Eastman Kodak:

Lowered the cost of panchro Increased the speed Improved its durability Actively promoted it

Studios then willing to use it instead of chromo because: Easier to use with the mise-en-scène Saved money on lighting (worked better with inkies)

By 1928, panchro used in 85% of all shots

By mid-20s, filmmakers adopted soft style of cinematography

Experimentation began in mid-teens in an attempt to imitate still photography

Seen as a way to separate character from background

Appealed to the aesthetic of pictorial beauty popular among cinematographers Many of them had begun as still photographers They sought to associate films with art

THE SOFT STYLE OF CINEMATOGRAPHY

THE SOFT STYLE OF CINEMATOGRAPHY

Films used “normal” photography with selected close shots in the soft style

By mid-20s, soft shots for glamour purposes very common; many stars insisted upon it

Presented a problem for continuity: Often a clash between hard & soft shots Considered a price worth paying for added product

differentiation of pictorial beauty, star glamour & promotion

Later, efforts made to minimize the clash

THE MAZDA TESTS 1928, H’wood conducted “Mazda tests” Promoted use of incandescent lights

(“Mazdas”) Established panchro & inkies for 30+ years Promoted soft style These tests also:

Cemented link between H’wood & manufacturers; professional organizations became formal liaisons

Provided model of cooperation among studios & manufacturers used in diffusion of sound technology

MAZDA LAMP