Презентация "Становление и расцвет мирового кинематографа".

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The history of cinema began its countdown on December 28, 1895, when the first film show was held on the Capuchin Boulevard in one of the Gran Cafe halls. The first step towards cinema was made in the 15th-17th centuries, when the “magic lantern” was developed - a camera obscura (besides, the shadow theater in China and Japan had previously appeared, and the principle of creating an image through a narrow opening was known in antiquity). The term “camera obscura ” itself appeared at the end of the 15th century, and the corresponding experiments were carried out by Leonardo da Vinci. The magic lantern for projecting images on a vertical screen became widely known in the 17th century. In simplification, it was a box with a magnifying tube and a lamp inside. Behind this lamp there was a reflector-reflector, between the pipe and the box there was a slot where a picture was drawn with ink. The image was static.

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The next step towards cinema was made in 1830 by Michael Faraday and his friend Max Roger. All of Europe tried to invent a device to revive the drawing. Faraday's device was called phenakisciscope . A series of consecutive pictures was attached to the device. Previously, the scientist Joseph Plateau was engaged in the decomposition of motion into phases (for example, human movement). When Faraday received these works into his hands, he had very little before the completion of the phenakisciscope . As a result, it became possible to create a moving picture (but not a real image) lasting several seconds. The third step took place in 1877 with the invention of chronophotography . It became possible thanks to the work of Louis Daguerre and Jose Niepce , who developed the wet collodion process with a sufficiently high photosensitivity, but requiring the preparation of photographic material immediately before shooting. High sensitivity allowed to reduce the exposure time, without which the shooting of fast motion would be impossible.

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Chronophotography

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In 1878, California Governor Leland Stanford and photographer Edward Maybridge conducted an experiment on the photo recording of the horse's canter. According to some data, Stanford argued with Maybridge on the topic “whether the horse tears all four legs off the ground or not at a gallop,” according to others, he simply fulfilled the order of Stanford, who analyzed the movement of the horse. They installed along the treadmill for horses 12 cameras placed in special light-proof booths. Assistants in the booths at the signal whistle simultaneously began to prepare photographic plates for shooting. As soon as all the cameras were ready, a horse was produced on the track, which galloped along the white wall opposite the cameras. The shutters of all the cameras were driven by ropes stretched across the track: the horse tore them apart, alternately launching cameras. As a result, each of the cameras shot a separate phase of the horse's movement on a white wall background, emphasizing the silhouette. This was the first attempt to expand the movement into phases. Later, Maibridge increased the number of cameras to 24, and used the resulting images in the zoopraxiscope invented by him, which gave a moving image.

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Photographic plate

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Photographing the movements of animals and humans is the main area of interest of Maybridge , and for his work in this area he received a grant from the University of Pennsylvania, with which he collaborated for three years. Eleven volumes published under the auspices of the university in 1887 - "The Movement of Animals: Electrophotographic Studies of the Successive Phases of the Movement of Animals" - contained all of Meibridge's photographic experiments from 1872 to 1885, and more than one hundred thousand photographs were placed in them. The photographs contained not only a domestic dog, a cat and a horse, but also a moose, deer, bear, raccoon, lion, tiger, monkey and bird. In 1901, Maybridge published the book The Figure of a Man in Motion. He returned to England and almost no longer engaged in photography. He died in his hometown of Kingston on the Thames in 1904.

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Photographing the movements of animals and humans is the main area of interest of Maybridge , and for his work in this area he received a grant from the University of Pennsylvania, with which he collaborated for three years. Eleven volumes published under the auspices of the university in 1887 - "The Movement of Animals: Electrophotographic Studies of the Successive Phases of the Movement of Animals" - contained all of Meibridge's photographic experiments from 1872 to 1885, and more than one hundred thousand photographs were placed in them. The photographs contained not only a domestic dog, a cat and a horse, but also a moose, deer, bear, raccoon, lion, tiger, monkey and bird. In 1901, Maybridge published the book The Figure of a Man in Motion. He returned to England and almost no longer engaged in photography. He died in his hometown of Kingston on the Thames in 1904.

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Kinetoscope

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In 1893, Russian engineer Iosif Timchenko invents a projector to watch a movie. It was the deputy chief engineer of the Baltic plant. After reading about the development of "live images", he also joined in the process of the invention (the history of this invention is known to us from the materials of Karen Shakhnazarov ). In 1893, Timchenko began to study this issue. He invented a camera shooting a rotating photographic plate, and also invented a projector and tried to remove half a dozen stories about his family and his children. After some time, he demonstrated his apparatus to the Russian scientific community. His merits were appreciated, but money for further development and study was not allocated; then he turned to the business community, which included the owner Putilov , the banker Dmitry Rubinstein, the owner of the shops Eliseev , the baker Fillipov and others. But even there his proposal did not meet with support. But Timchenko did not stop there, he turned to Savva Ivanovich Mamontov . At the beginning of 1894, in the spring he came to Moscow and told about his inventions, and also stated his idea to Mamontov , to which he said: "This has a great future, but I have no money."

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Projector

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A year later, the Lumière brothers demonstrated their film screening technology - and went down in history as the creators of cinematography as a genre of art. The Lumière brothers were specialists in photo-recording technology for images and by 1895 were able to create a working cinema camera and make a few videos. At least five shows of 1895 are known: on March 22 in Paris at the Society for the Development of Domestic Industry; June 11 at the congress of photographers in Lyon; July 11 in Paris at a technical exhibition; November 10 in Brussels in the Belgian Association of Photographers and November 16 in the amphitheater of the Sorbonne. These shows were not available to everyone and were conducted primarily for specialists. However, on December 28, 1895 in the Indian Salon Grand Café in Paris on Boulevard des Capucines , the first film show was held for all comers for a fee. On the Boulevard des Capucines was shown several clips of 45-50 seconds in length, shot in the spring of 1895. Among them was the comedy story "Watered irrigator", but there was no famous movie "Arrival of the train at La Ciotat ", which was shown later in 1896. Contrary to the legend, the audience did not try to leave their seats, seeing the train approaching them.

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Cinema

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Silent cinema and the formation of a network of cinemas The Lumiere brothers decided to build a business not on the sale of cine-cameras, but on creating a network of cinemas. The lumieres provided a franchise, and their partners organized film screenings, paid for the work of cinematographers and rental machines, bought film material (just Lumiere filmed several hundred one-minute tapes in three years). At first, the business went well (a cinema network was created all over the world), but after a few years, the brothers faced fierce competition, as the number of cinemas grew rapidly. In 1898, the Lumieres decided to stop their film activities and return to the improvement of photo technology (including the creation of a color photo). The duration of the films was increased by the invention of Woodwil Latham, who in 1897 created a mechanism that allows the use of a film of great length (the Latham loop). Previously, the length of the film was limited to 15 meters, in order to exclude its break in the tape drive mechanism; This was enough for no more than one minute of the show.

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The Frenchman Georges Melies and the American David Griffith made a major contribution to the development of early cinema. Melies founded the first film studio (as a separate enterprise), where he developed technologies for creating special effects and shot the first fantastic film and the first horror film. Griffith developed the concept of "close-up" and became the founder of "Hollywood directing", creating a classic frame-plan-scene-episode. In Europe, before the First World War, the Pate Brothers film studio in Paris dominated, while in the US, the center of the film industry was originally New York. However, in the 1910s, more and more studios moved to the suburbs of Los Angeles, Hollywood, where there were good conditions for field shooting (plenty of sunshine and rare rainfall). In the early 1920s, eight of the largest film studios that controlled film production were already based in Hollywood. Five of them - Fox, Loew -MGM, Paramount, RCA and Warner Brothers - had their own cinema chains, and three more - Universal Pictures, Columbia Pictures and United Artists - did not have their own networks.

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Sound Cinema Sound cinema, sound cinema is a kind of cinema in which, unlike “silent”, an image is accompanied by recorded sound (speech, music, noises and sound effects). The first well-known public screening of the sound film took place in Paris in 1900, but commercial success in sound films came only after three decades. The main problems of the implementation of the technology remained unreliable synchronization of separate carriers of image and sound, as well as low volume and poor understanding of phonograms of early sound films. The vast majority of current movies are sound.

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Evolution of technology The first method of recording sound in professional cinema was the so-called “gramophone”, when the sound was preserved on a record that was synchronized with a film projector. In addition to Warner Brothers, similar technologies were developed by Pathé and Gaumont ( Gomon Chronophon , 1906 and Chronomegaphone , 1910). However, the maximum recording time available on one record at that time did not exceed 2-3 minutes, which was not enough even for one part of the film copy, which lasted 15 minutes on the screen with a standard projection frequency of 16 frames per second at that time. In addition, the sound was too low for the cinema, despite all the tricks. The problems were solved in the “ Whitephone ” system due to the newest technology of the microphone and the reduction of the speed of a large-diameter disk, but due to the difficulties of synchronization from the records in the sound movie, they finally refused.

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Plate

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Technological breakthrough occurred after the emergence of competitive systems of optical recording method when the combined soundtrack is applied to the film photographically. This principle of sound cinema for the first time was practically implemented in the German system “ Triergon ” and its American counterpart “ Fonofilm Forest” in the first half of the 1920s. However, the acceptable sound quality of the optical phonogram was achieved only in the later systems " Muviton " and " Photophone RCA", as well as in similar Soviet developments of Tager and Shorin . The principle of optical sound recording on film has not lost its relevance until today, thanks to the ease and accuracy of sound synchronization during film screening. On March 15, 1932, the American Film Academy approved the "academic" format of sound cinema, which became an international standard. Due to this, it became possible to watch sound films in almost any cinema of the world. Now the main problem was the re-equipment of the cinema network: according to various data, the cost of one set of sound-reproducing equipment together with the installation in the early 1930s was from 10 to 20 thousand US dollars, which in those times was a lot of money even for film distributors. As a result, the cost of tickets for sound pictures has increased to cover the costs of technical re-equipment.

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In 1940, a new standard " Fantasound " (optical Fantasound ) optical recording was developed, which made it possible for the first time to reproduce the stereo three-channel sound in cinema. The multi-track phonogram was recorded on a separate film that was reproduced by a film phonograph, synchronized with a film projector. The method was immediately used in Walt Disney’s full-length animated film “Fantasia”, but was not widely used due to the complexity and huge cost of sound-reproducing equipment. Stereo and multichannel sound was fully developed later, as a result of intensified competition of cinema with rapidly developing television broadcasting. An additional role was played by the wide distribution of magnetic sound recordings in the late 1940s. At the same time, the primary synchronous phonogram began to be recorded not on film, but on a 35-mm perforated magnetic tape.

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Film phonograph

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After installation and mixing, the magnetic phonogram was transferred to an optical track suitable for printing combined film prints. In 1952, the sound film received a new quality in the system of the panoramic cinema "Cinerama": the seven-channel sound was recorded on a separate magnetic tape synchronized with three film projectors. Five behind-the-wall speakers ensured the sound following the image of its source on the screen, and two more channels were used for the “surround sound”. Less than a year later, the CinemaScope widescreen cinema system was developed with a four-channel magnetic matched phonogram. Four tracks of magnetic varnish were applied to the substrate of the film with the finished film-copy, which served as the carrier of high-quality sound. In 1955, this technology reached its perfection in the first wide format “Todd AO”: six independent sound channels were recorded on magnetic tracks of 70-mm motion-picture films

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The emergence of stereo music and special sound effects dramatically increased the entertainment of cinema. Magnetic phonogram of this type has become standard in widescreen cinema, as well as in early film prints of the CinemaScope standard and its Soviet counterpart The Wide Screen, but later the tracks were short-lived and inconvenient to operate. Wide-screen prints began to print with a classic optical phonogram, and the multichannel sound remained only in a wide format, to which, if necessary, anamorphic negative was “enhanced”. In the late 1980s, Dolby Lab developed the Dolby SR (Spectral Recording) two-track stereo optical phonogram. This technology due to the matrix compaction allowed to create a four-channel surround sound using a special processor.

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Modern films are supplied with digital optical phonograms of SDDS or Dolby Digital standards. Simultaneously with them is placed analogue soundtrack Dolby SR, which serves as a backup for digital failure. Some films are released with a DTS soundtrack on a separate compact disc, for synchronization of which the time code is imprinted in the space between the analog sound image and the image. In widescreen cinema, the same type of phonogram replaced the outdated magnetic one.

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CD

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Color cinema One of the main obstacles to the implementation of color cinema technology was the narrow range of natural photosensitivity of any photoemulsions capable of recording only the blue-violet part of the visible spectrum. Because of this, the red and green components of the image did not respond to registration. The theoretical possibility of spectral sensitization to other colors, discovered by Hermann Vogel in 1873, was fully realized only in 1906 after the invention of Benno Gomolkoy of the red sensitizer pinacyanol . Nevertheless, the first attempts to make the image in color were made immediately after the invention of the movie. The very first technology was the manual coloring of black and white film with aniline dyes, used as early as the end of the XIX century.

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Black and white and color cinema.

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For the first time manual coloring was used by Thomas Edison in 1895 in the film “The Dance of Loi Fuller” (eng. Annabelle's Dance) for “ Kinetoskop ”. Despite the complexity of technology and the primitiveness of this color, colorized films were popular with viewers and were often released in significant quantities. One of the pioneers of silent films, Georges Melies , used hand coloring of his films, replicating painted copies of films in parallel with black and white versions of the same films. The famous film of this film producer “Journey to the Moon”, released on screens in 1902, was released in a colored version, which cost much more than black and white. The coloring was carried out line by frame frame by frame using the manual labor of the brigade of artists. In 1905, the Pathé film company developed a more sophisticated coloring technique for the Patekolor (Rus.) English film. ( fr . Pathécolor ) with stencils. For this, additional positives were printed, on which the places painted on the print copies in any one color were cut out with a knife. Then the film was painted in a flowwise way with different colors through several such stencils.

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Soviet film director Sergei Eisenstein used hand coloring in 1925 in his famous film The Battleship Potemkin in a scene with the rise of the red flag. For convenience of coloring, a white flag was used during the filming, giving a positive transparent spot. However, the most popular technology was to tint the original black-and-white image into a monochromatic shade, depending on the nature of the plot taken. For example, fire scenes were tinted red, and night scenes were blue. Manual coloring of films and their toning were used until the 1930s, when color cinema technologies already existed in natural colors.

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