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NARRATOR: At the end of the 1800s,
a new art form flickered into life.
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It looked like our dreams.
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Movies are a multibillion dollar
global entertainment industry now.
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But what drives them
isn't box office or showbiz -
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it's passion, innovation.
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So, let's travel the world to find
this innovation for ourselves.
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We'll discover it in this man,
Stanley Donen,
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who made 'Singin' in the Rain'...
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..and in Jane Campion
in Australia...
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..and in the films of Kyoko Kagawa,
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who isn't perhaps
the greatest movie ever made...
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..and in Amitabh Bachchan,
the most famous actor in the world,
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and in the movies of Martin Scorsese
and Spike Lee,
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Lars von Trier and Akira Kurosawa.
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Welcome to The Story Of Film:
An Odyssey,
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00:00:29,860 --> 00:00:31,945
an epic tale of innovation
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00:00:32,153 --> 00:00:37,993
across 12 decades,
six continents and a thousand films.
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1944, World War II,
the Normandy beaches.
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A bunch of Allied troops
have just plunged underwater
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to stop being shot
by German machine guns.
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(METAL CLANKING)
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Above the water's hell...
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..bullets tinkle on iron.
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Cameras all over the place.
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This scene was actually shot
on a peaceful beach in Ireland.
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But director Steven Spielberg
brought bullets and blood
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and bones to that beach.
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A lie to tell the truth.
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This is filmmaking...
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..the art of making us feel
that we're there.
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(GUNSHOTS)
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(FLUTE PLAYS)
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A young woman in Paris
has her eyes closed
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to feel the warmth of the sun
on her face.
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At the same time, unseen by her,
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this little street drama
takes place.
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White light floods the screen,
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links the young and old woman.
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We want to reach into the screen
to help the old lady.
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00:02:36,528 --> 00:02:41,324
This is filmmaking,
cinema as an empathy machine.
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00:02:50,041 --> 00:02:52,127
The Normandy beach scene
and the French lady
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show that, in its use of sound
and light and truth,
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cinema can be great.
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The story of film
is the story of that greatness.
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It's a story full of surprises.
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00:03:10,312 --> 00:03:13,190
At first thought,
you'd guess that The Story of Film
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will be about scenes
like this one from 'Casablanca',
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00:03:16,568 --> 00:03:19,404
full of yearning, story and stardom,
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00:03:19,613 --> 00:03:21,740
because 'Casablanca'
is a Hollywood classic.
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00:03:21,948 --> 00:03:24,743
Ingrid Bergman is lit
like a movie star,
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highlights in her eyes.
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It's all filmed on a studio set.
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00:03:34,336 --> 00:03:36,922
But films like 'Casablanca'
are too romantic
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00:03:37,130 --> 00:03:39,508
to be classical in the true sense.
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Instead, Japanese films like this
are the real classical movies.
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00:03:47,098 --> 00:03:51,394
Romantic films are always
in a rush but this moment,
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00:03:51,603 --> 00:03:55,440
in 'Record of a Tenement Gentleman',
is a pause in the story.
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00:03:55,649 --> 00:03:58,068
(CLOCK CHIMES, KETTLE HISSES)
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A cat, a chiming clock,
a kettle quietly coming to the boil,
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00:04:09,621 --> 00:04:14,918
the almost square frame filled
with smaller squares and rectangles.
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Calm, emotionally restrained,
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like a little
classical Greek temple.
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So, Hollywood's not classical,
Japan is.
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With all its talk of box office,
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the film business would have us
believe that money drives movies...
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Ticket sales...
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00:04:48,743 --> 00:04:52,330
..marketing, glamour, premieres,
red carpets.
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..but it doesn't.
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Money doesn't drive cinema.
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The money men don't know
the secrets of the human heart
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or the brilliance
of the medium of film.
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00:05:04,134 --> 00:05:06,678
But if money doesn't drive movies,
what does?
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00:05:06,887 --> 00:05:09,264
Here's the answer -
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00:05:09,472 --> 00:05:10,640
ideas.
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00:05:10,849 --> 00:05:15,437
Watch how a shot of bubbles
becomes an idea in movie history.
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00:05:18,064 --> 00:05:20,817
This is a scene
from British director Carol Reed's
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1946 movie, 'Odd Man Out'.
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A guy's in a mess,
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sees his troubles reflected
in the bubbles of a spilled drink.
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00:05:31,995 --> 00:05:34,206
Now look at another close-up
of bubbles in a drink.
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Again, a character is in trouble,
self-absorbed.
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This film's director,
Jean-Luc Godard,
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knew and admired Carol Reed's work.
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So he's probably thinking about
'Man Out' when, 20 years later,
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he filmed this moment.
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Now look at Martin Scorsese's film
'Taxi Driver' of 1976.
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Scorsese loves the films
of Carol Reed and Jean-Luc Godard,
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and so used the same idea that
a character looking into bubbles
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can see their own troubles
and also, somehow, the cosmos.
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Visual ideas,
more than money or marketing,
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are the real things
that drive cinema...
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..innovating with those ideas.
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It doesn't always seem like it
but sitting in the dark,
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it's images and ideas
that excite us,
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not money or showbiz.
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But if the business people
don't control film, who does?
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Who knows
how to get inside your head?
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David Lynch does,
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and Baz Luhrmann does
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and in a different way,
Samira Makhmalbaf does.
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The Story of Film: An Odyssey
is a global road movie
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to find the innovators,
the people in films
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that give life to the sublime,
ineffable art form cinema.
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And here's a third surprise -
in the '70s,
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you would guess
that moments like this...
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00:07:29,279 --> 00:07:31,156
..a camera racing through space
like a bullet,
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the scream of tyres on the road
as a car chases a train,
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would be the big story.
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(TYRES SCREECH)
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New American cinema was wonderful
but Dakar in Senegal
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was as exciting as Los Angeles
in the '70s, movie-wise.
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A surprise indeed.
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Much of what we assume
about the movies is off the mark.
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It's time to redraw the map of movie
history that we have in our heads.
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It's factually inaccurate
and racist by omission.
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The Story of Film: An Odyssey could
be an exciting, unpredictable one.
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Fasten your seatbelts.
It's going to be a bumpy ride.
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New Jersey, East Coast America.
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A mum and two daughters
are going to the movies.
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Why are we here?
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Because something extraordinary
happened here.
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In the 1890s movies were born here.
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Lyon, France.
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Two college friends
are going to the movies.
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00:09:19,389 --> 00:09:24,352
Movies were born here too, maybe
even more so than in New Jersey.
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00:09:27,647 --> 00:09:31,026
So, what is there to discover
about movies in New Jersey?
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00:09:32,527 --> 00:09:35,405
We find this man, Thomas Edison.
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00:09:37,115 --> 00:09:40,327
Edison was a manic,
passionate inventor.
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00:09:40,535 --> 00:09:45,707
Here's his office where he invented
the light bulb and the phonograph.
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00:09:47,042 --> 00:09:50,504
Here's his desk, full
of compartments, full of detail,
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obsessive, like he was.
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Here's Edison's factory.
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The beauty of Victorian engineering,
the care and detail.
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00:10:06,811 --> 00:10:08,897
Look at this quotation
on the wall of the factory
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from the painter Joshua Reynolds.
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00:10:11,525 --> 00:10:14,486
"There's no expedient
to which a man will not resort
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00:10:14,694 --> 00:10:17,656
"to avoid the real labour
of thinking."
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00:10:17,864 --> 00:10:21,201
Edison loved it
and moved it around the factory
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00:10:21,409 --> 00:10:25,080
so that his colleagues wouldn't
get used to seeing it in one place.
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00:10:26,456 --> 00:10:29,751
So Edison's factory
was an ideas factory.
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00:10:34,339 --> 00:10:38,385
Before Edison,
there had been fun fairs, circuses,
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00:10:38,593 --> 00:10:41,930
magic lantern shows,
magicians' acts.
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00:10:48,562 --> 00:10:53,400
Still images were reflected
on mirrors or spun in a box.
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This happened not in fancy cities
in the world...
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00:11:12,627 --> 00:11:16,548
..but places like this -
Leeds in England.
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00:11:20,385 --> 00:11:25,140
The American George Eastman came up
with the idea of film on a roll.
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00:11:28,393 --> 00:11:32,898
Edison and his colleague
W.K.L. Dickson egged each other on
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to find that
if you spin these images in a box...
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00:11:37,736 --> 00:11:40,030
..they give the illusion
of movement.
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00:11:41,406 --> 00:11:45,035
And then look at this,
invented by Edison.
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It's called the Black Maria.
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Edison and many of the other manic
ideasy inventors of cinema...
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..realise that beyond the equipment
and machines...
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..what you needed most
for movies was light.
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It probably didn't occur to them
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that cinema would become
the art of light.
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00:12:11,978 --> 00:12:15,398
But somehow,
in building this box on wheels
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that turned to follow the sun,
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00:12:17,817 --> 00:12:21,446
whose roof opened
by turning this wheel,
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00:12:21,655 --> 00:12:24,324
Edison took the first steps
in that direction.
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00:12:25,575 --> 00:12:30,413
He had a hunch that cinema was
a dark room where light mattered.
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He shot little movies here.
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This couple kissing, for example.
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A little moment
that everyone could understand.
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00:12:45,428 --> 00:12:49,266
But to see these films, you had
to look inside something like this.
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That wasn't enough.
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It was too private and small.
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Cinema had to be bigger
and it became so
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here in Lyon in this house
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in the minds
of these passionate men -
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Louis Lumiere
and his brother Auguste.
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The brothers
were as ideasy as Edison.
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Louis in particular
was technically brilliant.
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00:13:16,459 --> 00:13:20,046
He realised that the grab advanced
mechanism of a sewing machine
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would allow the strip of film
to be advanced, paused, exposed,
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advanced, paused, exposed.
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This is one of the very first
Lumiere cameras.
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Open its back,
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shine a light through it
and it becomes a projector.
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00:13:36,646 --> 00:13:39,608
Count Leo Tolstoy called the result
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'the clicking machine,
like a human hurricane.'
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One of the first films
the Lumieres shot was this one...
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..a short documentary
of everyday life,
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their workers leaving a factory,
the Lumiere factory.
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00:14:02,964 --> 00:14:04,799
This is the factory today.
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The place of the first movie,
the source of the Nile.
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But it wasn't enough for the
Lumieres to make such home movies.
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They wanted to show them,
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not just in a box to one person
at a time like Edison,
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but to groups.
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00:14:32,369 --> 00:14:35,247
On 28 December 1895,
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in this building on the Boulevard
des Capucines in Paris,
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the Lumiere brothers projected film.
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Light shone through it
onto a screen bigger than life.
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00:14:52,848 --> 00:14:56,726
It's hard for us today to picture
how enchanting it was.
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This is one of the very first films
that the Lumieres shot
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00:15:05,527 --> 00:15:08,321
and showed
on the Boulevard des Capucines.
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00:15:09,865 --> 00:15:11,700
It's said to have
unnerved the audience.
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00:15:11,908 --> 00:15:14,619
They thought the train
was coming at them.
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00:15:14,828 --> 00:15:16,663
This is laughable today.
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00:15:16,872 --> 00:15:18,081
But look at this.
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Light projected on a building
in 21st-century Lyon.
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The effect is startling.
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00:15:28,091 --> 00:15:31,011
Digital imagery of a type
we haven't seen before.
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00:15:31,219 --> 00:15:34,848
The shock of the new,
just like the Lumiere train.
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00:15:36,391 --> 00:15:38,310
Something that had already happened,
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00:15:38,518 --> 00:15:43,940
light from a distant star came back
to life for the very first time.
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00:15:56,119 --> 00:15:58,205
Neither the Lumiere brothers
nor Edison
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nor the other inventors of cinema
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00:16:01,124 --> 00:16:04,002
could have known how big
the movies would become...
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00:16:05,170 --> 00:16:07,547
..how they'd make us want to escape,
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00:16:07,756 --> 00:16:10,217
play with our erotic imaginations...
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00:16:12,260 --> 00:16:14,846
..fail to film
the Nazi gas chambers,
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00:16:15,055 --> 00:16:18,934
make us want to be a princess
or a hero or a cowboy.
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00:16:23,021 --> 00:16:25,440
Neither the Lumieres nor Edison
could foresee
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00:16:25,649 --> 00:16:27,776
that the movies would invent
flashbacks...
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00:16:27,984 --> 00:16:29,736
There are no flashbacks
in Shakespeare.
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00:16:31,488 --> 00:16:33,031
..that they'd glamorise war...
219
00:16:35,116 --> 00:16:37,744
..capture the horror
of the D-Day landings...
220
00:16:43,083 --> 00:16:45,961
..give us an image bank
to flick through in our heads
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00:16:46,169 --> 00:16:49,047
when we're bored or happy or sad.
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00:16:52,801 --> 00:16:56,263
Movies would become
the world's greatest mirror
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00:16:56,471 --> 00:17:01,476
and sometimes, a hammer too
that would bash reality into shape.
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00:17:05,605 --> 00:17:07,941
By the end of 1896,
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00:17:08,149 --> 00:17:11,319
much of the globe knew about
this new invention, movies.
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00:17:13,154 --> 00:17:17,742
But almost at once it was seen
as lowbrow, for the working classes.
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00:17:17,951 --> 00:17:21,788
Its jokes and jolts
were unsophisticated
228
00:17:21,997 --> 00:17:23,832
and soon became boring.
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00:17:25,166 --> 00:17:29,212
So, from about 1898,
the earliest filmmaker inventors
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00:17:29,421 --> 00:17:31,631
turned their minds
from the machinery of cinema
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00:17:31,840 --> 00:17:34,426
to shots and cuts.
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00:17:34,634 --> 00:17:36,845
Things started to get exciting.
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00:17:39,222 --> 00:17:43,435
In Paris, for example, a theatre
illusionist called George Melies
234
00:17:43,643 --> 00:17:46,897
who had been at the Boulevard
des Capucines that first night...
235
00:17:48,148 --> 00:17:52,819
..filmed on a street - films
now lost but here is what happened.
236
00:17:54,613 --> 00:17:57,657
His camera jammed
then started again.
237
00:17:57,866 --> 00:18:02,996
When he looked at the results,
streetcars seemed to disappear,
238
00:18:03,205 --> 00:18:06,082
just like these people
seem to disappear.
239
00:18:08,251 --> 00:18:11,505
Cinema's first magic trick.
240
00:18:14,049 --> 00:18:17,469
In this scene, he used the same
technique to make a man appear,
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00:18:17,677 --> 00:18:20,138
rather than a streetcar disappear.
242
00:18:24,351 --> 00:18:26,561
Innovation by accident,
you could say...
243
00:18:27,938 --> 00:18:30,690
..but it drove the medium forward.
244
00:18:33,735 --> 00:18:37,364
Where the Lumieres
were cinema's first documentarists,
245
00:18:37,572 --> 00:18:41,076
Melies was its first
special effects director.
246
00:18:42,410 --> 00:18:45,830
His film 'The Moon at One Metre'
astonished people too.
247
00:18:46,039 --> 00:18:49,084
In Lyon today,
in the Festival of Lights,
248
00:18:49,292 --> 00:18:52,963
a moon rises over the city,
as if in tribute to Melies.
249
00:18:57,926 --> 00:19:01,012
Lumiere, the name of the brothers,
means 'light', of course.
250
00:19:02,389 --> 00:19:06,643
And where other countries saw movies
as a sideshow in these years,
251
00:19:06,852 --> 00:19:08,854
France took them seriously.
252
00:19:09,062 --> 00:19:11,106
Film historian Jean-Michel Frodon.
253
00:19:11,314 --> 00:19:13,859
FRODON: France has been doing
something completely different
254
00:19:14,067 --> 00:19:16,736
with cinema
because of the French Revolution
255
00:19:16,945 --> 00:19:21,116
and because of this dream
256
00:19:21,324 --> 00:19:24,953
to project something
to the world and to itself
257
00:19:25,161 --> 00:19:27,372
like what we would call the Lumiere
258
00:19:27,581 --> 00:19:29,791
and this
is the Lumiere advanced cinema.
259
00:19:30,000 --> 00:19:34,963
Before, they were Lumiere in
the sense of the French Revolution,
260
00:19:35,172 --> 00:19:38,967
of the 'Encyclopedie', of Kant, etc.
261
00:19:40,051 --> 00:19:41,178
In the decades to come,
262
00:19:41,386 --> 00:19:43,930
France believed that cinema
was such a beacon,
263
00:19:44,139 --> 00:19:46,224
almost an element of foreign policy,
264
00:19:46,433 --> 00:19:51,354
that it funded French filmmaking
like no other country in the world.
265
00:19:54,024 --> 00:19:58,653
Also in France, the world's first
female director, Alice Guy Blache,
266
00:19:58,862 --> 00:20:02,073
became as interested
in magic as Melies.
267
00:20:07,287 --> 00:20:09,456
And Brighton in England
was a buzzing place
268
00:20:09,664 --> 00:20:11,708
in Victorian times too.
269
00:20:12,792 --> 00:20:16,671
Maybe the buzz and the light
explains why local photographer
270
00:20:16,880 --> 00:20:21,676
George Albert Smith became
one of the movies' early innovators.
271
00:20:27,432 --> 00:20:30,852
He was one of the first to film
from the front of a train,
272
00:20:31,061 --> 00:20:32,896
creating a ghostly tracking shot
273
00:20:33,104 --> 00:20:36,274
which became known
as 'the phantom ride'
274
00:20:36,483 --> 00:20:38,860
as if a ghost was floating
through the air.
275
00:20:47,994 --> 00:20:49,955
There was a magic in such shots.
276
00:20:51,623 --> 00:20:54,209
In this great documentary
about the Holocaust,
277
00:20:54,417 --> 00:20:57,546
Claude Lanzmann filmed shots
of the same train lines
278
00:20:57,754 --> 00:21:00,340
that took the Jews
to the gas chambers,
279
00:21:00,549 --> 00:21:04,052
the phantom ride
at its most morally serious.
280
00:21:07,764 --> 00:21:11,101
And in a completely different way,
director Stanley Kubrick
281
00:21:11,309 --> 00:21:16,147
used a phantom ride scene near
the end of '2001: A Space Odyssey'.
282
00:21:16,356 --> 00:21:20,026
The camera seems to zoom through
the coloured light of the cosmos,
283
00:21:20,235 --> 00:21:23,238
as if the main character,
or the film itself,
284
00:21:23,446 --> 00:21:27,576
is tripping or having
an out-of-body experience.
285
00:21:30,370 --> 00:21:34,958
In 1900 Smith used one
of the first close-ups in cinema.
286
00:21:37,002 --> 00:21:39,421
Filmmakers usually kept
their camera wide
287
00:21:39,629 --> 00:21:41,631
because they hadn't considered
other options
288
00:21:41,840 --> 00:21:43,717
or assuming that if they went close,
289
00:21:43,925 --> 00:21:46,970
it would confuse or disrupt
the audience
290
00:21:47,179 --> 00:21:50,473
but then G.A. Smith did this.
291
00:21:50,682 --> 00:21:54,769
He wanted to show us
the cat eating in more detail.
292
00:21:54,978 --> 00:21:57,898
The cut between the wide and close
not only worked,
293
00:21:58,106 --> 00:22:02,319
it seemed natural
and so close-ups were born.
294
00:22:05,530 --> 00:22:07,365
The films of some
of the greatest directors
295
00:22:07,574 --> 00:22:08,950
are hard to imagine without them.
296
00:22:10,577 --> 00:22:14,289
In this incredible moment in
Sergei Eisenstein's film 'October',
297
00:22:14,497 --> 00:22:16,333
the government raises a bridge
298
00:22:16,541 --> 00:22:19,294
to stop revolutionary workers
storming a city
299
00:22:19,503 --> 00:22:22,839
but it's the close-ups
of a dead woman's hand and hair
300
00:22:23,048 --> 00:22:25,008
being pulled off the raising bridge
301
00:22:25,217 --> 00:22:28,929
that give the real sense
of movement and tragedy.
302
00:22:33,808 --> 00:22:36,853
In Sergio Leone's
'Once upon a Time in the West',
303
00:22:37,062 --> 00:22:41,149
it's only when Charles Bronson
looks, in big close-up,
304
00:22:41,358 --> 00:22:43,109
into the eyes of Henry Fonda
305
00:22:43,318 --> 00:22:46,154
that he realises
that Fonda is the murderer
306
00:22:46,363 --> 00:22:49,074
he's been searching for
all his life.
307
00:22:52,160 --> 00:22:57,541
(MUSIC BUILDS TO CRESCENDO)
308
00:23:12,889 --> 00:23:18,311
Back in America, Enoch J. Rector
extended film in another way.
309
00:23:18,520 --> 00:23:19,646
He filmed a boxing match,
310
00:23:19,855 --> 00:23:23,525
not with the standard size
of film, 35mm,
311
00:23:23,733 --> 00:23:27,195
but with a negative
that was 63mm wide.
312
00:23:27,404 --> 00:23:31,116
The broader image
showed more of the action.
313
00:23:31,324 --> 00:23:33,660
Widescreen cinema was born.
314
00:23:34,744 --> 00:23:39,624
It's the norm now but would not
become commercially so until 1953.
315
00:23:42,169 --> 00:23:44,379
Film had already come far.
316
00:23:44,588 --> 00:23:49,759
It was born as a sideshow,
a novelty, quick fun like fast food.
317
00:23:51,178 --> 00:23:56,141
But almost at once, it became
clear that it was also a language -
318
00:24:00,103 --> 00:24:03,523
a new language,
a language of ideas.
319
00:24:21,958 --> 00:24:25,795
The early 1900s
were a remarkable time to be alive.
320
00:24:26,004 --> 00:24:27,964
The first aeroplane flight.
321
00:24:28,173 --> 00:24:30,550
Albert Einstein announced
that light,
322
00:24:30,759 --> 00:24:35,347
the flickering stuff of cinema, is
the only constant in the universe.
323
00:24:36,515 --> 00:24:40,435
Here in Copenhagen,
other physicists expanded his ideas.
324
00:24:41,978 --> 00:24:43,480
The Titanic sank.
325
00:24:44,648 --> 00:24:46,149
World War I began.
326
00:24:47,442 --> 00:24:48,527
Compared to all of this,
327
00:24:48,735 --> 00:24:52,489
the changes in movies
might seem tiny but they aren't.
328
00:24:54,491 --> 00:24:56,826
By 1903, filmmakers had developed
329
00:24:57,035 --> 00:24:58,954
many of the key elements
of the shot.
330
00:25:02,374 --> 00:25:04,459
But they still had to learn
how to do this...
331
00:25:06,753 --> 00:25:08,088
..cut.
332
00:25:08,296 --> 00:25:09,840
Editing made cinema.
333
00:25:13,426 --> 00:25:16,429
To see how, look at
'The Life of an American Fireman'
334
00:25:16,638 --> 00:25:19,975
made in 1903 by
a Pennsylvanian dynamo of a man
335
00:25:20,183 --> 00:25:22,561
called Edwin Stanton Porter.
336
00:25:26,356 --> 00:25:29,067
A fireman arrives outside
a blazing house
337
00:25:29,276 --> 00:25:31,528
to rescue a mother and her child.
338
00:25:33,697 --> 00:25:36,116
We see the street action first.
339
00:25:53,175 --> 00:25:57,220
Then the same action again
from inside.
340
00:26:08,815 --> 00:26:11,568
Some years later,
Porter recut the film.
341
00:26:11,776 --> 00:26:14,654
This time,
after the fireman arrives,
342
00:26:14,863 --> 00:26:18,575
we cut inside the house
to see the first rescue,
343
00:26:18,783 --> 00:26:22,162
then outside again to see her
being brought down the ladder,
344
00:26:22,370 --> 00:26:28,210
then inside again to see him rescue
the child, then back outside again.
345
00:26:28,418 --> 00:26:30,754
The audience follows the story
of the rescue
346
00:26:30,962 --> 00:26:35,091
despite the fact that one space -
the street,
347
00:26:35,300 --> 00:26:37,093
suddenly disappears from the screen
348
00:26:37,302 --> 00:26:40,805
and is magically replaced
by another space - the room.
349
00:26:42,140 --> 00:26:44,476
This could never happen in theatre.
350
00:26:45,977 --> 00:26:47,229
The earlier version of the film,
351
00:26:47,437 --> 00:26:51,399
which you could call the theatrical
version, doesn't fragment the space
352
00:26:51,608 --> 00:26:55,237
but repeats the time,
like an action replay.
353
00:26:55,445 --> 00:26:59,032
The intercut version
has a continuous timeline.
354
00:26:59,241 --> 00:27:01,618
We see everything in the order
in which it was done
355
00:27:01,826 --> 00:27:04,412
but the space is fragmented.
356
00:27:04,621 --> 00:27:08,708
Cinema was learning, experimenting,
thinking, even.
357
00:27:10,377 --> 00:27:14,422
It could now show the flow of action
from one space to another.
358
00:27:15,882 --> 00:27:18,927
This made chase sequences possible.
359
00:27:19,135 --> 00:27:22,848
It liberated movies.
It emphasised movement.
360
00:27:23,056 --> 00:27:26,101
Nearly every scene
in The Story of Film
361
00:27:26,309 --> 00:27:30,063
will in some way use this most
basic of storytelling devices -
362
00:27:30,272 --> 00:27:32,023
continuity cutting,
363
00:27:32,232 --> 00:27:35,318
the editing equivalent
of the word 'then'.
364
00:27:36,403 --> 00:27:37,404
This was a landmark.
365
00:27:38,530 --> 00:27:42,117
Theatrical cinema was giving way
to action cinema
366
00:27:42,325 --> 00:27:43,618
and Porter?
367
00:27:43,827 --> 00:27:46,913
He lost everything in
the Wall Street Crash of the '20s
368
00:27:47,122 --> 00:27:49,916
and died forgotten in 1941.
369
00:27:55,422 --> 00:27:58,842
It's easy to forget
what a conceptual jump editing was,
370
00:27:59,050 --> 00:28:02,387
but 21 years after
'The Life of an American Fireman',
371
00:28:02,596 --> 00:28:07,434
the comic genius Buster Keaton
shot a scene using double exposure
372
00:28:07,642 --> 00:28:09,644
which reminds us.
373
00:28:09,853 --> 00:28:11,563
Keaton plays a film projectionist.
374
00:28:11,771 --> 00:28:15,609
He falls asleep, dreams of cinema,
375
00:28:15,817 --> 00:28:17,903
climbs into a film.
376
00:28:26,578 --> 00:28:29,122
And then bam! A cut.
377
00:28:29,331 --> 00:28:32,751
The world around him is suddenly
replaced by another world
378
00:28:32,959 --> 00:28:35,253
instantly, magically.
379
00:28:59,361 --> 00:29:02,781
In 1907,
cinematic innovation went up a gear.
380
00:29:04,074 --> 00:29:08,328
Look at 'The Horse that Bolted'
by the Frenchman Charles Pathe.
381
00:29:09,412 --> 00:29:10,997
A man leaves his horse on the street
382
00:29:11,206 --> 00:29:14,501
as he delivers food
to an upstairs customer.
383
00:29:14,709 --> 00:29:17,504
The horse spies something to eat
and tucks in.
384
00:29:19,631 --> 00:29:21,758
Cut to the man climbing the stairs.
385
00:29:24,845 --> 00:29:28,807
Then cut back to the horse,
which isn't doing a new thing.
386
00:29:29,015 --> 00:29:30,433
It's still eating.
387
00:29:31,935 --> 00:29:34,312
Then back to the man
just a second later.
388
00:29:43,780 --> 00:29:46,199
Then back to the horse.
389
00:29:46,408 --> 00:29:48,285
In 'The Life
of an American Fireman',
390
00:29:48,493 --> 00:29:51,204
the cuts showed what happened next.
391
00:29:51,413 --> 00:29:54,916
Here, they're showing
what's happening at the same time.
392
00:29:55,125 --> 00:29:59,796
This isn't continuity editing,
it's parallel editing.
393
00:30:00,005 --> 00:30:03,383
It doesn't say 'then',
it says 'meanwhile'.
394
00:30:05,135 --> 00:30:08,221
Great filmmakers have used
this 'meanwhile editing' ever since
395
00:30:08,430 --> 00:30:13,977
to contrast events, build tension
or advance two storylines at once.
396
00:30:16,396 --> 00:30:19,524
And soon after continuity
and parallel editing were invented,
397
00:30:19,733 --> 00:30:22,736
another remarkable editing technique
was born.
398
00:30:22,944 --> 00:30:25,280
This woman is looking towards us,
399
00:30:25,488 --> 00:30:28,366
as if she's on stage
and we're in the audience.
400
00:30:28,575 --> 00:30:30,911
But what if she does this?
401
00:30:31,119 --> 00:30:32,454
In the earliest movies,
402
00:30:32,662 --> 00:30:35,874
people seldom turned their backs
to the camera like this.
403
00:30:37,334 --> 00:30:40,879
This film, made in 1908, was one
of the first in which this was done.
404
00:30:42,130 --> 00:30:43,924
But if directors were to give actors
405
00:30:44,132 --> 00:30:47,135
the freedom to turn their backs
to the camera like this,
406
00:30:47,344 --> 00:30:49,137
then it occurred to them
407
00:30:49,346 --> 00:30:52,891
they could point the camera
in the opposite direction
408
00:30:53,099 --> 00:30:57,354
to see what would eventually
be called the reverse angle shot.
409
00:30:57,562 --> 00:31:00,857
Directors were putting their cameras
into the action,
410
00:31:01,066 --> 00:31:04,402
freeing themselves
to film from any angle.
411
00:31:06,071 --> 00:31:09,491
This new freedom was
an exhilarating break with theatre
412
00:31:09,699 --> 00:31:12,953
and seemed entirely natural
to cinema, central to it.
413
00:31:14,120 --> 00:31:15,914
So, in the '60s in France,
414
00:31:16,122 --> 00:31:19,125
when Jean-Luc Godard refused
to bring his camera round
415
00:31:19,334 --> 00:31:23,713
to show the face of Anna Karina
at the start of 'Vivre Sa Vie',
416
00:31:23,922 --> 00:31:25,799
the effect was shocking.
417
00:31:34,724 --> 00:31:36,977
Combine this with this -
418
00:31:37,185 --> 00:31:41,147
G.A. Smith's close-up
and the actor rather than the set
419
00:31:41,356 --> 00:31:43,650
began to be the thing
that was filmed.
420
00:31:49,447 --> 00:31:52,075
And just as the movie buildings
were changing,
421
00:31:52,284 --> 00:31:55,328
the movies themselves
took another leap forward.
422
00:31:56,621 --> 00:31:59,958
A look back at 'The Life
of an American Fireman' shows why.
423
00:32:00,166 --> 00:32:02,043
Audiences watching this film
424
00:32:02,252 --> 00:32:04,713
felt concerned for the safety
of this woman.
425
00:32:07,382 --> 00:32:10,010
But they knew nothing
about the actress who played her,
426
00:32:10,218 --> 00:32:11,511
not even her name.
427
00:32:11,720 --> 00:32:15,807
If they had known about her life
or recognised her from other films,
428
00:32:16,016 --> 00:32:17,767
they'd care even more.
429
00:32:19,728 --> 00:32:22,522
Then enter into the movies
this actress,
430
00:32:22,731 --> 00:32:24,524
dressed in white, wearing a hat.
431
00:32:26,359 --> 00:32:29,738
She was known semianonymously
as the 'Imp Girl'
432
00:32:29,946 --> 00:32:33,700
but in 1910,
her producer, Carl Laemmle,
433
00:32:33,909 --> 00:32:36,703
announced in the press
that she had died.
434
00:32:36,912 --> 00:32:38,163
She hadn't.
435
00:32:38,371 --> 00:32:41,875
And when she miraculously showed up
in a scene like this,
436
00:32:42,083 --> 00:32:45,128
very much alive,
anxious and looking around,
437
00:32:45,337 --> 00:32:47,339
Laemmle then told the newspapers
438
00:32:47,547 --> 00:32:51,468
that the crowds were so hysterical
that they tore her clothes off.
439
00:32:52,761 --> 00:32:54,387
This wasn't true either
440
00:32:54,596 --> 00:32:58,850
but the furore burned her name
into the public consciousness.
441
00:32:59,059 --> 00:33:01,144
Florence Lawrence.
442
00:33:01,353 --> 00:33:03,063
Lawrence became famous.
443
00:33:03,271 --> 00:33:09,236
She earned $80,000 in 1912
then her career fizzled out.
444
00:33:09,444 --> 00:33:16,034
In 1938, aged 48, she committed
suicide by eating ant poison.
445
00:33:17,536 --> 00:33:19,913
Florence Lawrence
was the first movie star
446
00:33:20,121 --> 00:33:24,751
and set a pattern for stardom -
hype, fame, tragedy.
447
00:33:26,127 --> 00:33:29,464
Here in Denmark,
this actress, Asta Nielsen,
448
00:33:29,673 --> 00:33:31,299
became even more famous.
449
00:33:32,759 --> 00:33:34,719
There was less censorship in Europe.
450
00:33:34,928 --> 00:33:36,721
Actors could be more sexual.
451
00:33:39,683 --> 00:33:44,187
He's tied up, she's hip-grinding
in her slinky black dress.
452
00:33:46,690 --> 00:33:51,403
Hollywood learned from Nielsen's
fame and instead of sex...
453
00:33:53,738 --> 00:33:56,074
..as this reveal of Gloria Swanson
shows,
454
00:33:56,283 --> 00:33:59,786
it trowelled on the luxury
and costuming.
455
00:34:01,288 --> 00:34:05,000
Hollywood was adding
an element of sublime to stardom.
456
00:34:07,836 --> 00:34:12,174
Almost every aspect of cinema
was affected by the star system.
457
00:34:12,382 --> 00:34:15,218
As the adoring public became more
and more interested in Lawrence,
458
00:34:15,427 --> 00:34:17,596
Nielsen or Swanson,
459
00:34:17,804 --> 00:34:22,017
so moviemakers started to show
their faces more clearly.
460
00:34:22,225 --> 00:34:24,352
Except it wasn't really their faces,
461
00:34:24,561 --> 00:34:28,023
it was their thoughts
that audiences became interested in.
462
00:34:30,567 --> 00:34:31,693
The star system meant
463
00:34:31,902 --> 00:34:34,905
that psychology became
the driving force of films,
464
00:34:35,113 --> 00:34:37,282
especially American ones.
465
00:34:38,867 --> 00:34:43,121
And through these years -
1907, 1908, 1909, 1910 -
466
00:34:43,330 --> 00:34:47,292
small movie theatres, places
for working-class people, emerged.
467
00:34:48,502 --> 00:34:51,588
In America,
they were called nickelodeons.
468
00:34:51,796 --> 00:34:55,342
This one, Tally's,
was on Spring Street in LA.
469
00:34:55,550 --> 00:34:57,636
This is the same spot now.
470
00:34:59,888 --> 00:35:03,808
This little cinema, built in 1914,
is in Leeds in England.
471
00:35:07,062 --> 00:35:12,150
And on this famous corner, the first
nickelodeon in New York was built.
472
00:35:22,285 --> 00:35:25,956
(CHURCH BELLS TOLL)
473
00:35:40,679 --> 00:35:44,099
In the early 1910s,
the best filmmaking in the world
474
00:35:44,307 --> 00:35:46,726
was taking place here,
in Scandinavia.
475
00:35:48,061 --> 00:35:51,022
Maybe it was the northern light,
how it changed,
476
00:35:51,231 --> 00:35:54,276
or maybe it was the sense of destiny
and mortality
477
00:35:54,484 --> 00:35:56,152
in Scandinavian literature
478
00:35:56,361 --> 00:36:01,032
that made Danish and Swedish movies
more graceful and honest.
479
00:36:03,326 --> 00:36:05,287
By 1912, for example,
480
00:36:05,495 --> 00:36:08,123
the most innovative use
of film light in the world
481
00:36:08,331 --> 00:36:11,209
was in the work
of Benjamin Christensen.
482
00:36:17,090 --> 00:36:20,385
Christensen studied at this theatre
in Copenhagen
483
00:36:20,594 --> 00:36:24,848
then made this film,
'The Mysterious X', in 1913.
484
00:36:34,733 --> 00:36:39,487
Gorgeous photography,
crosscutting, a dream drawn on film.
485
00:36:39,696 --> 00:36:42,574
One of the most daring debuts
in film history.
486
00:36:49,623 --> 00:36:52,709
Later he built a vast studio
here in Hellerup,
487
00:36:52,918 --> 00:36:56,463
in the suburbs of Copenhagen,
to make 'Haxan',
488
00:36:56,671 --> 00:37:00,050
a masterpiece about witchcraft
through the ages.
489
00:37:03,094 --> 00:37:06,723
The light sources were multiple,
the effects, complex.
490
00:37:06,932 --> 00:37:09,601
Christensen himself
played the naked devil.
491
00:37:22,572 --> 00:37:25,116
This telegram
in the Danish Film Archives
492
00:37:25,325 --> 00:37:27,619
says, "Your masterful film 'Haxan'
493
00:37:27,827 --> 00:37:30,288
"had its first screening
to a full house
494
00:37:30,497 --> 00:37:32,249
"with a standing ovation."
495
00:37:34,000 --> 00:37:38,588
In Sweden, director Victor Sjostrom
was just as great an early director
496
00:37:38,797 --> 00:37:40,757
and was more influential
than Christensen.
497
00:37:43,969 --> 00:37:46,471
Sjostrom started
by selling doughnuts
498
00:37:46,680 --> 00:37:49,599
but soon found himself here,
Svenska Bio,
499
00:37:49,808 --> 00:37:52,394
Sweden's first major film studio.
500
00:37:53,645 --> 00:37:58,233
His 1913 film, 'Ingeborg Holm',
had naturalism and grace.
501
00:37:59,359 --> 00:38:01,695
But seven years later,
still at Svenska,
502
00:38:01,903 --> 00:38:05,156
Sjostrom made one
of the great multilayered films
503
00:38:05,365 --> 00:38:08,660
of the silent era -
'The Phantom Carriage'.
504
00:38:10,245 --> 00:38:15,125
It had stories within stories,
moods within moods.
505
00:38:15,333 --> 00:38:18,628
In tinted blue evening light,
an alcoholic, David Holm,
506
00:38:18,837 --> 00:38:21,631
tells a drunken story
about a phantom carriage
507
00:38:21,840 --> 00:38:25,844
which arrives at New Year
to collect the souls of the dead.
508
00:38:27,762 --> 00:38:30,640
Here on the right,
Sjostrom plays Holm himself.
509
00:38:32,601 --> 00:38:35,353
Later in the story, David dies.
510
00:38:35,562 --> 00:38:40,859
Sjostrom re-exposes the film to show
the separation of his body and soul.
511
00:38:42,569 --> 00:38:44,446
The carriage driver arrives
512
00:38:44,654 --> 00:38:47,282
and shows him how horrible
his life has been,
513
00:38:47,490 --> 00:38:50,702
a wasted life
wrapped in a haunted myth.
514
00:38:53,205 --> 00:38:56,416
And Sjostrom was brilliant at women.
515
00:38:57,876 --> 00:39:00,504
His strong mother died
when he was young.
516
00:39:01,546 --> 00:39:05,091
Sjostrom ended his days
in this cottage by the sea,
517
00:39:05,300 --> 00:39:06,718
west of Stockholm.
518
00:39:10,639 --> 00:39:14,309
Christensen and Sjostrom
became star directors and,
519
00:39:14,518 --> 00:39:17,312
as was to become the pattern
for European talents,
520
00:39:17,521 --> 00:39:20,398
they were seduced by what
would be, in the years to come,
521
00:39:20,607 --> 00:39:24,986
the centre of the movie world -
a place called Hollywood.
522
00:39:26,279 --> 00:39:27,113
They sailed there,
523
00:39:27,322 --> 00:39:30,700
as a certain Swedish movie star
called Greta Garbo did,
524
00:39:30,909 --> 00:39:34,412
and later, another called
Ingrid Bergman did.
525
00:39:36,706 --> 00:39:38,500
As a result of their departures,
526
00:39:38,708 --> 00:39:41,753
Scandinavia would not be central
to the story of film again
527
00:39:41,962 --> 00:39:43,797
until the 1950s.
528
00:40:58,038 --> 00:41:02,626
A long time ago, in a galaxy far,
far away from Scandinavia...
529
00:41:03,960 --> 00:41:07,714
..there was a garden that didn't
know what was about to hit it.
530
00:41:07,923 --> 00:41:12,969
Sagebrush in the rain.
The eucalyptus in the rain.
531
00:41:13,178 --> 00:41:17,641
You see, the spring
was such a marvellous thing there.
532
00:41:29,861 --> 00:41:33,198
The garden was about to be invaded,
built upon.
533
00:41:34,366 --> 00:41:36,743
It was about to bring in artists
and business people
534
00:41:36,952 --> 00:41:41,998
from around the world to paint
clouds to look like real clouds...
535
00:41:45,210 --> 00:41:48,672
..to create people
to look like real people.
536
00:41:57,055 --> 00:41:58,014
The sort of place
537
00:41:58,223 --> 00:42:00,600
where you would wear
costume jewellery in the daytime.
538
00:42:00,809 --> 00:42:04,604
The sort of place
that invented youth and glamour...
539
00:42:06,064 --> 00:42:08,275
..where Marlene Dietrich
could wear black feathers
540
00:42:08,483 --> 00:42:10,151
and be framed in a train window
541
00:42:10,360 --> 00:42:15,365
and be lit in a lattice of shadows
and somehow look believable.
542
00:42:17,868 --> 00:42:20,704
Youth and glamour
came out of its test tubes.
543
00:42:21,788 --> 00:42:25,625
No-one was supposed to be plain
here, or sad or old
544
00:42:25,834 --> 00:42:28,503
or racially equal
or sexually different.
545
00:42:28,712 --> 00:42:31,840
What denial. What eugenics.
546
00:42:33,884 --> 00:42:37,512
And yet, it attracted people,
selves,
547
00:42:37,721 --> 00:42:41,057
ideas, styles, shape-shifters.
548
00:42:42,225 --> 00:42:47,063
It became a bauble, this place,
shiny, perfect, brittle,
549
00:42:47,272 --> 00:42:49,232
something you could see yourself in.
550
00:42:53,236 --> 00:42:56,573
Movies started to be
in the air here.
551
00:43:03,914 --> 00:43:06,458
Of course, this place is called
Hollywood...
552
00:43:08,001 --> 00:43:11,796
..a fantasy name because one of
the things that won't grow here
553
00:43:12,005 --> 00:43:13,590
is this - holly.
554
00:43:18,970 --> 00:43:21,139
Why did movie people come here?
555
00:43:21,348 --> 00:43:23,642
Because of weather, sunlight...
556
00:43:25,727 --> 00:43:27,938
..and because on the East Coast,
557
00:43:28,146 --> 00:43:29,773
New Jersey and New York,
558
00:43:29,981 --> 00:43:33,735
the film process had been patented,
copyrighted.
559
00:43:35,237 --> 00:43:37,364
Take this example of copyright.
560
00:43:37,572 --> 00:43:41,868
For years, film running
through viewing machines had snapped
561
00:43:42,077 --> 00:43:44,371
because of the tension in the spool.
562
00:43:44,579 --> 00:43:47,916
Then the Latham brothers
and people around Thomas Edison
563
00:43:48,124 --> 00:43:50,752
had the brainwave of creating
this simple loop
564
00:43:50,961 --> 00:43:54,756
which created a bit of slack which
would allow the machine to stop,
565
00:43:54,965 --> 00:43:58,677
project an image and then move on
again without tearing the film.
566
00:43:59,970 --> 00:44:01,179
This so-called Latham loop
567
00:44:01,388 --> 00:44:04,808
was patented
by its East Coast inventors.
568
00:44:05,016 --> 00:44:08,228
You had to pay people to use it
and other discoveries.
569
00:44:08,436 --> 00:44:12,524
But California was very far away
from those rights owners
570
00:44:12,732 --> 00:44:14,526
so you could break the law there.
571
00:44:24,911 --> 00:44:27,998
This is South Spring Street in 1897.
572
00:44:30,000 --> 00:44:31,501
Here's the same spot today.
573
00:44:32,919 --> 00:44:34,421
Things moved quickly.
574
00:44:34,629 --> 00:44:37,215
The first studio was built in 1911.
575
00:44:38,425 --> 00:44:39,926
It was like an outdoor tent.
576
00:44:42,053 --> 00:44:43,430
It was built here.
577
00:44:47,809 --> 00:44:51,396
The first feature-length movie ever
made, 'The Story of the Kelly Gang',
578
00:44:51,605 --> 00:44:56,735
was filmed in Australia, outdoors,
available light, head-on framing.
579
00:45:00,906 --> 00:45:02,866
Seven years later,
Cecil B. DeMille
580
00:45:03,074 --> 00:45:05,660
shot the first Hollywood
feature here.
581
00:45:08,538 --> 00:45:10,707
Here it is - 'The Squaw Man'.
582
00:45:10,916 --> 00:45:13,710
In it, we can see another
crucial element of filmmaking
583
00:45:13,919 --> 00:45:16,046
that fell into place in these years.
584
00:45:17,506 --> 00:45:21,051
A decent man is trying to decide
whether to do a good deed.
585
00:45:21,259 --> 00:45:23,220
He looks right through a window
586
00:45:23,428 --> 00:45:25,889
and sees a young woman
who will benefit from the deed.
587
00:45:34,731 --> 00:45:36,816
Their eyes meet for a second.
588
00:45:37,025 --> 00:45:41,154
He feels her pain
and decides to do the good deed.
589
00:45:42,697 --> 00:45:45,367
But imagine if DeMille
and his cameraperson
590
00:45:45,575 --> 00:45:47,160
had lifted their camera from here,
591
00:45:47,369 --> 00:45:49,704
brought it round
to the far side of this room
592
00:45:49,913 --> 00:45:51,831
and filmed the young woman
from over there.
593
00:45:55,418 --> 00:45:58,213
The shot of her would
have looked something like this...
594
00:46:00,924 --> 00:46:04,427
..as if she was looking away from
the man, rather than towards him.
595
00:46:05,929 --> 00:46:08,682
And the scene wouldn't have had
the same power.
596
00:46:08,890 --> 00:46:12,018
It's because their eyes
match across the cut,
597
00:46:12,227 --> 00:46:16,898
him looking right, her looking left,
that they connect emotionally.
598
00:46:19,067 --> 00:46:21,361
Filmmakers in these years
were discovering
599
00:46:21,570 --> 00:46:23,947
that to make it look
like people in different shots
600
00:46:24,155 --> 00:46:25,949
were looking at each other,
601
00:46:26,157 --> 00:46:28,869
or that armies
were marching towards each other...
602
00:46:30,203 --> 00:46:35,500
..the camera had to stay on the same
side of an invisible 180-degree line
603
00:46:35,709 --> 00:46:39,796
drawn between the two people looking
at, or talking to, each other.
604
00:46:42,549 --> 00:46:43,884
Because this rule was new,
605
00:46:44,092 --> 00:46:48,221
filmmakers in the late 1910s
sometimes broke it by mistake.
606
00:46:49,931 --> 00:46:53,226
Later in 'The Squaw Man',
DeMille made such a mistake.
607
00:46:54,561 --> 00:46:56,521
A man is dangling from a cliff.
608
00:46:56,730 --> 00:46:59,524
He's looking right.
The cliff is on the right.
609
00:46:59,733 --> 00:47:04,029
But then DeMille goes to the bottom
of the cliff to show the man's fall.
610
00:47:07,949 --> 00:47:09,576
But he films from
the wrong side of the man
611
00:47:09,784 --> 00:47:12,746
so it looks like the cliff has
switched to the left of the screen.
612
00:47:14,080 --> 00:47:17,751
The shot would have been more
spatially clear if it was like this.
613
00:47:23,924 --> 00:47:27,135
And to make matters worse,
his friends come to the rescue,
614
00:47:27,344 --> 00:47:31,681
leaving screen left but entering
the next shot screen right,
615
00:47:31,890 --> 00:47:34,100
as if they have taken a detour
to the pub.
616
00:47:37,187 --> 00:47:41,066
Once this discovery was made, it was
used throughout mainstream cinema.
617
00:47:42,275 --> 00:47:44,528
This scene from
'The Empire Strikes Back',
618
00:47:44,736 --> 00:47:47,280
an old-style movie
made 60 years later,
619
00:47:47,489 --> 00:47:50,450
shows how enduring
the discovery was.
620
00:47:50,659 --> 00:47:53,995
Darth Vader is on the left
of screen, looking right.
621
00:47:54,204 --> 00:47:58,083
His underling, to whom he is
speaking, is in a separate shot,
622
00:47:58,291 --> 00:47:59,125
looking left.
623
00:47:59,334 --> 00:48:02,003
Because of the 180-degree rule,
624
00:48:02,212 --> 00:48:04,506
we completely believe that
they're looking at each other.
625
00:48:04,714 --> 00:48:07,634
Set your course for the Hoth system.
626
00:48:07,843 --> 00:48:08,885
General Veers...
627
00:48:12,931 --> 00:48:16,685
Crucial to the inventiveness of
American cinema before the 1920s
628
00:48:16,893 --> 00:48:19,145
was how female it was.
629
00:48:19,354 --> 00:48:21,898
Film historian Cari Beauchamp.
630
00:48:22,107 --> 00:48:26,528
Hollywood was built by women,
immigrants and Jews,
631
00:48:26,736 --> 00:48:30,866
people who would not be accepted
in any other profession at the time
632
00:48:31,074 --> 00:48:35,912
so Hollywood became this magnet
for people who wanted to work,
633
00:48:36,121 --> 00:48:37,497
who were incredibly creative
634
00:48:37,706 --> 00:48:40,625
but wouldn't be accepted
in other professions.
635
00:48:40,834 --> 00:48:44,462
Well, half of all films written
before 1925 were written by women
636
00:48:44,671 --> 00:48:47,632
so that shows you
how just comfortable women were
637
00:48:47,841 --> 00:48:48,967
in the business then.
638
00:48:50,844 --> 00:48:53,263
Perhaps the first woman
to direct a film
639
00:48:53,471 --> 00:48:57,976
and the first female studio boss
was Alice Guy Blache.
640
00:48:58,185 --> 00:49:01,313
Most of the film companies
focused on the machinery
641
00:49:01,521 --> 00:49:04,691
and Gaumont started
to make actual films
642
00:49:04,900 --> 00:49:06,484
and Alice Guy was a secretary there
643
00:49:06,693 --> 00:49:09,154
and they let her play
with the cameras after hours,
644
00:49:09,362 --> 00:49:11,531
as long as she'd gotten
her secretarial work done.
645
00:49:11,740 --> 00:49:14,784
And Alice Guy was not only
one of the first female directors,
646
00:49:14,993 --> 00:49:16,620
she was one of the first directors.
647
00:49:16,828 --> 00:49:17,662
She was one of the first
648
00:49:17,871 --> 00:49:22,542
to actually put film together
into a story with an arc.
649
00:49:22,751 --> 00:49:26,880
Up until then,
we'd had the sneeze, the wave,
650
00:49:27,088 --> 00:49:29,132
individual actions.
651
00:49:29,341 --> 00:49:33,553
But Alice created some dramatic
arc films for the very first time.
652
00:49:33,762 --> 00:49:36,556
Here is an example
of Guy Blache's touching poetics.
653
00:49:37,641 --> 00:49:41,186
A little girl overhears a doctor
say that her sister will die
654
00:49:41,394 --> 00:49:43,772
before the leaves fall
from the trees
655
00:49:43,980 --> 00:49:48,068
so she goes outside
and starts to tie them back on.
656
00:50:00,121 --> 00:50:03,708
One of the most innovative directors
of the time was Lois Weber.
657
00:50:03,917 --> 00:50:07,796
Here, she also plays
the lead in her film 'Suspense'.
658
00:50:08,004 --> 00:50:10,632
A woman's at home with her child.
659
00:50:10,841 --> 00:50:14,135
She hears an intruder,
looks out the window,
660
00:50:14,344 --> 00:50:18,390
sees him in this remarkable
sideways POV shot.
661
00:50:18,598 --> 00:50:20,392
She calls her husband.
662
00:50:20,600 --> 00:50:22,310
Weber users a split screen
663
00:50:22,519 --> 00:50:26,523
to show the husband, the intruder
and herself all in the same moment.
664
00:50:27,607 --> 00:50:31,236
The husband jumps in a car
and tries to race to save his wife.
665
00:50:33,572 --> 00:50:37,826
(DRAMATIC MUSIC PLAYS)
666
00:50:39,119 --> 00:50:40,579
He's chased by the police,
667
00:50:40,787 --> 00:50:44,165
who Weber shows in this inventive
shot of the wing mirror.
668
00:50:45,709 --> 00:50:47,669
The intruder climbs the stair.
669
00:50:47,878 --> 00:50:49,546
(DRAMATIC MUSIC PLAYS)
670
00:50:51,840 --> 00:50:56,595
And again, Weber's camera position
emphasises the approach, the threat.
671
00:50:57,637 --> 00:51:01,183
In the end, the police
and husband arrive and save the day.
672
00:51:05,770 --> 00:51:11,776
The film was, for years, credited
to a male director, D.W. Griffith.
673
00:51:11,985 --> 00:51:15,947
Frances Marion
was an even more significant figure.
674
00:51:16,156 --> 00:51:18,617
Well, Frances Marion
was the highest-paid screen writer,
675
00:51:18,825 --> 00:51:22,746
male or female, from 1915 to 1935.
676
00:51:22,954 --> 00:51:25,207
That's an incredible accomplishment
right there.
677
00:51:25,415 --> 00:51:29,002
She also is the only woman ever
to win two Oscars for writing
678
00:51:29,211 --> 00:51:31,671
and she won her Oscars
for 'The Big House',
679
00:51:31,880 --> 00:51:34,466
the seminal prison film,
680
00:51:34,674 --> 00:51:37,844
and 'The Champ',
the classic boxing film.
681
00:51:38,053 --> 00:51:40,138
What I love about that
is it just, right there,
682
00:51:40,347 --> 00:51:41,389
puts the lie to the idea,
683
00:51:41,598 --> 00:51:45,101
"Well, these women writers
were writing the matinee weepies
684
00:51:45,310 --> 00:51:47,729
"or the women's films,"
quote, unquote.
685
00:51:47,938 --> 00:51:51,900
No. They were writing
every conceivable genre of film.
686
00:51:52,108 --> 00:51:55,153
Women like Frances,
Adela Rogers St. Johns,
687
00:51:55,362 --> 00:51:57,197
Bess Meredyth, Anita Loos.
688
00:51:57,405 --> 00:52:01,076
I mean, these were the
creme de la creme of the writers,
689
00:52:01,284 --> 00:52:04,579
the ones that the Thalbergs
and the Mayers went to
690
00:52:04,788 --> 00:52:08,375
when they had big productions
they knew they needed to count on.
691
00:52:08,583 --> 00:52:10,627
Marion's screenplay
for the film 'The Wind'
692
00:52:10,836 --> 00:52:12,838
was about a woman living in a shack.
693
00:52:13,046 --> 00:52:16,174
The wind is incessant.
Sand's everywhere.
694
00:52:16,383 --> 00:52:18,760
It seems to blast the visual image.
695
00:52:21,179 --> 00:52:23,932
An aggressive man forces himself
on her.
696
00:52:24,140 --> 00:52:27,602
She shoots him
then buries him in the sand
697
00:52:27,811 --> 00:52:30,063
but the wind blows the sand away.
698
00:52:30,272 --> 00:52:34,234
The corpse is exposed,
just like her fear,
699
00:52:34,442 --> 00:52:37,237
just like her unconscious mind.
700
00:52:37,445 --> 00:52:39,865
'The Wind' was an epic tone poem,
701
00:52:40,073 --> 00:52:43,577
cut like a thriller
but filmed like a dream.
702
00:52:45,495 --> 00:52:47,372
Hollywood films like it
703
00:52:47,581 --> 00:52:50,834
showed female audiences
things they'd probably felt
704
00:52:51,042 --> 00:52:52,294
but never seen.
705
00:52:57,924 --> 00:52:59,092
Most people in America
706
00:52:59,301 --> 00:53:01,887
did not go further than 20 miles
from their home
707
00:53:02,095 --> 00:53:03,889
from when they were born
till they died.
708
00:53:04,097 --> 00:53:07,267
So, you have this incredible country
709
00:53:07,475 --> 00:53:11,146
that really only lives in
this bell jar of their own community
710
00:53:11,354 --> 00:53:13,648
and as films start coming out,
711
00:53:13,857 --> 00:53:15,775
as movie theatres are being built...
712
00:53:15,984 --> 00:53:19,654
By 1920, there's over
15,000 theatres in this country.
713
00:53:19,863 --> 00:53:22,741
So, all of a sudden,
you can go around the corner,
714
00:53:22,949 --> 00:53:25,744
put down your nickel or your dime
or your quarter
715
00:53:25,952 --> 00:53:29,039
and have this entire world
open up to you.
716
00:53:29,247 --> 00:53:32,292
And it's not just they're
seeing Paris for the first time,
717
00:53:32,501 --> 00:53:34,586
they're seeing New York City
or San Francisco.
718
00:53:34,794 --> 00:53:36,338
They're seeing women's fashions.
719
00:53:36,546 --> 00:53:41,259
They are seeing women acting in ways
that nobody would dare do.
720
00:53:41,468 --> 00:53:45,889
With talking films, the price
of making movies skyrocketed
721
00:53:46,097 --> 00:53:47,766
and so, with talking films,
722
00:53:47,974 --> 00:53:50,894
Wall Street really entered
the business for the first time.
723
00:53:51,102 --> 00:53:55,065
And when money entered into it,
the jobs started paying more.
724
00:53:55,273 --> 00:53:59,736
It was taken seriously as a business
and men wanted those jobs.
725
00:54:03,156 --> 00:54:06,868
If the great women filmmakers
of the 1910s are underremembered,
726
00:54:07,077 --> 00:54:09,538
you could say that this man, lanky,
727
00:54:09,746 --> 00:54:15,252
here in a stagey family scene with a
painted skyline, is overremembered.
728
00:54:15,460 --> 00:54:19,130
People say that D.W. Griffith
invented close-ups or editing,
729
00:54:19,339 --> 00:54:20,340
which isn't true.
730
00:54:22,551 --> 00:54:25,762
But he did something far more
valuable for the art of cinema.
731
00:54:25,971 --> 00:54:30,225
He said it needs to show this -
the wind in the trees.
732
00:54:45,740 --> 00:54:50,370
Before Griffith, film had a tendency
to be stagey like this.
733
00:54:50,579 --> 00:54:51,872
Airless.
734
00:54:52,080 --> 00:54:54,332
He brought the wind
in the trees to cinema...
735
00:54:57,669 --> 00:55:00,547
..a sense of the outside world.
736
00:55:00,755 --> 00:55:03,425
The delicacy of Lillian Gish's
performance here
737
00:55:03,633 --> 00:55:08,054
matches the delicacy of the light,
the visual softness.
738
00:55:13,226 --> 00:55:16,229
Decades later,
the critic Roland Barthes
739
00:55:16,438 --> 00:55:20,400
said that some images have
unplanned natural details in them
740
00:55:20,609 --> 00:55:22,194
that move us.
741
00:55:22,402 --> 00:55:24,613
Barthes called this the 'punctum',
742
00:55:24,821 --> 00:55:27,324
the thing that pricks our feelings.
743
00:55:27,532 --> 00:55:31,453
Griffith's work is full of
the punctum, the wind in the trees.
744
00:55:37,918 --> 00:55:42,547
This scene, from 'Way Down East', is
set on a treacherous, thawing river.
745
00:55:42,756 --> 00:55:46,009
Griffith could never have planned
that Lillian Gish's right arm
746
00:55:46,218 --> 00:55:49,346
would push ice off
the adjacent ice flow...
747
00:55:50,597 --> 00:55:52,682
..but we notice the realness
of the moment.
748
00:55:55,644 --> 00:55:58,563
Griffith worked with one of the best
cinematographers in the business,
749
00:55:58,772 --> 00:55:59,940
Billy Bitzer.
750
00:56:00,148 --> 00:56:02,692
Bitzer disliked the hard edge
of the film image
751
00:56:02,901 --> 00:56:05,070
so put a collar around the lens hood
752
00:56:05,278 --> 00:56:08,114
to make the edge of the image
go slightly darker,
753
00:56:08,323 --> 00:56:11,952
adding class to the picture,
as Bitzer himself put it,
754
00:56:12,160 --> 00:56:16,498
and influencing the look of film
in America for a generation.
755
00:56:16,706 --> 00:56:20,961
Griffith and Bitzer understood the
psychological intensity of a lens.
756
00:56:21,169 --> 00:56:24,381
They used visual softness
and backlighting,
757
00:56:24,589 --> 00:56:25,841
which gave a halo to hair
758
00:56:26,049 --> 00:56:29,094
and made actors stand out
against backgrounds.
759
00:56:33,515 --> 00:56:36,852
What Griffith and Bitzer did
in 1914 and 1915,
760
00:56:37,060 --> 00:56:38,520
with all their talents,
761
00:56:38,728 --> 00:56:41,356
their haloed imagery,
their splendid tracking shots
762
00:56:41,565 --> 00:56:43,191
and feel for the outdoors
763
00:56:43,400 --> 00:56:46,695
is one of the great shocks
in The Story of Film.
764
00:56:46,903 --> 00:56:49,990
They made this deceitful
state-of-the-nation movie
765
00:56:50,198 --> 00:56:52,909
that raised a racist flag
766
00:56:53,118 --> 00:56:56,329
which showed the power of cinema
and its danger.
767
00:56:58,123 --> 00:56:59,124
The 'Birth of a Nation'
768
00:56:59,332 --> 00:57:02,502
looks like it was shot
in Griffith's native Kentucky...
769
00:57:04,129 --> 00:57:07,424
..but it was actually filmed here,
near Los Angeles.
770
00:57:11,428 --> 00:57:13,305
It showed the American Civil War.
771
00:57:14,890 --> 00:57:17,767
Griffith mixed the epic
with the intimate.
772
00:57:17,976 --> 00:57:21,021
A southern officer returns home.
773
00:57:21,229 --> 00:57:22,647
He goes to his mother.
774
00:57:22,856 --> 00:57:25,400
Her arms come out
of the doorway to enfold him.
775
00:57:33,241 --> 00:57:34,784
We don't see the rest of her.
776
00:57:36,745 --> 00:57:39,664
Such subtlety made the racism
all the more dangerous.
777
00:57:41,583 --> 00:57:44,503
Black senators were shown as drunk
and unclean.
778
00:57:46,046 --> 00:57:47,297
('RIDE OF THE VALKYRIES'
BY WAGNER PLAYS)
779
00:57:47,506 --> 00:57:49,758
In this scene,
Griffith used Wagner music.
780
00:57:49,966 --> 00:57:53,136
The Cameron family are being
attacked by black soldiers.
781
00:57:53,345 --> 00:57:57,390
They're rescued by the clan,
heroic and thrilling.
782
00:58:05,565 --> 00:58:06,816
After some screenings,
783
00:58:07,025 --> 00:58:10,278
black audience members
were attacked with clubs.
784
00:58:10,487 --> 00:58:14,157
The Ku Klux Klan had been disbanded
in 1869
785
00:58:14,366 --> 00:58:19,412
but by the mid-1920s, its
membership was back up to 4 million.
786
00:58:21,122 --> 00:58:23,291
Talk about the wind in the trees.
787
00:58:23,500 --> 00:58:27,921
More than 80 years later,
DJ Spooky sampled and played
788
00:58:28,129 --> 00:58:30,340
with the toxic scenes
of 'Birth of a Nation',
789
00:58:30,549 --> 00:58:32,843
almost as if he were scribbling
on them.
790
00:58:39,516 --> 00:58:41,393
The year after
the 'Birth of a Nation',
791
00:58:41,601 --> 00:58:45,313
Griffiths saw this,
the epic Italian film 'Cabiria'.
792
00:58:45,522 --> 00:58:49,401
He was stunned, particularly
by these moving dolly shots.
793
00:58:50,569 --> 00:58:52,112
Inspired by these moves
794
00:58:52,320 --> 00:58:56,157
and production designs such as this,
using elephants to suggest scale...
795
00:58:57,701 --> 00:59:00,328
..and also by the novels
of Charles Dickens,
796
00:59:00,537 --> 00:59:03,540
he made a 3.5-hour film,
'Intolerance',
797
00:59:03,748 --> 00:59:06,918
about love's struggle
through history.
798
00:59:11,631 --> 00:59:14,342
The film showed
human intolerance in Babylon...
799
00:59:16,094 --> 00:59:20,849
..and the life of Jesus Christ
tinted in sepia...
800
00:59:21,057 --> 00:59:24,853
..and the massacre of St Bartholomew
in medieval ages.
801
00:59:25,061 --> 00:59:27,147
Violent scenes tinted blue...
802
00:59:29,316 --> 00:59:34,070
..and in modern gangsterism,
all shiny cars and jazz outfits...
803
00:59:35,572 --> 00:59:38,033
..and then intercut these.
804
00:59:39,409 --> 00:59:42,704
Griffith said,
"Dickens intercuts, so so will I."
805
00:59:43,830 --> 00:59:48,168
He took storyline A so far
then jumped to storyline B,
806
00:59:48,376 --> 00:59:52,339
advanced it a certain amount
then went back again to A
807
00:59:52,547 --> 00:59:54,424
and picked up where he had left off.
808
00:59:55,842 --> 01:00:00,305
Previously, a cut from one shot
to the next meant, as we've seen,
809
01:00:00,514 --> 01:00:02,849
'then' or 'meanwhile'.
810
01:00:05,894 --> 01:00:08,980
Griffith's cutting between
time periods wasn't saying either.
811
01:00:10,524 --> 01:00:12,067
It was saying, "Look,
812
01:00:12,275 --> 01:00:14,569
"these very different events
from different eras
813
01:00:14,778 --> 01:00:18,782
"all show the same human trait -
intolerance
814
01:00:18,990 --> 01:00:21,326
"or the failure of love,"
815
01:00:21,535 --> 01:00:24,329
editing as an intellectual signpost
816
01:00:24,538 --> 01:00:29,251
asking people to notice
not something about action or story,
817
01:00:29,459 --> 01:00:31,628
but about the meaning
of the sequence.
818
01:00:33,797 --> 01:00:37,050
Soviets such as Eisenstein
wrote about this editing
819
01:00:37,259 --> 01:00:40,554
and as far away as Japan in 1921,
820
01:00:40,762 --> 01:00:45,350
Minoru Murata made this film,
'Souls on the Road'.
821
01:00:45,559 --> 01:00:47,853
Two storylines intertwine.
822
01:00:48,061 --> 01:00:50,230
In the end of the film,
they come together.
823
01:00:50,438 --> 01:00:52,691
Two ex-convicts from one storyline
824
01:00:52,899 --> 01:00:57,279
here find a son from
the other storyline in the snow.
825
01:00:59,114 --> 01:01:02,993
Their story has been one of hope
but the son has died.
826
01:01:03,201 --> 01:01:06,204
A pioneering use
of parallel editing in Asia.
827
01:01:07,956 --> 01:01:12,252
This made 'Souls on the Road'
the first great Japanese film.
828
01:01:19,759 --> 01:01:22,345
In LA today, a shopping mall
on Hollywood Boulevard
829
01:01:22,554 --> 01:01:24,556
where the Oscars take place
830
01:01:24,764 --> 01:01:28,977
has partially rebuilt the massive
Babylonian gate from 'Intolerance'.
831
01:01:32,689 --> 01:01:36,026
The original was here,
a mile away from the shopping mall.
832
01:01:39,613 --> 01:01:42,240
It was demolished
when Hollywood didn't care much
833
01:01:42,449 --> 01:01:43,992
about its own history.
834
01:01:46,578 --> 01:01:49,206
But what history, what ideas,
835
01:01:49,414 --> 01:01:50,957
filmed with a dolly on a crane
836
01:01:51,166 --> 01:01:54,461
and even on a balloon to get
high enough up into the wind
837
01:01:54,669 --> 01:01:57,088
that flaps these vast hangings.
838
01:02:00,133 --> 01:02:04,513
Cinema was just 20 years old
when this shot was filmed.
839
01:02:05,847 --> 01:02:08,016
A new art form had been born.
840
01:02:08,225 --> 01:02:11,436
Scandinavian directors
had made it an art of light.
841
01:02:17,776 --> 01:02:21,613
Nickelodeons had given way
to movie palaces,
842
01:02:21,821 --> 01:02:24,282
places built like cathedrals...
843
01:02:29,037 --> 01:02:31,122
..or Egyptian temples...
844
01:02:33,458 --> 01:02:35,669
..or Chinese pavilions.
845
01:02:43,468 --> 01:02:48,181
A garden called Hollywood started to
pump fantasies out into the world.
846
01:02:51,852 --> 01:02:55,772
Film editing captured the fragmented
experiences of modern life.
847
01:02:59,192 --> 01:03:01,611
New creatures called movie stars
848
01:03:01,820 --> 01:03:04,155
became the most famous people
in the world.
849
01:03:05,323 --> 01:03:08,535
They lived in places of rapture
and escape.
850
01:03:11,079 --> 01:03:14,416
The story of film seemed
to have reached its climax.
851
01:03:21,339 --> 01:03:24,968
But in fact,
it was only just beginning.
852
01:03:46,740 --> 01:03:24,968
Supertext Captions by
Red Bee Media Australia
www.redbeemedia.com.au
71725
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