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film

Film

The American filmmaker Edwin S. Porter started making films for the Edison Company in 1901. A former projectionist hired by Thomas Edison to develop his new projection model known as the Vitascope, Porter was inspired in part by the works of Méliès, Smith, and Williamson and drew upon their newly crafted techniques to further the development of continuous narrative through editing. When he began making longer films in 1902, he put a dissolve between every shot, just as Georges Méliès was already doing, and he frequently had the same action repeated across the dissolves.

Before the advent of digital alternatives, the cost of professional film equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional studio film. But the advent of consumer camcorders in 1985, and more importantly, the arrival of high-resolution digital video in the early 1990s, have lowered the technology barrier to film production significantly. Both production and post-production costs have been significantly lowered; in the 2000s, the hardware and software for post-production can be installed in a commodity-based personal computer. Technologies such as DVDs, FireWire connections and a wide variety of professional and consumer-grade video editing software make film-making relatively affordable.

The change was remarkably swift. By the end of 1929, Hollywood was almost all-talkie, with several competing sound systems (soon to be standardized). Total changeover was slightly slower in the rest of the world, principally for economic reasons. Cultural reasons were also a factor in countries like China and Japan, where silents co-existed successfully with sound well into the 1930s, indeed producing what would be some of the most revered classics in those countries, like Wu Yonggang’s The Goddess (China, 1934) and Yasujirō Ozu’s I Was Born, But… (Japan, 1932). But even in Japan, a figure such as the benshi, the live narrator who was a major part of Japanese silent cinema, found his acting career was ending.

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The American filmmaker Edwin S. Porter started making films for the Edison Company in 1901. A former projectionist hired by Thomas Edison to develop his new projection model known as the Vitascope, Porter was inspired in part by the works of Méliès, Smith, and Williamson and drew upon their newly crafted techniques to further the development of continuous narrative through editing. When he began making longer films in 1902, he put a dissolve between every shot, just as Georges Méliès was already doing, and he frequently had the same action repeated across the dissolves.

Before the advent of digital alternatives, the cost of professional film equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional studio film. But the advent of consumer camcorders in 1985, and more importantly, the arrival of high-resolution digital video in the early 1990s, have lowered the technology barrier to film production significantly. Both production and post-production costs have been significantly lowered; in the 2000s, the hardware and software for post-production can be installed in a commodity-based personal computer. Technologies such as DVDs, FireWire connections and a wide variety of professional and consumer-grade video editing software make film-making relatively affordable.

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