U31

U31
LO1.1-3 / LO1.2-31
The first form of editing and film technology began in the 17th
century with the use of magic lanterns. This then got the ball
rolling forming into the first still photograph taken using a glass
plate technique, in 1827 by Claude Niepce [1]. This then moved
onto the Phenakistoscope (1832), then to the Zoetrope (1834), on to
Henry Fox Talbot making an important advancement in photograph
production with the introduction of negatives on paper [2] in 1839.
1846 was an important year in the development of the motion
pictures [3] with the invention of the intermittent mechanisms.
Emile Reynaud brought out the Praxinoscope in 1872- an illusion
device that was similar to the Zoetrope. In 1878 Eadweard
Muybridge after five years has success of capturing movement,
adapting the Zoetrope to produce his Zoopraxinoscope [4]. In 1882
Etienne Jules Marey inspired by Muybridge's animal locomotion
studies [5], made other rapid animal movements.
The real movement of film and editing technology began in 1888

when a man named George Eastman creates a still camera which
produces photographs on sensitized paper [6] with the brand name
Kodak. In the same year Etinne Marey builds a box type moving
picture camera [7], that uses strips of paper film. Also in 1888
Thomas A. Edison and W.K.L Dickson began preparing their work for
their Kinetograph camera and Kinetograph viewing box; which was
completed in 1891- using Eastman film cut into wide inch strips [8]
then holes were punched so that toothed gears to pull the film
through the camera [9]. In 1892 Reynaud used his Praxinoscope to
hold exhibitions using long strips of hand-painted frames [10]. By
1893 Edison and Dickson built their studio in New Jersey using their
kinetoscope to produce films and was ready for film production at
the end of January [11].
The Lumiere family, were the largest manufacturer of photographic
plates in Europe in 1894. In the same year Lumiere brothers Louis
and Auguste were approached to make cheaper films- leading to the
creation of a device called the Cinematographe; that was both a
recording device and a projecting device [12]. The Cinematographe

used flexible film cut into 35mm wide strips [13], but also used
intermittent mechanism modeled on the sewing machine [14].
Although Edison used 46 frames per second the Lumiere brothers
used 16 frames per second.
By 1895 the Lumiere brothers had went on to shoot their first short
film- on the Cinematographe camera- known as La Sortie de l Usine
Lumiere a Lyon (Workers leaving the Lumiere Factory at Lyon) [15].
This film was just a static, set, long shot of workers leaving the
factory. Lasting only 1 minute and 55 seconds, the piece has no
narrative or story or no edits. The Lumiere brothers without knowing
were creating films that would go on to inspire other directors like
Meiles or Porter to create a films that arent just positioned to one
shot and can be cross cut to multiple shots.
In 1902, the technology of editing and filming had moved on to a

more complicated form that the Lumiere brothers. French director,
George Melies creates his film Voyage to the Moon in 1902- a
fifteen-minute piece written by Jules Verne and H.G Wells [16]. This
film was a first for its time with its interesting sci-fi fantasy sets and
theme. Meiles expressed innovative special effect techniques [17].
Throughout this film Melies was the first to use editing techniques
such as fade ins and outs but also the dissolve to create the first
real narrative films [18]. Meiles work held continuity editing, a first
of its time and special effects that would go onto inspire other
directors.
The following year Edwin S. Porter, a young director and

cameraman for Edison Manufacturing [19], went on to create two
films that year- Life of an American Fireman and The Great Train
Robbery. In both these films Porter set out to develop a modern
concept of continuity [20]. Throughout the making of these films
Porter discovered that, the unit of film structure was the shot
rather than the scene [21]. Porters style of editing, with its cutting
and continuity proved that film didnt have to be one long shot and
could be made into a story told on screen.
By the 1940s, editing had moved on a great amount; such as styles

like the soviet montage, cross cutting and continuity. Technology
also moved forward as in 1923 the first TV was made by John Logie
Baird; in 1927 was the first time there was a broadcasted TV showMan with a Flower in his mouth. Camera equipment was becoming
bigger and lenses were being created so that directors could get
better focus and shots.
In 1915, director D.W Griffiths brought out a film named The Birth
of a Nation, the film involved camera and editing techniques of
panoramic long shots, iris effect, still shots, cross cutting and
panning shots [22]. This was highly creative at its time and was a
large movement in the style of filming and editing. This film went on
to inspire films of today.
In 1948, Italian director, De Sica made his moving piece, Bicycle

thieves- this film holds a smooth, seamless style of editing. De Sica
uses invisible cuts [23], this type of editing kept the audience in
tune with the intriguing, blocking and compelling performances
[24]; but also his use of parallel compositions [25]. Throughout the
piece De Sica matches his framing from cut to cut particularly in
horizontal space [26]. De Sica used editing well throughout the film,
with the use of parallel composition tricks the eye into passing over
the cut [27]. This film holds great influence of its time with its
smooth continuity and loveable narrative.
Overall the movement of editing has changed rapidly over the past
150 years, but even today directors use techniques and tricks that
were used as a simple, new wave idea 150 years ago.
Bibliography
1. http://www.earlycinema.com/timeline/
10.
http://www.earlycinema.com/timeline/
11.
12.
13.
14.
15.
16.
17.
18.
http://www.imdb.com/name/nm0617588/bio?
ref_=nm_ov_bio_sm
19.
ref_=nm_ov_bio_sm
20.
ref_=nm_ov_bio_sm
21.
ref_=nm_ov_bio_sm
22.
http://www.slideshare.net/katierothery/history-ofediting?related=1
23.
www.livingincine.com/2012/07/bicycle-theives-lesson-ofinvisible.html
24.
25.
26.
27.

U31 - Film and Edit Timeline

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U31 - Film and Edit Timeline

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The real movement of film and editing technology began in 1888

recording device and a projecting device [12]. The Cinematographe

In 1902, the technology of editing and filming had moved on to a

The following year Edwin S. Porter, a young director and

By the 1940s, editing had moved on a great amount; such as styles

In 1948, Italian director, De Sica made his moving piece, Bicycle

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