Unit 3. Cinema

Carmen Castillo
I.E.S. FERNANDO III EL SANTO / PROYECTO BILINGE A.N.L.: ART& DRAWING

1
ART & DRAWING

UNIT 5: CINEMA.

UNIT 3: CINEMA

OUTLINE

ASPECTOS LINGSTICOS VOCABULARY

1. CINEMA
2. PERCEPTION OF MOTION
3. ORIGINS:
PREHISTORIC PAINTINGS
EGYPTIAN PAINTINGS
THE SHADOWPLAYS
OPTICAL TOYS: THE MAGIC
LANTERN, THE FLICBOOK, THE
MAGIC DISK,
PHENAKISTISCOPE,
ZOETROPE, ETC
4. UNITS AT THE CINEMA
SHOT
TAKE
SECUENCE
SCENE
TYPES OF SHOTS

PASADO SIMPLE. VERBOS
REGULARES E
IRREGULARES.
CAN/ CANT.

COULD/ COULDNT.

AERIAL
ATTEMPT
BLACKEN
BLURRING
CAST
CELLULOID
CLAPPERBOARD
CLIP
DEPICT
FRAME
GATHER
LAMP
LANTERN
MANKIND
MOTION
PERSISTENCE
PICTURE

PHOETICS
/a aa a:/ /a aa a / /u:/
/u/ /s ss s:/ / /

INGLS: LA
PRONUNCIACIN DE LOS
PASADOS REGULARES.

1. CINEMA

Is the manipulation of reality through image and sound Alain Resnais
There is no better art in giving us the contemporary worlds dynamism. Charles Chaplin

Cinema is a mass media. It is a way of expression and communication that combines images,
movement and sound.
It was born from the human aspiration to find the expressive synthesis between space and time.
Cinema includes all ways of art: painting, sculpture, music, literature, poetry, photography, theatre and
dance.

Carmen Castillo
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ART & DRAWING

UNIT 5: CINEMA.

2. ABOUT THE PERCEPTION OF MOTION

The persistence of vision is a theory by Plateau that states that the human eye always retains images for a
fraction of second (around 0.04 second) which means that everything we see is a subtle blend of what is
happening now and what happened a fraction of a second ago.

This phenomenon allows a rapid series of pictures to portray motion, which is the basis of animation and
cinema. This phenomenon is believed to account for our ability to perceive a sequence of frames as a
continuous moving picture.
Others consider the persistence of the vision as myth (scientists among them) and defend that the illusion of
continuous motion is caused by unrelated phenomena such as beta movement (the brain assuming
movement between two static images when shown in quick succession).
Those believing the theory of the persistence of vision affirm that human perception of motion is brain
centred but not eye centred.

3.ORIGINS OF CINEMA

Prehistoric paintins
From Prehistoric times man has attempted to portray the motion of human and animal beings. Motion has
always been depicted in early cave art. There is an excellent example of that: An eight-legged boar
discovered in Altamiras cave is proof of the existence of motion portrayal but also considered a very early
attempt by the artist to portray that he does not understand why he is seeing more legs than the animal has.
Persistence of vision and the blurring effect of after-images will not be understood for several millennia.

Eight-legged boar from Altamiras cave
http://www.precinemahistory.net/900.htm

Carmen Castillo
3
ART & DRAWING

UNIT 5: CINEMA.

Egyptian paintings

This Egyptian painting (below) shows an example of Middle to New Kingdom vitality in its attempt to
portray wrestlers in successive phases of movement during a practice session.

Modern animation has its roots in this form of artwork as well as in the spiral friezes of ancient Rome,
the Bayeux Tapestry or any of the Oriental Scrolls of China and Japan.

What makes the Column of Trajan a spectacular artifact in the history of cinematography is the magnificent
imagination the Romans had for story-telling.The memorial appears as if a strip of celluloid has been
wrapped around the column.

Egyptian wrestlers from a tomb.

Carmen Castillo
4
ART & DRAWING

UNIT 5: CINEMA.

We know that the Bayeux Tapestry is not a film in the true sense of the word. However, as mankind
has always attempted to tell a story through pictures, this very Tapestry of the 11th century is as fine an
example as one can find of an attempt to imitate movement through the use of images in succession. The
Bayeux Tapestry tells the story of William of Normandy's invasion of England.

The Trajan column.
http://www.google.es/imgres?imgurl=http://www.ecblogue
r.com/letrasanonimas/wp-
content/uploads/2008/10/relief_kolumna_trajana.jpg
Detail
http://www.google.es/imgres?imgurl=http://www.ecbloguer
.com/letrasanonimas/wp-content/uploads/2008/10/columna-
trajana-amp.jpg
Detail from the Bayeux tapestry. http://www.google.es/imgres?imgurl=http://www.ctv.es/USERS/sagastibelza/berenguela/tapiz_bayeux_1.jpg

Carmen Castillo
5
ART & DRAWING

UNIT 5: CINEMA.

The shadowplays

These are images produced by hands or shaped pieces of paper that allow movement, although some
puppets are actually meant for direct viewing and then all are cast upon a wall or behind thin screens. They
are one of the most primitive ways to mimic animals or people in motion. Shades were found in many
cultures including China, Turkey and Greece.

http://www.google.es/imgres?imgurl=http://www.cultural-china.com/chinaWH/images/exbig_images/b7756a2a7fd0b48cf70b4c4b4a813294.jpg3

Carmen Castillo
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ART & DRAWING

UNIT 5: CINEMA.

The magic lantern

The magic lantern is another optical toy.
Invented by Kirchner this device was
supposed to project drawings. The magic
lantern has a concave mirror behind a light
source that gathers light and projects it
through a slide with an image painted onto
it. The light rays cross an aperture (which is
an opening at the front of the apparatus),
and hits a lens. The lens throws an
enlarged picture of the original image from
the slide onto a screen. The main light
sources used during the time it was
invented in the late 17th century were
candles or oil lamps. These light sources
were quite inefficient and produced weak
projections. The evolution of light systems
improved the projected image of the magic
lantern. It was also an important invention
for the motion picture and 35mm projector
because of its ability to screen moving
images. To achieve this, mechanical slides
were used to make the images move. This
was done using two glass slides, one with
the part of the picture that would remain
stationary and one with the part of the
picture that would move on a disc. The
glass slides were placed one on top of the
other and a hand-operate pulley wheel was
used to turn the movable disc.

http://www.google.es/imgres?imgurl=http://www.esacademic.com/pictures/eswiki/76/Laterna_magica_Aulendorf.jpg

Carmen Castillo
7
ART & DRAWING

UNIT 5: CINEMA.

The flickbook

A flick book is a book with a series of pictures that vary
gradually from one page to the next, so that when the
pages are turned rapidly, the pictures appear to animate by
simulating motion. Flip books are often used as illustrated
books for children, but may also be geared towards adults
and employ a series of photographs rather than drawings.
Flip books are not always separate books, but may appear
as an added feature in ordinary books or magazines, often
in the page corners. Software packages and web sites are
also available that convert digital video files into custom-
made flip books.
Flip books are essentially a primitive form of animation.
Like motion pictures they rely on persistence of vision to
create the illusion that continuous motion is being seen
rather than a series of discontinuous images being
exchanged in succession.

The magic disc
The magic disk or the Thaumatrope
is a simple illusionary toy meant to
imitate motion. It consists of a
circular disk made of paper, which
has an image on each side. When
twirled by connected string, the
images combine to give an animated
effect. A popular theme is the bird-in-a-cage.

http://www.google.es/imgres?imgurl=http://www.toyday.co.uk/shop/images/uploads/flickbook-animated-book.jpg


Carmen Castillo
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ART & DRAWING

UNIT 5: CINEMA.

The phenakistiscopio
Joseph Antoine Ferdinand Plateau
Plateau constructs what he called a
Phenakistoscope The apparatus consisted of a
series of drawings or painted pictures of figures in
steps of motion. It had two disks with the inner disk
holding the pictures in order on the rim, and the outer
disk is what the viewers looked through one a time.
The outer disks had blackened slits to ensure a
constant clear frame and to shield unwanted light off
the picture. Both disks turned on the identical axis.
When turned together the impression of motion was
achieved.

The zoetrope
This 'drum' style optical illusion displayed successive
images on a length of paper which was placed within
the drum facing inside. It was then viewed through the
slits as it spun.

http://www.google.es/imgres?imgurl=http://courses.ncssm
.edu/gallery/collections/toys/images/ZoetropeTopView0315.jpg

Carmen Castillo
9
ART & DRAWING

UNIT 5: CINEMA.

The praxinoscope by Renaud
This was similar in principle to the Zoetrope except
that it had rectangular mirrors instead of slots. The
mirrors were set around an inner drum to reflect the
circling images.
The praxinoscope was an optical toy used for the
purpose of imitating movement. It utilized drawings and
paintings initially done by Reynaud initially. The
pictures faced inward on the outer drum with mirrors
placed facing outward on the inner drum. One looked
into the mirrors as the outer drum rotated, and saw
what appeared to be natural sequential movement.
The Praxinoscope of Charles-Emile Reynaud was
placed within the Praxinoscope Theatre. The Theatre
was a box, which opened like a suitcase. The viewer of
the Praxinoscope Theatre then looked through a
rectangular hole in the top to see a background printed
with what looked like a stage. Through the image of
this stage on the background, was another hole where
it would appear as if the curtains had been drawn back.
Within this opening you would see the Praxinoscope's
images as if they were moving. Subject matter would
be circus acts, horse races etc.

The zoopraxiscope

Muybridge uses a battery of 24 cameras to
photograph a race horse. The resulting 24 pictures
taken as the trotting horse raced past, was the
beginning of what would become known as stop-
action series photography.
Muybridge would continue the study of motion and the
theory of locomotion using animals, and later,
humans. Muybridge's investigations into the gate of a
horse at the Sacramento racetrack were inconclusive.
He could demonstrate how horses legs were off the
ground when trotting.
http://3.bp.blogspot.com/_9Hnz1oJro0c/Swb6Ao
Dg40I/AAAAAAAAADg/yzMiIOB8fuI/s1600/praxinoscopio.jpg

Carmen Castillo
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ART & DRAWING

UNIT 5: CINEMA.

The Zoopraxiscope, a moving picture projector, is designed and introduced by Muybridge. The
Zoopraxiscope operated by projecting images drawn from photographs (by Faber and Eakins), rapidly and
in succession onto the screen. The photographs were painted onto a glass disc which rotated, thereby
producing the illusion of motion.
The disk was rotated between light and lens and thereby provided a sense of motion.
Cine-photography had become a reality.

The fusil photographique by Marey

Marey designed and built what was to become the world's first portable motion picture camera. He
designed and built a camera in the shape of a 'rifle' which is used to take 12 frames of birds in flight. Marey
called his "rifle" a Fusil Photographique.

http://www.google.es/imgres?imgurl=http://pulpnivoria.files.wordpress.com/2010
/02/fusil-fotografico.jpg

Carmen Castillo
11
ART & DRAWING

UNIT 5: CINEMA.

The cinematographe

The Lumieres also pioneered the investigations into colour photography and colour films. The
Lumieres second major invention was the first commercially successful celluloid- film motion picture
camera proyector. It was known as the cinematographe.

Units at Cinema

A shot
In film, a shot is a continuous strip of motion picture film, created as a series of frames, that runs for an
uninterrupted period of time. Shots are generally filmed with a single camera and can be of any
duration. A shot in production, defined by the beginning and end of a capturing process, is equivalent to
a clip in editing, defined as the continuous footage between two edits. Frames, shots, clips, scenes, and
sequences form a hierarchy of units fundamental to many tasks in the creation of moving-image works.

A take
In cinematography, a take refers to each filmed "version" of a particular shot or "setup". Takes of each
shot are generally numbered starting with "take one" and the number of each successive take is
increased (with the director calling for "take two" or "take eighteen") until the filming of the shot is
completed.
A one-take occurs when the entire scene is shot satisfactorily the first time. Film takes are often
designated with the aid of a clapperboard. It is also referred to as the slate.

Carmen Castillo
12
ART & DRAWING

UNIT 5: CINEMA.

A secuence

Is the group of elements (shots) arranged into a story line. (lnea argumental).
The sequence means the narration of all units of the work.

A scene

In TV and movies, a scene is generally thought of as the action in a single location and continuous
time. Due to the ability to edit recorded visual works, it is typically much shorter than a stage play
scene.

Tipes of shots

The field size defines how much of the subject and its surrounding area is visible within the camera's
field of view.

By fieldsize:

-An extreme shot
-A long shot
-An American shot
-A full shot
-A medium shot
-A close up
-A very close up

By camera placement: shots referring to camera placement and angle rather than field size, include:

-Aerial shot
-Birds eye shot (crane shot)
-Low angle shot
-Over the shoulder shot
-Point of view shot Hay ms

Carmen Castillo
13
ART & DRAWING

UNIT 5: CINEMA.

1. VOCABULARY

Vocabulary Pronunciation Translation
A

Aerial
]'erII]
Area
Attempt
]'tempt]
Intentar
B

Blackened
'bIkn]
Ennegrecido
Blend
]bIend]
Mezclar
Blurring
]bIs:(r)]
Borroso
Boar
]ba:(r)]
Berraco
Bout
]bat]
Boxeo
C

Candle
]'knd]
Vela
Cast
]k:st]
Proyectar
Celluloid
]'seIjIaId]
Celuloide
Clapperboard
]'kIpba:d]
Claqueta
Clip
]kIIp]
Cierre
Contrivance
]kn'traIvns]
Invento
Curtain
]'ks:tn ]
Cortina
D

Depict
]dI'pIkt]
Representar
Drum
]dr/m]
Tambor
F

Frame
]IreIm]
Fotograma
Frieze
]IrI:z]
Friso
G

Gather
]'g(r)]

Gear
]'gI(r)]
Engranaje
H

Hold
]hId]
Agarrar
I

Inconclusive
]'Inkn'kIu:sIv]
Inconcluso
Inward
]'Inwd]
Interior
L

Lamp
]Imp]
Lmpara
Lantern
]'Intn]
Linterna

Carmen Castillo
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ART & DRAWING

UNIT 5: CINEMA.
Lens
]Ienz]
Lente
M

Mankind
]mn'kaInd]
Humanidad
Motion
]'mn]
Movimiento
Myth
]mI]
Mito
P

Persistence
]p'sIstns]
Persistencia
Picture
]'pIkt(r)]
Lmina, cuadro
Phenomenon

Fenmeno
Portrait (to portrait)
]'pa:treIt]
Retratar
Pulley
['pII]
Polea
Puppet
]'p/pIt]
Ttere
R

Race
]reIs]
Carrera
Rather
['r: :: :']
Bastante
Retain
]rI'teIn]
Retener
Rim
]rIm]
Borde
Root
]ru:t]
Raz
S

Scene
]sI:n]
Escena
Scroll
]skrI]
Rollo
Shield
]I:Id]
Revestimiento
Shoulder
]'Id(r)]
Shoulder
Shot
]ct]
Toma
Slide
]sIaId]
Diapositiva, transparencia
Slit
]sIIt]
Rendija, hendidura
Slot
]sIct]
Ranura
Source
]sa:s]
Fuente
Stage
]steId]
Escenario
Stationary
]'steInrI]
Estacionario
Strip
]strIp]
Tira
Spun
]spIn]
Vuelta, giro
Subtle
['s/tI]
Stil
Suitcase
]'su:tkeIs]
Maletn
Synthesis
]'sInsIs] n
Sntesis
T

Take
]teIk]
Toma
Thereby
]e'baI]
De ese modo
Toy
]taI]
Juguete
Trot (to trot)
]trct]
Trotar
Twirl
|]tws:I]
Girar

Carmen Castillo
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ART & DRAWING

UNIT 5: CINEMA.
U

Unrelated
]/nrI'IeItId]
No relacionado
W

Weak
]wI:k]
Dbil
Wrap
]rp]
Envolver
Wrestler
]'resI(r)]
Luchador

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Carmen Castillo

I.E.S. FERNANDO III EL SANTO / PROYECTO BILINGE A.N.L.: ART& DRAWING

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