0:00:02.501,0:00:04.393
- Carl Jung is quoted as saying,

0:00:04.417,0:00:07.975
"The cinema,[br]like the detective story,

0:00:07.999,0:00:10.975
makes it possible[br]to experience without danger,

0:00:10.999,0:00:12.351
or the excitement,

0:00:12.375,0:00:16.268
passion, and desirousness[br]which must be repressed

0:00:16.292,0:00:18.975
in a humanitarian[br]ordering of life."

0:00:18.999,0:00:22.185
Since its inception[br]in the late 19th century,

0:00:22.209,0:00:23.976
cinema has become one[br]of the most popular

0:00:24.000,0:00:26.768
and inspiring forms[br]of entertainment,

0:00:26.792,0:00:29.975
art, education,[br]and propaganda.

0:00:29.999,0:00:33.101
The birth of cinema is one[br]of many interconnecting events

0:00:33.125,0:00:37.727
and inventions around the world,[br]born out of an array technology

0:00:37.751,0:00:41.685
revolving around machinery,[br]photography, optical illusion,

0:00:41.709,0:01:07.518
and a human love to be[br]entertained and inspired.

0:01:07.542,0:01:12.918
[ music ]

0:01:30.999,0:01:32.935
- One of the marvels of cinema

0:01:32.959,0:01:36.310
is that no one country[br]can claim its paternity,

0:01:36.334,0:01:38.268
and it is[br]a worldwide endeavor,

0:01:38.292,0:01:42.975
encompassing many different[br]people from around the globe.

0:01:42.999,0:01:45.643
It was in 1824, in England,

0:01:45.667,0:01:49.975
that Peter Mark Roget first[br]came up with an explanation

0:01:49.999,0:01:54.975
for how moving images create[br]the illusion of motion.

0:01:54.999,0:01:57.310
Although later proven[br]to be incorrect,

0:01:57.334,0:02:00.477
this principle is known[br]as a persistence of vision.

0:02:00.501,0:02:03.018
This, simply defined,[br]is when a series of pictures,

0:02:03.042,0:02:07.226
or frames, are played or[br]presented at a rate fast enough

0:02:07.250,0:02:08.768
to trick the human mind

0:02:08.792,0:02:12.018
into thinking it is viewing[br]a moving image.

0:02:12.042,0:02:14.143
The effect of the persistence[br]of vision,

0:02:14.167,0:02:16.975
the writer David[br]Parkinson notes,

0:02:16.999,0:02:21.268
was defined in 1824[br]by Peter Mark Roget

0:02:21.292,0:02:24.310
as the ability of the retina[br]to retain an image

0:02:24.334,0:02:28.101
of an object from[br]1/20th to 1/5th of a second

0:02:28.125,0:02:31.268
after its removal[br]from the field of vision.

0:02:31.292,0:02:35.810
However, it has since been shown[br]that film seems to move

0:02:35.834,0:02:39.975
because the brain, and not[br]the eye, is accepting stimuli

0:02:39.999,0:02:43.975
that it is incapable[br]of perceiving as separate.

0:02:43.999,0:02:46.810
The brain has a perception[br]threshold

0:02:46.834,0:02:49.975
below which images exposed[br]to it will appear as continuous.

0:02:49.999,0:02:52.975
And film's speed of 24[br]frames per second

0:02:52.999,0:02:54.894
is below that threshold,

0:02:54.918,0:02:57.602
thus making cinema, itself,[br]a strange art form

0:02:57.626,0:03:01.143
for it is primarily an illusion.

0:03:01.167,0:03:03.975
It is a mystery[br]as to when it was first noticed

0:03:03.999,0:03:06.727
that putting images next[br]to each other

0:03:06.751,0:03:07.935
and viewing them[br]in quick succession

0:03:07.959,0:03:10.975
created the illusion[br]of a moving image.

0:03:10.999,0:03:16.477
Around A.D. 180, the Chinese[br]inventor Ding Huan,

0:03:16.501,0:03:18.975
of which no known[br]picture exists,

0:03:18.999,0:03:21.602
is credited[br]with inventing a device

0:03:21.626,0:03:24.727
to utilize its effect[br]for entertainment.

0:03:24.751,0:03:26.768
This invention is called[br]the zoetrope.

0:03:26.792,0:03:28.975
A zoetrope is basically[br]a cylinder

0:03:28.999,0:03:30.643
with various slits in it.

0:03:30.667,0:03:33.143
A sequence of pictures[br]that link to each other

0:03:33.167,0:03:35.975
are drawn or placed inside[br]the cylinder,

0:03:35.999,0:03:38.975
and through the slits you can[br]view inside the illusion

0:03:38.999,0:03:41.975
of motion when[br]the cylinder is spun.

0:03:41.999,0:03:45.268
This principle laid the ground[br]work for later developments

0:03:45.292,0:03:49.518
in using photographic images[br]to create motion images,

0:03:49.542,0:03:54.810
or to give it its technical[br]term: cinematography.

0:03:54.834,0:03:56.351
Motion images are one part

0:03:56.375,0:03:58.435
of the founding principles[br]of cinema,

0:03:58.459,0:04:00.602
but key to its development[br]was the projection

0:04:00.626,0:04:02.268
of images and shapes.

0:04:02.292,0:04:04.810
The origins[br]of light-projected images

0:04:04.834,0:04:10.143
date back to the puppets[br]of China, India, and Java.

0:04:10.167,0:04:12.810
It was not until around[br]the 17th century

0:04:12.834,0:04:15.810
that light-projected imagery[br]would start to become popular

0:04:15.834,0:04:17.935
in Europe in North America.

0:04:17.959,0:04:21.642
And it was a magic lantern that[br]captivated people's attention.

0:04:21.666,0:04:24.975
The magic lantern was used[br]as a form of entertainment,

0:04:24.999,0:04:27.435
starting as early[br]as the 15th century,

0:04:27.459,0:04:29.560
and its first[br]incarnation may even

0:04:29.584,0:04:32.975
date back as far as[br]the time of King Solomon.

0:04:32.999,0:04:34.975
Its precise origins[br]are a mystery

0:04:34.999,0:04:37.268
and no original inventor[br]is known of.

0:04:37.292,0:04:40.560
The magic lantern itself[br]is simply a lantern,

0:04:40.584,0:04:43.310
which its light source,[br]usually created by a wick,

0:04:43.334,0:04:47.393
a candle, is used to project[br]a single slide or shape

0:04:47.417,0:04:51.268
on to a wall or flat surface.[br]The magic lantern relates

0:04:51.292,0:04:53.975
directly to the modern[br]day slide projector

0:04:53.999,0:04:57.810
and only contributed in part[br]to the development of cinema,

0:04:57.834,0:04:59.560
albeit an important one.

0:04:59.584,0:05:02.975
Various enhancements of[br]this technology included using

0:05:02.999,0:05:05.685
a magic lantern[br]to project motion images

0:05:05.709,0:05:08.560
from a zoetrope that's[br]building the ground work

0:05:08.584,0:05:10.351
for cinematic film projection.

0:05:10.375,0:05:12.643
It was developments[br]in light-projected

0:05:12.667,0:05:14.560
entertainment technology

0:05:14.584,0:05:16.975
that were to be used[br]in the newly developing

0:05:16.999,0:05:18.560
science of photography

0:05:18.584,0:05:22.560
to establish what we know[br]as cinematography.

0:05:22.584,0:05:25.351
The history of photography is[br]also one of complex inventions

0:05:25.375,0:05:27.518
and discoveries around[br]the world.

0:05:27.542,0:05:29.685
The very first developments[br]in photography

0:05:29.709,0:05:32.975
and optics originated thousands[br]of years ago.

0:05:32.999,0:05:36.975
Aristotle wrote and developed[br]ideas of how human vision works

0:05:36.999,0:05:38.852
and studied rays of light.

0:05:38.876,0:05:42.351
He used a pinhole camera,[br]or camera obscura,

0:05:42.375,0:05:44.185
so he could study light rays.

0:05:44.209,0:05:46.477
Aristotle was one[br]of the first people known

0:05:46.501,0:05:49.393
to study light using[br]a camera obscura,

0:05:49.417,0:05:51.810
although its invention has not[br]been accredited

0:05:51.834,0:05:52.976
to one single person,

0:05:53.000,0:05:55.975
and its original development[br]remains a mystery.

0:05:55.999,0:06:01.602
The camera obscura is basically[br]a box with a small pinhole

0:06:01.626,0:06:04.894
that allows a thin ray[br]of light into the box.

0:06:04.918,0:06:07.477
This ray of light can[br]be viewed as an image

0:06:07.501,0:06:10.268
if the camera obscura[br]is adapted to pick up

0:06:10.292,0:06:14.602
the reflection using a mirror[br]or shiny surface.

0:06:14.626,0:06:19.810
Ibn Al-Haytham, who lived[br]965 A.D. to 1040 A.D.,

0:06:19.834,0:06:22.059
an Arab scholar[br]who was born in Iraq,

0:06:22.083,0:06:24.602
further developed[br]the camera obscura,

0:06:24.626,0:06:26.975
and noted that a single[br]ray of light

0:06:26.999,0:06:31.018
that passed through the hole[br]also carried the image reflected

0:06:31.042,0:06:33.226
from wherever the light[br]was coming from,

0:06:33.250,0:06:36.768
and in this sense[br]that light carries information.

0:06:36.792,0:06:40.435
This seemingly simple discovery[br]was a revolutionary one

0:06:40.459,0:06:43.894
in the development in the[br]history of how vision works.

0:06:43.918,0:06:47.975
And it is a principle that paved[br]the way for the capturing

0:06:47.999,0:06:52.101
of photographic images[br]for use in the pinhole camera.

0:06:52.125,0:06:55.059
Initially, the camera[br]obscura was used

0:06:55.083,0:06:57.685
as a sketching aid by artists.

0:06:57.709,0:07:00.059
And it wasn't until[br]around the 1820s

0:07:00.083,0:07:02.727
and the development[br]of chemical photography,

0:07:02.751,0:07:05.477
that fixing the image[br]became a reality,

0:07:05.501,0:07:07.768
and photography took[br]its first steps

0:07:07.792,0:07:10.975
into the recognizable form[br]that it is today.

0:07:10.999,0:07:13.310
As far back as the 13th century,

0:07:13.334,0:07:15.935
it was known that some[br]chemicals darkened

0:07:15.959,0:07:18.560
or changed color[br]when exposed to light.

0:07:18.584,0:07:21.685
Albertus Magnus,[br]in the 13th century,

0:07:21.709,0:07:23.018
was one of the first people

0:07:23.042,0:07:27.018
to note that silver nitrate[br]darkened when exposed to light.

0:07:27.042,0:07:28.935
In the 17th century,

0:07:28.959,0:07:33.059
Robert Boyle reported silver[br]chloride turned black

0:07:33.083,0:07:35.185
after exposure to air,

0:07:35.209,0:07:37.976
although this was,[br]in fact, sunlight.

0:07:38.000,0:07:44.101
In 1727 Johann Heinrich Schulze[br]discovered that certain liquids

0:07:44.125,0:07:46.351
could be prepared[br]that would change color

0:07:46.375,0:07:50.226
when exposed to light.[br]At the end of the 18th century

0:07:50.250,0:07:52.643
and the beginning[br]of the 19th century,

0:07:52.667,0:07:55.393
Thomas Wedgwood[br]conducted experiments

0:07:55.417,0:07:56.852
where he captured silhouettes

0:07:56.876,0:08:00.810
of objects using paper covered[br]with silver nitrate.

0:08:00.834,0:08:03.560
That's making him one[br]of the first ever

0:08:03.584,0:08:06.143
pioneers of photography.

0:08:06.167,0:08:09.976
It was not until the work of two[br]French inventors and scientists

0:08:10.000,0:08:14.518
that fixing a still image using[br]chemical means became a reality.

0:08:14.542,0:08:18.185
They were Nicephore Niepce[br]and Louis Daguerre.

0:08:18.209,0:08:20.560
Working in conjunction[br]they developed a process

0:08:20.584,0:08:22.768
to produce fixed images.

0:08:22.792,0:08:26.059
Unfortunately,[br]Nicephore Niepce died

0:08:26.083,0:08:28.018
before the work was completed.

0:08:28.042,0:08:32.393
But by 1839, Daguerre had[br]perfected the process

0:08:32.417,0:08:35.727
and it was announced at[br]the French Academy of Sciences.

0:08:35.751,0:08:38.975
This process was[br]called daguerreotype

0:08:38.999,0:08:42.602
and produced some of the very[br]first photographic images.

0:08:42.626,0:08:48.059
This image taken in 1838,[br]or early 1839,

0:08:48.083,0:08:51.059
was one of the first[br]photos taken using

0:08:51.083,0:08:53.185
the daguerreotype process.

0:08:53.209,0:08:56.268
Its exposure time was[br]about 10 minutes,

0:08:56.292,0:08:59.393
meaning a man standing still[br]having his shoes cleaned

0:08:59.417,0:09:02.852
was the only person[br]captured in the photo.

0:09:02.876,0:09:05.477
Daguerreotype type images[br]were produced directly

0:09:05.501,0:09:09.602
onto a mirror polished silver[br]plate bearing a coating

0:09:09.626,0:09:15.975
of silver halide particles[br]deposited by iodine vapor.

0:09:15.999,0:09:18.643
But the images that were[br]produced were very delicate

0:09:18.667,0:09:22.643
and could be destroyed by even[br]the slightest handling.

0:09:22.667,0:09:25.435
In the year of 1839,

0:09:25.459,0:09:27.768
an English inventor[br]called William Fox Talbot

0:09:27.792,0:09:30.226
had been working[br]on his own type

0:09:30.250,0:09:32.975
of chemical photographic[br]process.

0:09:32.999,0:09:36.894
This process called the calotype[br]process was to greatly advance

0:09:36.918,0:09:39.643
a practical application[br]of photography.

0:09:39.667,0:09:41.975
The calotype process created[br]the method

0:09:41.999,0:09:45.059
of negative positive[br]photographic images,

0:09:45.083,0:09:47.975
and this is a precursor[br]to most photography processes

0:09:47.999,0:09:51.602
of the 19th, 20th,[br]and 21st centuries,

0:09:51.626,0:09:54.852
making William Talbot[br]a very important figure

0:09:54.876,0:09:56.935
in the history of photography[br]and cinema.

0:09:56.959,0:09:59.268
The calotype process[br]also allowed for photos

0:09:59.292,0:10:00.975
to be developed on paper;

0:10:00.999,0:10:04.101
that's allowing photography[br]to be open to the masses.

0:10:04.125,0:10:07.059
And the same photo could be[br]produced again and again

0:10:07.083,0:10:09.602
using the negative image.

0:10:09.626,0:10:11.518
In 1849, in France,

0:10:11.542,0:10:13.518
Joseph Plateau was one[br]of the first

0:10:13.542,0:10:17.602
to suggest using a device called[br]the phenakistoscope

0:10:17.626,0:10:19.268
to project photos.

0:10:19.292,0:10:23.560
This device, developed in 1839,[br]was similar to the zoetrope

0:10:23.584,0:10:27.268
but more advanced.

0:10:27.292,0:10:32.435
Later, in 1877, a device called[br]the praxinoscope

0:10:32.459,0:10:35.643
was created[br]by Charles-Emile Reynaud.

0:10:35.667,0:10:39.018
This was another technological[br]advancement from the zoetrope,

0:10:39.042,0:10:44.935
and in 1889, he created[br]the Theatre Optique

0:10:44.959,0:10:48.975
using the praxinoscope[br]not only to rotate images

0:10:48.999,0:10:51.226
but also, using[br]an adapted magic lantern,

0:10:51.250,0:10:54.393
he projected these images[br]on to a screen.

0:10:54.417,0:10:56.268
But the static photos[br]used at the time

0:10:56.292,0:10:58.435
in such devices proved[br]to be little better

0:10:58.459,0:11:03.143
than pictures in a way of[br]recording action simultaneously

0:11:03.167,0:11:05.975
as it occurred was needed.

0:11:05.999,0:11:08.768
Two great innovators were[br]to work in this field

0:11:08.792,0:11:11.975
and develop a process[br]of series photography allowing

0:11:11.999,0:11:15.602
the capturing of multiple images[br]in chronological order.

0:11:15.626,0:11:20.393
They were Etienne-Jules Marey[br]and Eadweard Muybridge.

0:11:20.417,0:11:22.435
Eadweard Muybridge[br]is most famous

0:11:22.459,0:11:24.976
for his sequence of photos[br]of a horse race,

0:11:25.000,0:11:28.810
proving that a horse does[br]lift all hooves

0:11:28.834,0:11:31.975
off the ground when it gallops.

0:11:31.999,0:11:33.975
This work was commissioned[br]for a bet

0:11:33.999,0:11:37.560
by the governor of California,[br]Leland Stanford.

0:11:37.584,0:11:41.560
Muybridge proved[br]the governor correct in 1879

0:11:41.584,0:11:44.975
by using film that[br]had fast exposure time

0:11:44.999,0:11:46.768
in a lineup of 12 cameras,

0:11:46.792,0:11:49.852
all taking single shots[br]in quick succession

0:11:49.876,0:11:53.768
following the motion[br]of the horse.

0:11:53.792,0:11:57.975
Muybridge then went[br]on to develop the zoopraxiscope,

0:11:57.999,0:11:59.435
which cast onto a screen

0:11:59.459,0:12:02.477
the drawings made[br]of his photographs.

0:12:02.501,0:12:03.768
Although this was projection,

0:12:03.792,0:12:08.935
it was a big[br]step towards it.

0:12:08.959,0:12:12.975
In 1882, Etienne-Jules[br]Marey adapted a device

0:12:12.999,0:12:16.975
called the photographic revolver[br]to take a series of photos.

0:12:16.999,0:12:20.810
At first, a revolving[br]plate was used to record

0:12:20.834,0:12:25.894
a dozen instantaneous images[br]in the course of one second.

0:12:25.918,0:12:29.477
After various experimentations[br]and adaptations,

0:12:29.501,0:12:33.310
Marey eventually turned[br]to celluloid film developed

0:12:33.334,0:12:35.393
by the Eastman Kodak Company

0:12:35.417,0:12:37.976
to produce continuous[br]strips of images.

0:12:38.000,0:12:41.975
Marey went on to produce[br]numerous photo sequences,

0:12:41.999,0:12:44.976
and, although he did try,[br]he was not able to develop

0:12:45.000,0:12:49.852
a projection device[br]for moving photographic images.

0:12:49.876,0:12:52.185
It was a French inventor[br]by the name of Louis Le Prince

0:12:52.209,0:12:57.727
who is recognized to have[br]recorded the first ever

0:12:57.751,0:13:00.643
motion captured[br]sequences in 1888.

0:13:00.667,0:13:06.975
The first short sequences[br]of moving images ever filmed

0:13:06.999,0:13:09.351
were the "Roundhay Garden Scene"

0:13:09.375,0:13:11.685
and the Leeds Bridge scene,

0:13:11.709,0:13:14.393
These filmed scenes[br]are recognized

0:13:14.417,0:13:20.059
as the first ever motion capture[br]cinematography sequences.

0:13:20.083,0:13:23.602
However, it will forever[br]remain a mystery

0:13:23.626,0:13:27.351
as to the success Le Prince[br]may have gone to achieve

0:13:27.375,0:13:30.975
and what happened to him[br]in 1890.

0:13:30.999,0:13:34.852
For in 1890,[br]after seeing his brother,

0:13:34.876,0:13:38.101
he boarded a train in Dijon[br]that was heading for Paris

0:13:38.125,0:13:41.602
where he would meet with friends[br]and then go on to America,

0:13:41.626,0:13:45.975
where he was planning to patent[br]his single lens camera.

0:13:45.999,0:13:47.810
But he never made it to Paris,

0:13:47.834,0:13:52.018
and his luggage, including[br]his camera, was never found.

0:13:52.042,0:13:55.268
After extensive searches[br]by the French police,

0:13:55.292,0:13:57.976
Scotland Yard,[br]and Le Prince's family,

0:13:58.000,0:13:59.310
not a solid clue

0:13:59.334,0:14:02.975
to his disappearance[br]was ever discovered.

0:14:02.999,0:14:06.435
There remains till this day[br]a large amount of speculation

0:14:06.459,0:14:09.518
about Le Prince's disappearance.

0:14:09.542,0:14:12.101
It is unlikely we will ever know[br]what happened to Le Prince,

0:14:12.125,0:14:15.975
but above all else, he should be[br]remembered for a contribution

0:14:15.999,0:14:19.018
he made towards cinema.

0:14:19.042,0:14:23.393
At about the same time,[br]Thomas Alva Edison

0:14:23.417,0:14:27.976
was also developing motion[br]capture cinematography.

0:14:28.000,0:14:31.059
Edison was to fund[br]his head engineer

0:14:31.083,0:14:34.226
William Kennedy-Laurie Dickson

0:14:34.250,0:14:38.185
in the development of a photo[br]sequence capture camera.

0:14:38.209,0:14:41.059
Dickson, developing[br]and adapting elements

0:14:41.083,0:14:44.518
from all other motion capturing[br]devices and knowledge,

0:14:44.542,0:14:50.975
developed a film camera called[br]the Kinetograph in 1890.

0:14:50.999,0:14:54.351
A year later, developed[br]he developed the Kinetoscope,

0:14:54.375,0:14:57.975
a large device to view[br]the motion captured images.

0:14:57.999,0:15:01.852
Edison also set up the first[br]ever movie studio

0:15:01.876,0:15:04.351
in the early 1890s,

0:15:04.375,0:15:07.975
where various but limited[br]footage was shot

0:15:07.999,0:15:10.975
including the Rice-Irwin kiss,

0:15:10.999,0:15:12.768
and the "Fred Ott's Sneeze."

0:15:12.792,0:15:16.602
These short movies were limited[br]to the technology at the time,

0:15:16.626,0:15:19.975
with most being unedited[br]lengths of celluloid

0:15:19.999,0:15:22.975
no longer than the strips[br]of celluloid themselves.

0:15:22.999,0:15:25.975
The Kinetoscope was not[br]a projection device though.

0:15:25.999,0:15:29.727
And Edison unwisely disregarded[br]the possibilities of projection,

0:15:29.751,0:15:33.101
and concentrated on peep shows,[br]thinking they would be just

0:15:33.125,0:15:38.310
another whim in[br]a novelty-hungry age.

0:15:38.334,0:15:41.018
During the same period,[br]two French brothers

0:15:41.042,0:15:44.894
were working on their own film[br]capturing and projection device.

0:15:44.918,0:15:47.059
This device, the cinematograph,

0:15:47.083,0:15:50.143
was to bring about the dawn[br]of modern cinema,

0:15:50.167,0:15:53.727
and it was the Lumiere brothers[br]who were the inventors.

0:15:53.751,0:15:58.310
It was in 1895,[br]on the 28th of December,

0:15:58.334,0:16:00.477
that one of the most famous[br]film screenings

0:16:00.501,0:16:02.810
in film history took place.

0:16:02.834,0:16:05.975
It was held at[br]the Grand Cafe in Paris,

0:16:05.999,0:16:08.393
and customers paid one franc

0:16:08.417,0:16:11.975
for the screening[br]of 10 short Lumiere films.

0:16:11.999,0:16:15.602
The screening lasted[br]for about 25 minutes.

0:16:15.626,0:16:18.393
The films included,[br]amongst others,

0:16:18.417,0:16:21.101
"Workers Leaving[br]the Lumiere Factory"

0:16:21.125,0:16:23.975
in Cordeliers' Square in Lyon.

0:16:23.999,0:16:27.435
What the Lumiere brothers had[br]achieved using the combination

0:16:27.459,0:16:30.185
and development[br]of previous technology

0:16:30.209,0:16:33.935
was a workable way of[br]combining the Kinetoscope,

0:16:33.959,0:16:36.852
or viewing device,[br]with a magic lantern,

0:16:36.876,0:16:40.976
thus projecting a sequence[br]of photos to create the illusion

0:16:41.000,0:16:44.727
of a moving image,[br]or as it is also known:

0:16:44.751,0:16:46.643
cinematography.

0:16:46.667,0:16:49.143
It must be mentioned[br]that the Lumiere brothers

0:16:49.167,0:16:53.393
had done screenings before using[br]their projection device,

0:16:53.417,0:16:57.185
but this is the date[br]that has gone down in history

0:16:57.209,0:16:58.727
and is one[br]of the first screenings

0:16:58.751,0:17:00.560
to charge an entrance fee,

0:17:00.584,0:17:03.185
one of the foundations[br]of modern cinema.

0:17:03.209,0:17:07.101
The Lumieres also should be[br]celebrated for they stand high

0:17:07.125,0:17:10.059
in the rank of film innovators[br]in history,

0:17:10.083,0:17:14.602
along with the assistance[br]of the inventor Jules Carpentier

0:17:14.626,0:17:18.268
at their photographic firm,[br]they invented the cinematograph,

0:17:18.291,0:17:22.226
a three-in-one device[br]that could film, print,

0:17:22.250,0:17:23.768
and project images.

0:17:23.791,0:17:26.518
It was hand-crankable,[br]portable,

0:17:26.541,0:17:28.226
and soon after its invention,

0:17:28.250,0:17:31.975
it was being used[br]around the world.

0:17:31.999,0:17:34.268
Interestingly,[br]the Lumiere brothers believed

0:17:34.292,0:17:36.643
that the cinema of[br]film projection

0:17:36.667,0:17:38.975
will be a short-lived[br]form of entertainment,

0:17:38.999,0:17:42.143
and audiences would soon[br]become bored of the novelty

0:17:42.167,0:17:44.310
and not to wish to pay[br]for motion images

0:17:44.334,0:17:47.268
that they could see[br]with their own eyes free.

0:17:47.292,0:17:50.393
Louis Lumiere is famously[br]quoted as saying,

0:17:50.417,0:17:56.435
"The cinema is an invention[br]without a future."

0:17:56.459,0:17:58.518
The audiences had other ideas

0:17:58.542,0:18:00.393
and loved the new form[br]of entertainment,

0:18:00.417,0:18:03.602
constantly creating[br]a demand for cinema.

0:18:03.626,0:18:06.643
As technology of cinema[br]took film advanced,

0:18:06.667,0:18:09.894
so could the creative output[br]using the new medium.

0:18:09.918,0:18:12.602
One of the forebearers[br]to take advantage

0:18:12.626,0:18:14.518
and develop the creative aspects

0:18:14.542,0:18:17.810
of cinematography[br]was Georges Melies.

0:18:17.834,0:18:19.894
He is considered by some to be

0:18:19.918,0:18:22.310
the father of the[br]narrative film,

0:18:22.334,0:18:24.101
and whom D.W. Griffith

0:18:24.125,0:18:27.768
is quoted as saying,[br]"I owe him everything."

0:18:27.792,0:18:34.310
Melies made over 500 films[br]from 1896 to 1906.

0:18:34.334,0:18:36.435
He was one of the first people

0:18:36.459,0:18:39.560
to introduce cutting[br]and chronological editing,

0:18:39.584,0:18:41.518
as we see in the movies today.

0:18:41.542,0:18:43.852
It was also at this time[br]the public demand

0:18:43.876,0:18:50.226
for the movies was increasingly[br]and unexpectedly growing.

0:18:50.250,0:18:51.768
Around the same time

0:18:51.792,0:18:55.351
that Melies was making[br]his first short films,

0:18:55.375,0:18:59.975
Edwin S. Porter, in 1903,[br]working for Edison,

0:18:59.999,0:19:03.975
made the "Life of[br]an American Fireman,"

0:19:03.999,0:19:07.185
which displayed new visual[br]story telling techniques

0:19:07.209,0:19:12.143
and incorporated stock footage[br]with Porter's own photography.

0:19:12.167,0:19:16.727
It acted as a major precursor[br]to Porter's most famous film,

0:19:16.751,0:19:20.810
"The Great Train Robbery,"[br]also made in 1903.

0:19:20.834,0:19:23.852
This had a running time[br]of 12 minutes

0:19:23.876,0:19:27.894
and is considered a milestone[br]in narrative filmmaking,

0:19:27.918,0:19:30.852
and one of the first films[br]to tell a story,

0:19:30.876,0:19:35.935
albeit a simple one.

0:19:35.959,0:19:38.975
The first ever device developed[br]to record sound

0:19:38.999,0:19:41.976
before the phonograph was called[br]the phonautograph.

0:19:42.000,0:19:48.393
This was invented in 1857[br]by Edouard-Leon Scott in France.

0:19:48.417,0:19:52.975
This device transcribed[br]soundwaves onto a visual medium.

0:19:52.999,0:19:58.602
The first medium of which was[br]a lampblackened glass plate,

0:19:58.626,0:20:02.975
but this device had no means[br]of playing the recordings back.

0:20:02.999,0:20:06.268
A fascinating insight into this[br]period of sound recording

0:20:06.292,0:20:09.602
was that it was not[br]realized at the time

0:20:09.626,0:20:11.975
that the waveform transcribed

0:20:11.999,0:20:15.975
by the phonautograph was[br]a recording of the soundwave

0:20:15.999,0:20:18.975
that only needed[br]a playback mechanism

0:20:18.999,0:20:23.435
to replicate the sound.

0:20:23.459,0:20:28.393
In 1895, Thomas Edison[br]introduced the Kinetephone,

0:20:28.417,0:20:32.643
which marks the first time sound[br]was added to cinematography.

0:20:32.667,0:20:35.185
The Kinetephone was not[br]a projection device,

0:20:35.209,0:20:38.975
and sound was added[br]using a device called

0:20:38.999,0:20:42.975
a cylinder phonograph that was[br]added to the Kinetescope

0:20:42.999,0:20:45.852
to produce the Kinetephone.

0:20:45.876,0:20:47.975
It was in 1899 that[br]a sound system called

0:20:47.999,0:20:51.975
Cinemacrophonographe,

0:20:51.999,0:20:54.976
or Phonorama,[br]was exhibited in Paris.

0:20:55.000,0:20:58.101
This device required headphones[br]to hear the sound

0:20:58.125,0:21:02.101
which was similar[br]to the Kinetephone.

0:21:02.125,0:21:05.975
It was not until Clement Maurice[br]and Henri Lioret,

0:21:05.999,0:21:09.185
in France, developed[br]the Phono-Cinema-Theatre

0:21:09.209,0:21:12.810
that allowed the projection[br]of sound in theatres.

0:21:12.834,0:21:17.185
This system was first exhibited[br]at the Paris Exposition in 1900,

0:21:17.209,0:21:21.185
and is considered[br]the first public projection

0:21:21.209,0:21:24.685
of both recorded sound[br]and motion image.

0:21:24.709,0:21:26.685
Meanwhile, silent[br]film production was starting

0:21:26.709,0:21:28.602
to gain pace around the world,

0:21:28.626,0:21:31.268
and what is considered the first[br]feature length film

0:21:31.292,0:21:34.310
was made in 1906 by Charles Tait[br]in Australia.

0:21:34.334,0:21:36.975
It was called[br]"The Ned Kelly Gang."

0:21:36.999,0:21:41.018
At 70 minutes long it had[br]an unprecedented running time

0:21:41.042,0:21:45.975
and only made in a budget[br]of around $2,250,

0:21:45.999,0:21:48.268
although the complete film[br]has since been lost,

0:21:48.292,0:21:52.935
with only around 12 minutes[br]running time left in existence.

0:21:52.959,0:21:54.643
As film technology advanced,

0:21:54.667,0:21:58.059
so did the creative and[br]storytelling possibilities.

0:21:58.083,0:22:01.477
It was in the first part[br]of the 20th century

0:22:01.501,0:22:03.143
that one of the first[br]famous film directors

0:22:03.167,0:22:04.310
came to prominence.

0:22:04.334,0:22:06.976
His name was D.W. Griffith,

0:22:07.000,0:22:11.435
and he's considered one of[br]the fathers of modern cinema.

0:22:11.459,0:22:14.935
It was in 1908 that[br]a young D.W. Griffith

0:22:14.959,0:22:16.975
made his first movie,

0:22:16.999,0:22:18.727
"The Adventures[br]of Dollie."

0:22:18.751,0:22:21.560
Still in the period of[br]silent film production,

0:22:21.584,0:22:24.768
its narrative structure and[br]editing were to set the way

0:22:24.792,0:22:27.975
with Griffith's coming skill[br]with filmmaking.

0:22:27.999,0:22:30.643
He was to develop filmic[br]techniques and codes

0:22:30.667,0:22:33.894
that brought in-depth narrative[br]storytelling to cinema.

0:22:33.918,0:22:36.975
He directed around 450 films[br]and was one of the most

0:22:36.999,0:22:39.975
successful directors[br]of his time.

0:22:39.999,0:22:43.727
One of his most notable films,[br]"Birth of a Nation,"

0:22:43.751,0:22:46.185
made in 1915 and based on Thomas

0:22:46.209,0:22:48.975
Dixon's American[br]Civil War movies,

0:22:48.999,0:22:51.643
was racist and showed[br]a lack of integrity

0:22:51.667,0:22:53.975
in portray African-Americans.

0:22:53.999,0:22:56.101
He would respond to criticism[br]about this film

0:22:56.125,0:22:59.393
by making "Intolerance,"[br]showed in 1916.

0:22:59.417,0:23:03.560
This movie used some of the[br]biggest film sets and crew sizes

0:23:03.584,0:23:05.101
ever at that time.

0:23:05.125,0:23:10.185
The story portrayed 2,500 years[br]of history and showed how truth

0:23:10.209,0:23:13.975
and justice are threatened[br]by hypocrisy and injustice.

0:23:13.999,0:23:16.393
Although audience reaction[br]was muted at best,

0:23:16.417,0:23:19.727
Griffith's career faulted[br]after 1916,

0:23:19.751,0:23:22.975
and in 1931, when a[br]film he made called

0:23:22.999,0:23:24.975
"The Struggle" was a failure,

0:23:24.999,0:23:28.685
he would endure a 17-year[br]exile from Hollywood,

0:23:28.709,0:23:31.810
never to return to his[br]once high status.

0:23:31.834,0:23:34.518
Griffith certainly was not[br]the only person developing

0:23:34.542,0:23:36.935
filmic codes and narratives,

0:23:36.959,0:23:40.059
and his work was in part[br]continuing on from others

0:23:40.083,0:23:43.894
such as Georges Melies[br]and Edwin S. Porter.

0:23:43.918,0:23:46.975
Whatever you may think[br]about Griffith,

0:23:46.999,0:23:49.852
his work showed cinema[br]technology had entered a truly

0:23:49.876,0:23:53.975
advanced form of storytelling[br]and narrative construction.

0:23:53.999,0:23:56.852
In Russia, at the beginning[br]of the 20th century,

0:23:56.876,0:23:58.975
not long after D.W. Griffith

0:23:58.999,0:24:02.393
was setting forth[br]his place in cinematic history,

0:24:02.417,0:24:05.894
the Russian director,[br]Sergei Eisenstein,

0:24:05.918,0:24:09.976
was developing his own[br]distinct form of cinema.

0:24:10.000,0:24:14.602
In the 1920s, Russian montage,[br]as it is known,

0:24:14.626,0:24:18.975
came to be a prominent[br]filmmaking style in Russia.

0:24:18.999,0:24:22.976
The basic concept of montage[br]relies heavily upon editing

0:24:23.000,0:24:26.727
and creating meaning through[br]the collaboration of shots

0:24:26.751,0:24:29.477
in a sequence and not[br]from a storyline.

0:24:29.501,0:24:33.477
For example, the three shots[br]that are shown here

0:24:33.501,0:24:36.935
are taken from Eisenstein's[br]"Battleship Potemkin."

0:24:36.959,0:24:38.477
They are played in sequence

0:24:38.501,0:24:41.685
to signify the meaning[br]of Soviet Russia

0:24:41.709,0:24:43.935
rising up against[br]the oppression of the czar.

0:24:43.959,0:24:48.059
The term "montage" literally[br]means putting together,

0:24:48.083,0:24:50.975
and for an over-simplified[br]example:

0:24:50.999,0:24:53.059
if you place a shot of an ear,

0:24:53.083,0:24:55.894
then the shot of a door next[br]to each other,

0:24:55.918,0:25:00.560
the meaning would be eavesdrop.[br]This is montage in a nutshell.

0:25:00.584,0:25:05.976
In 1925, Eisenstein made one[br]of his most famous films,

0:25:06.000,0:25:09.351
"Battleship Potemkin,"[br]a revolutionary portrait

0:25:09.375,0:25:12.143
of mutiny aboard a Russian[br]battleship

0:25:12.167,0:25:15.975
not long before[br]the Russian Revolution.

0:25:15.999,0:25:18.393
Although praised by critics,

0:25:18.417,0:25:20.560
Russian audiences were[br]indifferent to it

0:25:20.584,0:25:24.310
and much preferred entertaining[br]and emotionally engaging

0:25:24.334,0:25:27.101
Hollywood-style[br]continuity films.

0:25:27.125,0:25:30.560
Importantly, montage offered[br]another approach

0:25:30.584,0:25:34.143
to filmmaking other[br]than a continuity-based style,

0:25:34.167,0:25:37.435
and it also showed how far[br]the technology of cinema

0:25:37.459,0:25:42.975
had come in a little[br]more than 25 years.

0:25:42.999,0:25:45.935
The progress of sound recording[br]and playback for cinema

0:25:45.959,0:25:47.975
had been steadily[br]advancing,

0:25:47.999,0:25:49.685
although applying synchronized,

0:25:49.709,0:25:54.143
prerecorded sound to film had[br]encountered many problems

0:25:54.167,0:25:58.143
such as recording fidelity,[br]synchronizing sound to film,

0:25:58.167,0:26:01.059
and projecting sound[br]at a satisfactory level.

0:26:01.083,0:26:04.226
These problems were to be[br]overcome by the advance

0:26:04.250,0:26:06.894
of technology[br]and innovation.

0:26:06.918,0:26:12.226
In 1919, an American inventor[br]called Lee de Forest

0:26:12.250,0:26:15.435
developed one of the first[br]sound-on-film technologies

0:26:15.459,0:26:17.852
for commercial application.

0:26:17.876,0:26:21.310
In Forest's system,[br]which he called Phonofilm,

0:26:21.334,0:26:24.435
sound was photographically[br]recorded onto one side

0:26:24.459,0:26:28.018
of a strip of film to create[br]what was called a composite,

0:26:28.042,0:26:32.643
where simply two elements have[br]been composited together.

0:26:32.667,0:26:34.975
If the sound was synchronized[br]exactly to the film,

0:26:34.999,0:26:37.935
the playback would be perfect.

0:26:37.959,0:26:40.518
Another system developed[br]and used in the first part

0:26:40.542,0:26:43.310
of the 20th century was called[br]the Vitaphone.

0:26:43.334,0:26:45.976
The Vitaphone was[br]a disc-based system produced

0:26:46.000,0:26:49.810
by General Electric and[br]purchased by Warner Brothers.

0:26:49.834,0:26:52.351
The Vitaphone did not[br]print sound to film,

0:26:52.375,0:26:55.975
but on to 16 inch[br]phonograph records.

0:26:55.999,0:26:59.435
These records were then[br]played using Vitaphone systems

0:26:59.459,0:27:04.560
at theatres where the film they[br]were produced for was playing.

0:27:04.584,0:27:06.935
There were many problems[br]with the Vitaphone system

0:27:06.959,0:27:08.975
including synchronization[br]with the film,

0:27:08.999,0:27:11.351
being projected, and[br]the phonograph records

0:27:11.375,0:27:14.143
which could not be edited and[br]limited the corrective output

0:27:14.167,0:27:16.975
for films using[br]the Vitaphone system.

0:27:16.999,0:27:20.226
Taking into account numerous[br]technological improvements,

0:27:20.250,0:27:21.975
it would be sound on film

0:27:21.999,0:27:24.685
that would eventually become[br]the universal standard

0:27:24.709,0:27:26.976
for synchronized sound[br]in cinema.

0:27:27.000,0:27:29.975
It was in 1927[br]that one of the first movies

0:27:29.999,0:27:32.351
ever produced contained[br]synchronized dialogue

0:27:32.375,0:27:35.602
sequences was released[br]to the movie going public.

0:27:35.626,0:27:39.975
This film was "The Jazz Singer"[br]and it used a Vitaphone system.

0:27:39.999,0:27:41.477
There had been other films

0:27:41.501,0:27:43.975
that had used synchronized[br]sound and music,

0:27:43.999,0:27:47.226
such as "Don Juan"[br]released in 1926,

0:27:47.250,0:27:52.727
that had a musical score played[br]by the New York Philharmonic.

0:27:52.751,0:27:55.018
"The Jazz Singer"[br]was the first to have dialogue

0:27:55.042,0:27:57.143
which accounted[br]for about 25 percent

0:27:57.167,0:27:59.143
of the soundtrack in the movie.

0:27:59.167,0:28:02.852
The movie heralded the coming[br]of the so-called talkies

0:28:02.876,0:28:05.351
and signaled the start[br]of the end for silent films

0:28:05.375,0:28:08.101
where talkies were ultimately[br]more popular

0:28:08.125,0:28:09.975
and technologically advanced.

0:28:09.999,0:28:13.101
The movie itself is based[br]on a stage play

0:28:13.125,0:28:14.975
by Samson Raphaelson.

0:28:14.999,0:28:16.975
It has a culturally[br]complex storyline,

0:28:16.999,0:28:20.268
with a young Jewish man trying[br]to make it as a jazz singer

0:28:20.292,0:28:22.351
against the wishes[br]of his father.

0:28:22.375,0:28:24.059
It was a signifier[br]of the times

0:28:24.083,0:28:27.975
that so-called blackface[br]makeup was used by Al Jolson,

0:28:27.999,0:28:31.768
who plays the lead role.[br]This was naively racist at best,

0:28:31.792,0:28:34.975
and was used to take on[br]the appearance of an archetype

0:28:34.999,0:28:36.643
of African-Americans,

0:28:36.667,0:28:38.310
although there is[br]the assimilation

0:28:38.334,0:28:40.018
of African-Americans and Jews

0:28:40.042,0:28:43.393
experiencing similar[br]identities as outsiders,

0:28:43.417,0:28:48.810
and this is something that is[br]put across in the film.

0:28:48.834,0:28:51.975
At this point,[br]cinema had come a long way

0:28:51.999,0:28:54.852
bringing together[br]motion image and sound

0:28:54.876,0:28:56.975
with many brilliant innovations,

0:28:56.999,0:29:00.351
inventions, passion,[br]and commitment,

0:29:00.375,0:29:02.101
creating one of the most unique

0:29:02.125,0:29:04.975
and inspiring art forms[br]and entertainment

0:29:04.999,0:29:07.975
that has ever been produced[br]in the history of the world,

0:29:07.999,0:29:11.351
establishing itself[br]as a powerful element

0:29:11.375,0:29:15.643
in modern societies.

0:29:15.667,0:29:19.334
[ music ]