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The History of Motion Pictures

Herein is a comprehensive series of web articles/pages to survey the history of cinema (motion pictures, film, etc.), the greatest entertainment art form of the 20th century.

Innovations Necessary for the Advent of Cinema:

Optical toys, shadow shows, 'magic lanterns,' and visual tricks have existed for thousands of years. Many inventors, scientists, manufacturers and scientists have observed the visual phenomenon that a series of individual still pictures set into motion created the illusion of movement - a concept termed persistence of vision. A number of technologies and inventions related to motion and vision were developed in the early to late 19th century that were precursors to the birth of the motion picture industry:

[A very early version of a "magic lantern" was invented in the 17th century by Athanasius Kircher in Rome. It was a device with a lens that projected images from transparencies onto a screen, with a simple light source (such as a candle.]


1824 - the invention of the Thaumatrope (the earliest version of an optical illusion toy that exploited the concept of "persistence of vision") by Dr. John Ayrton Paris


1831 - the discovery of the law of electromagnetic induction by English scientist Michael Faraday, a principle used in generating electricity and powering motors and other machines (including film equipment)


1832 - the invention of the Fantascope (also called Phenakistiscope or "spindle viewer") by Belgian inventor Joseph Plateau, a device that simulated motion. A series or sequence of separate pictures depicting stages of an activity, such as juggling or dancing, were arranged around the perimeter or edges of a slotted disk. When the disk was placed before a mirror and spun or rotated, a spectator looking through the slots 'perceived' a moving picture.


1834 - the invention and patenting of another stroboscopic device adaptation, the Daedalum (renamed the Zoetrope in 1867 by American William Lincoln) by British inventor William George Horner. It was a hollow, rotating drum/cylinder with a crank, with a strip of photographs or illustrations on the interior surface and regularly spaced slits through which a spectator observed the 'moving' drawings.


1839 - the birth of photography with the development of the first commercially-viable daguerreotype (a method of capturing still images on silvered, copper-metal plates) by French painter and inventor Louis-Jacques-Mande Daguerre


1841 - the patenting of calotype (or Talbotype, a process for printing negative photographs on high-quality paper) by British inventor William Henry Fox Talbot


1869 - the development of celluloid by John Wesley Hyatt, patented in 1870 and trademarked in 1873 - later used as the base for photographic film


1877 - the invention of the Praxinoscope by French inventor Charles Emile Reynaud - it was a 'projector' device with a mirrored drum that created the illusion of movement with picture strips, a refined version of the Zoetrope with mirrors at the center of the drum instead of slots; public demonstrations of the Praxinoscope were made by the early 1890s with screenings of 15 minute 'movies' at his Parisian Theatre Optique


1879 - Thomas Alva Edison's first public exhibition of an efficient incandescent light bulb, later used for film projectors


early 1880s - Belgian anatomy professor Joseph Plateau devised a Fanatoscope that made images appear to move
Late 19th Century Inventions and Experiments: Muybridge, Marey, and Eastman

Pioneering Britisher Eadweard Muybridge (1830-1904), an early photographer and inventor, was famous for his photographic loco-motion studies (of animals and humans) at the end of the 19th century (such as "The Horse in Motion"). In 1870 at a Sacramento (California) racecourse, he first used a row of 12 cameras, equally spaced along the racetrack, to record the movement of a galloping horse, to prove that all four of the horse's feet were off the ground at the same time. In 1877-1878, he repeated the experiment for his wealthy San Francisco benefactor, Leland Stanford, using 24 cameras to record another horse's gallops.

Muybridge's pictures, published widely in the late 1800s, were often cut into strips and used in a Praxinoscope, a descendant of the zoetrope device, invented by Charles Emile Reynaud in 1877. The Praxinoscope was the first 'movie machine' that could project a series of images onto a screen. Muybridge's stop-action series of photographs helped lead to his own 1879 invention of the Zoopraxiscope (or "zoogyroscope"), a primitive motion-picture projector machine that also recreated the illusion of movement (or animation) by projecting images - rapidly displayed in succession - onto a screen from photos printed on a rotating glass disc.

Around the same time, Parisian innovator and physiologist Etienne-Jules Marey was also studying, experimenting, and recording bodies (animals) in motion using photographic means (and astronomer Pierre-Jules-Cesar Janssen's "photographic revolver" idea). In 1882, Marey, often claimed to be the 'inventor of cinema,' constructed a camera (or "photographic gun") that could take multiple (12) photographs per second of moving animals or humans - called chronophotography. [The term shooting a film was possibly derived from Marey's invention.] He was able to record multiple images of a subject's movement on the same camera plate, rather than the individual images Muybridge had produced. His chronophotographs (multiple exposures on single glass plates and on strips of sensitized paper - celluloid film - that passed automatically through a camera of his own design) were revolutionary. He was soon able to achieve a frame rate of 30 images. The work of Muybridge and Marey laid the groundwork for the development of motion picture cameras and projectors - hence the development of cinema.

American inventor George Eastman's laid more groundwork with his concurrent developments in 1888 of sensitized paper roll film (instead of glass plates) and a convenient "Kodak" small box camera (a still camera) that used the roll film. He improved upon the paper roll film with another invention in 1889 - perforated celluloid (synthetic plastic material coated with gelatin) roll-film with photographic emulsion.

The Birth of Cinema:

In the late 1880s, famed inventor Thomas Alva Edison (1847-1931) (and his young British assistant William Kennedy Laurie Dickson) in his laboratories in West Orange, New Jersey, borrowed from the earlier work of Muybridge, Marey, and Eastman. Their goal was to construct a device for recording movement on film, and another device for viewing the film.

They first developed the Kinetophonograph (or Kinetophone), a precursor of the 1891 Kinetoscope (see below), that synchronized film projection with sound from a phonograph record. The projector was connected to the phonograph with a pulley system, but it didn't work very well and was difficult to synchronize. Although Edison is often credited with the development of early motion picture cameras and projectors, it was Dickson, in November 1890, who devised a crude camera that could photograph motion pictures - called a Kinetograph. This was one of the major reasons for the emergence of motion pictures in the 1890s.

The motor-driven camera was designed to capture movement with a synchronized shutter and sprocket system (Dickson's unique invention) that could move the film through the camera by an electric motor. The Kinetograph used film which was 35mm wide and had sprocket holes to advance the film. The sprocket system would momentarily pause the film roll before the camera's shutter to create a photographic frame (a still or photographic image). The formal introduction of the Kinetograph in October of 1892 set the standard for theatrical motion picture cameras still used today. However, moveable hand-cranked cameras soon became more popular, because the motor-driven cameras were heavy and bulky.

In 1891, Dickson also designed an early version of a movie-picture projector (an optical lantern viewing machine) based on the Zoetrope - called the Kinetoscope. Dickson filmed his first trial, Monkeyshines, the only surviving film from the cylinder kinetoscope, that featured the movement of laboratory assistant Sacco Albanese.

The floor-standing, box-like viewing device was basically a bulky, coin-operated, movie "peep show" cabinet for a single customer (in which the images on a continuous film loop-belt were viewed in motion as they were rotated in front of a shutter and an electric lamp-light). The Kinetoscope, the forerunner of the motion picture film projector (without sound), was finally patented on August 31, 1897 (Edison applied for the patent in 1891). The viewing device quickly became popular in carnivals, Kinetoscope parlors, and sideshows. [By the 1897 patent date, however, both the camera (kinetograph) and the method of viewing films (kinetoscope) were on the decline with the advent of more modern screen projectors for larger audiences.]

Early in 1893, the world's first film production studio, the Black Maria, or the Kinetographic Theater, was built on the grounds of Edison's laboratories at West Orange, New Jersey, for the purpose of making film strips for the Kinetoscope. In early May of 1893 at the Brooklyn Institute of Arts and Sciences, Edison conducted the world's first public demonstration of films shot using the Kinetograph in the Black Maria, with a Kinetoscope viewer. The exhibited film showed three people pretending to be blacksmiths.

[ Last edited by aYuGiLeR at 9-1-2006 10:46 PM ]

The first motion pictures made in the Black Maria were deposited for copyright by Dickson at the Library of Congress in August, 1893. In early January 1894, The Edison Kinetoscopic Record of a Sneeze (aka Fred Ott's Sneeze) was one of the first series of short films made by Dickson for the Kinetoscope in Edison's Black Maria studio with fellow assistant Fred Ott. The short film was made for publicity purposes, as a series of still photographs to accompany an article in Harper's Weekly. It was the earliest surviving, copyrighted motion picture (or "flicker") - composed of an optical record of Fred Ott, an Edison employee, sneezing comically for the camera.

The first films shot at the Black Maria, a tar-paper-covered, dark studio room with a retractable roof, included segments of magic shows, plays, vaudeville performances (with dancers and strongmen), acts from Buffalo Bill's Wild West Show, various boxing matches and cockfights, and scantily-clad women. Most of the earliest moving images, however, were non-fictional, unedited, crude documentary, "home movie" views of ordinary slices of life - street scenes, the activities of police or firemen, or shots of a passing train. [Footnote: the 'Black Maria' studio appeared in Universal's comedy Abbott and Costello Meet the Keystone Cops (1955).]

On Saturday, April 14, 1894, Edison's Kinetoscope began commercial operation. The Holland Brothers opened the first Kinetoscope Parlor at 1155 Broadway in New York City and for the first time, they commercially exhibited movies, as we know them today, in their amusement arcade. Patrons paid 25 cents as the admission charge to view films in five kinetoscope machines placed in a row. Edison's film studio was used to supply films for this sensational new form of entertainment. More Kinetoscope parlors soon opened in other cities (San Francisco, Atlantic City, and Chicago).

Early spectators in Kinetoscope parlors were amazed by even the most mundane moving images in very short films (between 30 and 60 seconds) - an approaching train or a parade, women dancing, dogs terrorizing rats, and twisting contortionists. In 1895, Edison exhibited hand-colored movies, including Annabelle, the Dancer, in Atlanta, Georgia at the Cotton States Exhibition. In one of Edison's 1896 films entitled The Kiss (1896), May Irwin and John C. Rice re-enacted the final scene from the Broadway play musical The Widow Jones - it was a close-up of a kiss. Disgruntled, Dickson left Edison to form his own company in 1895, called the American Mutoscope Company (see below).

The Lumiere Brothers:

The innovative Lumiere brothers in France, Louis and Auguste (often called "the founding fathers of modern film"), who worked in a Lyons factory that manufactured photographic equipment and supplies, were inspired by Edison's work. They created their own combo movie camera and projector - a more portable, hand-held and lightweight device that could be cranked by hand and could project movie images to several spectators. It was dubbed the Cinematographe and patented in February, 1895. The multi-purpose device (combining camera, printer and projecting capabilities in the same housing) was more profitable because more than a single spectator could watch the film on a large screen. They used a film width of 35mm, and a speed of 16 frames per second - an industry norm until the talkies. By the advent of sound film in the late 1920s, 24 fps became the standard.

The first public test and demonstration of the Lumieres' camera-projector system (the projection of a motion picture) was made in March of 1895. They caused a sensation with the film Workers Leaving the Lumiere Factory (La Sortie des Ouviers de L'Usine Lumiere a Lyon), although it only consisted of everyday outdoor images - such as factory workers leaving the Lumiere factory gate for home or for a lunch break.

As generally acknowledged, cinema (a word derived from Cinematographe) was born on December 28, 1895, in Paris, France. The Lumieres presented the first commercial exhibition of a projected motion picture to a paying public in the world's first movie theatre - in the Salon Indien, in the Grand Cafe on Paris' Boulevard des Capucines. The 20-minute program of ten short films (with the mundane quality of home movies), with twenty showings a day. These factual shorts (or mini-documentaries), termed actualities, included the famous first comedy of a gardener with a watering hose (aka The Sprinkler Sprinkled, Waterer and Watered, or L'Arrouseur Arrose), the factory worker short (see above), a sequence of a horse-drawn carriage galloping toward the camera, and the arrival of a train at a station (Arrivee d'un train en gare a La Ciotat).

Other Developments in Projecting Machines:

Two brothers in Berlin, Germany - inventors Emil and Max Skladanowsky - created their own film device for projecting films in November, 1895. Also in 1895, American inventor Major Woodville Latham developed an unpopular projector called an Eidoloscope (or Panoptikon projector). What was most innovative was its Latham Loop, the addition of a slack-forming loop to the film path to restrain the inertia of the take-up reel, and prevent the tearing of sprocket holes. It also allowed for the use of films longer than three minutes. (The loop is still used in virtually all film cameras and projectors to this day.) And American inventors Thomas Armat and Charles Francis Jenkins developed the Phantascope in 1895, an improved device (with intermittent-motion mechanisms) for projecting films on a screen. In 1895, they debuted their device at the Atlanta Cotton States Exposition and patented it.

In London in January of 1896, Brit Acres and Robert W. Paul also developed a machine to project films. In 1896, Edison's Company purchased Armat's perfected movie projection machine (the Phantascope), and renamed it the Vitascope. On April 23, 1896 in New York City, the date of the first Vitascope projection for a paying American audience, customers watched the Edison Company's Vitascope project a ballet sequence in an amusement arcade during a vaudeville act.

Film-Viewing:

Films were increasingly being shown as part of vaudeville shows, variety shows, and at fairgrounds or carnivals. Audiences would soon need larger theaters to watch screens with projected images from Vitascopes after the turn of the century. The earliest 'movie theatres' were converted churches or halls, showing one-reelers (a 10-12 minute reel of film - the projector's reel capacity at the time). The primitive films were usually more actualities and comedies.

In 1897, the first real cinema building was built in Paris, solely for the purpose of showing films. The same did not occur until 1902 in downtown Los Angeles where Thomas L. Talley's storefront, 200-seat Electric Theater became the first permanent US theater to exclusively exhibit movies - it charged patrons a dime. By 1898, the Lumiere's company had produced a short film catalog with over 1,000 titles.

Georges Melies: French Cinematic Magician

Aside from technological achievements, another Frenchman who was a member of the Lumiere's viewing audience, Georges Melies, expanded development of film cinema with his own imaginative fantasy films. When the Lumiere brothers wouldn't sell him a Cinematographe, he developed his own camera (a version of the Kinetograph), and then set up Europe's first film studio in 1897. He created about 500 films (one-reelers usually) over the next 15 years (few of which survived), and screened his own productions in his theatre. In late 1911, he contracted with French film company Pathe to finance and distribute his films, and then went out of business by 1913.

An illusionist and stage magician, and a wizard at special effects, Melies exploited the new medium with a pioneering, 14-minute science fiction work, Le Voyage Dans la Lune - A Trip to the Moon (1902). It was his most popular and best-known work, with about 30 scenes called tableaux. He incorporated surrealistic special effects, including the memorable image of a rocketship landing and gouging out the eye of the 'man in the moon.' Melies also introduced the idea of narrative storylines, plots, character development, illusion, and fantasy into film, including trick photography (early special effects), hand-tinting, dissolves, wipes, 'magical' super-impositions and double exposures, the use of mirrors, trick sets, stop motion, slow-motion and fade-outs/fade-ins. Although his use of the camera was innovative, the camera remained stationary and recorded the staged production from one position only.

Further US Development:

The key years in the development of the cinema in the U.S. were in the late 1800s and early 1900s, when the Edison Company was competing with a few other burgeoning movie companies. The major pioneering movie production companies on the East Coast that controlled most of the industry were these three rivals:

the Edison Company - began producing films for the Kinetoscope in 1891; (see above); afterwards, Edison intensely fought for control of 'his' movie industry by harrassing, sue-ing, or buying patents from anyone he thought was threatening his company

American Mutoscope Company, founded in 1895 in New York by William K. L. Dickson, Herman Caster, Harry Marvin and Elias Koopman; their first motion picture machine was the Mutoscope - a peephole, flip-card device similar in size to a Kinetoscope. Instead of using film, a spinning set of photographs mounted on a drum inside the cabinet gave the impression of motion. This was followed by a projector - the Biograph, that was demonstrated in New York City in 1896. They devised a camera called the Mutograph (originally called the Biograph) that didn't use sprocket holes or perforations in the motion-picture film. Soon, they became the most popular film company in America, causing Edison to file a patent-infringement lawsuit against them in 1898. They were formally renamed the American Mutoscope and Biograph Company in 1899; in 1903, they began making films in the 35mm format (rather than 70mm); they employed D. W. Griffith in 1908 (who became one of the pioneers of silent film), and were re-named the Biograph Company in 1909 - (see below)


American Vitagraph Company (1896), formed by British-born Americans J. Stuart Blackton and Albert E. Smith; its first fictional film was The Burglar on the Roof, filmed and released in 1897
Breakthrough Films of Edwin S. Porter - the "Father of the Story Film":

"Moving pictures" were increasing in length, taking on fluid narrative forms, and being edited for the first time. Inventor and former projectionist Edwin S. Porter (1869-1941), who in 1898 had patented an improved Beadnell projector with a steadier and brighter image, was also using film cameras to record news events. Porter was one of the resident Kinetoscope operators and directors at the Edison Company Studios in the early 1900s, who worked in different film genres. At Edison's Company, he experimented with longer films, and was responsible for directing the first American documentary, The Life of an American Fireman (1903). The six-minute narrative film combined re-enacted scenes and documentary footage, and was dramatically edited with inter-cutting between the exterior and interior of a burning house. Edison was actually uncomfortable with Porter's editing techniques, including his use of close-ups to tell an entertaining story.

With the combination of film editing and the telling of narrative stories, Porter produced one of the most important and influential films of the time to reveal the possibility of fictional stories on film. The film was the one-reel, 14-scene, approximately 10-minute long The Great Train Robbery (1903) - it was based on a real-life train heist. His visual film, made in New Jersey and not particularly artistic by today's standards - set many milestones at the time:

it was the first narrative film with a storyline
it was a ground-breaking film - and one of the earliest films to be shot out of chronological sequence, using revolutionary cross-cutting (or parallel action) between two simultaneous events
it was the first 'true' western [Note: Edison's Cripple Creek Bar-Room Scene (1899) may actually be the first western.]
it was the first real motion picture smash hit, establishing the notion that film could be a commercially-viable medium
it featured a future western film hero/star, Gilbert M. Anderson (aka Broncho Billy)
In an effective, scary, full-screen closeup (placed at either the beginning or at the end of the film at the discretion of the exhibitor), a bandit shot his gun directly into the audience. The film also included exterior scenes, chases on horseback, actors that moved toward (and away from) the camera, a camera pan with the escaping bandits, and a camera mounted on a moving train.

Porter also developed the process of film editing - a crucial film technique that would further the cinematic art. Most early films were not much more than short, filmed stage productions or records of live events. In the early days of film-making, actors were usually unidentified and not even trained actors. The earliest actors in movies, that were dubbed "flickers," supplemented their stage incomes by acting in moving pictures.

The Growing Film Industry:

Businessmen soon became interested in the burgeoning movie industry. Some of the biggest names in the film business got their start as proprietors, investors, exhibitors, or distributors in nickelodeons.

Adolph Zukor
Marcus Loew
Jesse Lasky
Sam Goldwyn (Goldfish)
the Warner brothers
Carl Laemmle
William Fox
Louis B. Mayer
They realized that further profits could be derived from new systems of distribution, and by expanding the film audience to the middle-class, women, and children. At first, films (and the necessary projection machinery and equipment) were sold, not rented, to exhibitors.

As film production increased, cinema owner William Fox was one of the first (in 1904) to form a distribution company (a regional rental exchange), that bought shorts and then rented them to exhibitors at lower rates. The Warner brothers (Harry, Albert, Sam, and Jack) opened their first theatre, the Cascade, in New Castle, Pennsylvania in 1903, and then in 1904 founded the Pittsburgh-based Duquesne Amusement & Supply Company (the precursor to Warner Bros. Pictures) to distribute films.

Soon, successful exhibitors turned their profits back into their businesses and were able to provide additional amenities for their viewership, including comfortable seats, pre-show entertainment, peanuts/popcorn for sale, and accompanying pianists and orchestras for the silent films.

1927/28

Production (Picture):
"WINGS", "The Racket", "Seventh Heaven" ["The Way of All Flesh" and "The Last Command" are omitted from the latest official Academy list]
Unique and Artistic Picture (also known as Artistic Quality of Production):
"SUNRISE", "Chang",  "The Crowd"
Actor:
EMIL JANNINGS in "The Way of All Flesh" and "The Last Command", Richard Barthelmess in "The Noose" and "The Patent Leather Kid" [Charles Chaplin, originally announced for "The Circus" was removed from the category and given a special Honorary Award instead - see below]
Actress:
JANET GAYNOR in "Seventh Heaven", "Street Angel", and  "Sunrise", Louise Dresser in "A Ship Comes In", Gloria Swanson in "Sadie Thompson"
Director:
FRANK BORZAGE for "Seventh Heaven", Herbert Brenon for "Sorrell and Son", King Vidor for  "The Crowd"
Comedy Direction:
LEWIS MILESTONE for "Two Arabian Knights", Ted Wilde for "Speedy" [Charles Chaplin, originally announced for "The Circus" was removed from the category and given a special Honorary Award instead - see below]


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sayangidaku

tak laratnya nak baca. tapi okla.

fly_in_d_sky

uish .. panjangnyer ...
tak larat nak membaca ... takat baca seimbas lalu ...
.....

fly_in_d_sky

aper tujuan bj paste pemenang Oscar tahun 1927/28??

Originally posted by fly_in_d_sky at 29-10-2003 02:47 AM:
aper tujuan bj paste pemenang Oscar tahun 1927/28??

for general knowledge, saya akan mula dari dulu sampai sekarang

79 Years of entertaining the world


The Golden Age of Malay Cinema

'Actually this business has a lot of fun, a lot of excitement, All depends on whether your judgement is right or judgement is wrong. If judgement is right, you make the money. Judgement is wrong, you lose all the money'.
- Tan Sri Runme Shaw, Pioneers of Singapore, Oral History


After the war, film production picked up again, not only all over Asia but
also in Singapore where both Chinese and Malay films were made. In 1947,
'Seruan Medeka', an effort by Film Melayu Art Productions, proved to be
mildly successful. This prompted the Shaws to reopen their pre-war studio
at No.8, Jalan Ampas (above) to produce Malay movies. Under the banner of 'Malay Film Production Limited' (MFP), the Shaws aimed to dominate the Malay film market with quality productions. This move ushered in the period known as 'The Golden Age of Malay Cinema' during which over 300 films were produced.





At first, the Shaws used Chinese directors to make Malay movies. They were
replaced by Indians because Malays tended to prefer Indian directorial style. Malays also favoured Indian films because they could relate to both plot and culture. The 'Bollywood' song and dance style in Malay movies were enjoyed not only by Malays but also many Singaporean Chinese. Shaws' stable of Indian directors for the next two decades read like a who's-who of Malay cinema - B.S. Rajhans, S.Ramanathan, L. Krishnan, KRS Shastry, Phani Majumdar, Kidar Sharma, Dhiresh Ghosh, K.M. Basker and B.N. Rao.


Norlela, directed by Dhiresh Ghosh (extreme right), 1962.


In 1947, MFP's first film 'Singapura Di-Waktu Malam' starring Siput Sarawak
proved an instant success. It was directed by the same man who made
Singapore's first feature hit in 1933 - B.S. Rajhans.

B.S. Rajhans quickly followed his success with a string of hits over the
next four years. They included Chempaka (1947), Pisau Berachun (1948) and
Cinta (1948). In Cinta, he gave the part of the villain to a young
unknown whom he discovered at a music festival in Bukit Mertajam. This
19-year old playback singer who provided the vocals for the lead actor
Roomai Noor was to become a legend in his own time. He was P

The first awards ceremony/banquet was held in mid-May of 1929, to honor films made for the 1927-1928 time period. There were only twelve categories for the Academy's first merit awards: Best Film (Production) and Best Quality Film (Unique and Artistic Picture), Actor, Actress, Direction (Drama), Comedy Direction, Original Screenplay, Adapted Writing, Title Writing (interstitial captions in silents), Cinematography, Interior (Art) Decoration, and Engineering Effects. One winner, and two runners-up were named in each category. In the first year of the awards, the term "Honorable Mention" was used in place of the term "Nominee." (However, the term nominee will be used in this summary.)

The Academy Awards were born the same year that sound was born, and Warner Bros.' The Jazz Singer was honored with a Special Award (and only one nomination for Best Writing - Adaptation for Alfred Cohn) as the "pioneering talking picture which has revolutionized the industry." The Academy ruled that The Jazz Singer was ineligible for competition for the Best Picture award, because it was thought that it would be unfair to let sound films compete with silents.

Originally, the Academy planned to grant two 'Best Picture' (or Best Production) awards - and it did so in its first year. In the history of the awards, Wings and  Sunrise are the only non-speaking 'Best Pictures' in Academy history:

one for the "most outstanding motion picture production"
one for the "most unique, artistic, worthy and original production"
Four of the five nominated films for Best Picture (all except The Racket) were from Paramount Pictures studios.

The silent classic war film, director William Wellman's and Paramount's Wings, was the official first winner of the Best Picture award as the "most outstanding motion picture production." The most expensive film of its time (at $2 million), it features spectacular aerial footage (air battles, bombing raids and crashes) in a story of two flying buddies who accidentally shoot each other down. To provide continuity, the Academy now lists Wings as the "official" Best Picture of the first awards. That makes Wings the only silent picture to have won the Best Picture award.

F. W. Murnau's exquisite  Sunrise was awarded a comparable honor for being the 'Best Picture' in the category of "Artistic Quality of Production" (or "Unique and Artistic Picture"). [The category of "Unique and Artistic Picture" was abandoned by the Academy after the first year of the awards.]

Frank Borzage won his first of two Best Director awards for his Seventh Heaven. King Vidor lost as Best Director for  The Crowd, one of the greatest silent films ever made - about the day-to-day problems of a working-class family during the Jazz Age in the big city. The directors of the two 'Best Pictures,' Murnau and Wellman, were both denied a Best Director nomination. [There are only two other 'Best Picture' winners whose directors were not nominated for Best Director: Grand Hotel (1931/32) and Driving Miss Daisy (1989).] The category of Best Comedy Direction was discontinued after the first year's ceremony. Its winner was Lewis Milestone for Two Arabian Nights. The only other nominee in the category was Ted Wilde for Speedy.

For this year only, the Academy gave awards for multiple, rather than single achievements. German actor Emil Jannings won his first and only award as Best Actor for his first two American film performances: as bank cashier August Schiller who becomes a ruined homeless derelict in director Victor Fleming's The Way of All Flesh, and as General Dolgorucki (Grand Duke Sergius Alexander) - an arrogant ex-Czarist commanding general who ends up as a Hollywood extra (in a film directed by a prisoner (William Powell) that he had once whipped) in director Josef von Sternberg's The Last Command. His competing nominee was Richard Barthelmess (with his sole career nomination) for two performances: as alleged murderer Nickie Elkins in The Noose and as a prizefighter in The Patent Leather Kid.

Twenty-two year old Janet Gaynor (with the first of two career nominations and her sole win), the first Best Actress winner, was honored for the combination of three film roles. She had three of the five Best Actress nominations and was recognized for all of them - an anomaly in awards history:

as Montmartre street waif Diane who finds love with good-hearted, blinded sewer cleaner/war veteran Chico (co-star and screen team partner Charles Farrell) in director Frank Borzage's film romance Seventh Heaven
as a Naples girl named Maria who escapes from imprisonment (on a prostitution charge after making a desperate try for money to help her ill mother) and eventually joins an Italian circus and falls in love with a young tramp artist in another Borzage film - the soap opera-ish Street Angel (Gaynor's last silent film)
and as the faithful, sweet farmer's "Wife" threatened with being killed by her husband in German director F. W. Murnau's  Sunrise
[Janet Gaynor was the youngest recipient of the award until 1986 when 21 year old Marlee Matlin won the Oscar for Children of a Lesser God. Gaynor is the only Best Actress winner to receive the award for more than one performance in a single year.] The other Best Actress nominees were Louise Dresser (with her sole career nomination) as Polish immigrant Mamma Pleznick in A Ship Comes In, and Gloria Swanson (with the first of three unsuccessful career nominations) as South Seas prostitute Sadie in Sadie Thompson.

Up until the 1950 Academy Awards ceremony, the Academy's Honorary Awards were called Special Awards. Charles Chaplin was the first honorary awardee - for a non-competitive, Special Award for his writing, directing, acting, and producing of The Circus. Although he was originally a Best Actor and Best Comedy Director nominee, he was removed from those competitive categories so that he could receive the Honorary Award. [This was the last Oscar that Chaplin would receive, until another Honorary Award in 1971!]

Awards Omissions:

Mary Pickford was not nominated in the Best Actress category (but could have been if she had been interested) for her role in My Best Girl. Buster Keaton's classic film  The General was not nominated. Nor was King Vidor's  The Crowd nominated for Best Picture (but nominated in a short-lived, one year long category known as Unique and Artistic Picture). Director William Wellman, who was responsible for the excitement of the flying sequences of 'Best Picture'-winner Wings was overlooked in the nominees. Al Jolson was not nominated for his role as Jakie Rabinowitz in The Jazz Singer.

fly_in_d_sky

for general knowledge ...
tau tak sapa first African American yg menang utk Oscar for best Actor n Actress ... termasuklah supporting Actor n Actress ...

Originally posted by fly_in_d_sky at 29-10-2003 08:21 PM:
for general knowledge ...
tau tak sapa first African American yg menang utk Oscar for best Actor n Actress ... termasuklah supporting Actor n Actress ...

Best Supporting Actress (Hattie McDaniel - the first African-American to be nominated and to win fo Gone In the Wind 1939),

Sidney Poitier dlm tahu 1963 for best actor for Lilies of the Field.


Denzel washington 2 kali for supporting actor dlm tahun 1989 utk Glory dan best actor tahun 2001 for Training day.

Whoopi Goldberg 1990 Utk Ghost (best supporting actress)

halle berry best actress utk Monster's ball 2001.

The times they were a-changin’

Through the lenses of movie cameras, one man captured the turmoil and excitement of a modernising Malay society in the 1950s and ’60s. In this week’s Millennium Markers, TIMOTHY P. BARNARD looks at the socialogical aspects of the works of P. Ramlee.
ONE of the most important cultural figures in Malaysia today is a person who passed away almost 30 years ago. His work, however, can still be seen throughout the country, and his popularity is confirmed by the continued presence of his films and music on television and radio in Malaysia and Singapore, while VCDs of his films are easily available. Most Malaysians would have little difficulty identifying his picture or voice. His name is P. Ramlee.

Born Teuku Zakaria bin Teuku Nyak Puteh on March 22, 1929, in Penang, Ramlee was a multi-talented artist who would come to dominate the Malay-language film and recording industries in the 1950s and ’60s. Ramlee came from a traditional Malay family and started his singing career in Penang. Arriving in Singapore in the late 1940s to work as a backing singer in the films produced by the Shaw Brothers Organisation, he slowly broke into the film industry, initially playing bit parts. By the early 1950s Ramlee had established himself as a charismatic singer and actor, whose popularity led to an increasing role in all aspects of filmmaking, where he left his mark on the cultural and social history of Malaysia and Singapore.


Malay filmmaking and Singapore
Malay language film production in the 1950s was centred in Singapore. The two main studios producing films for the Malayan market were Cathay Organisations’ Cathay Keris and the Shaw Brothers’ Malay Film Production Studios. These two studios eventually produced over 200 films in the 1950s and ’60s. Although there was little difference in the stories, acting and quality of the two main studios, Cathay Keris was perhaps best known for its pontianak (vampire) series while the Shaw Brothers was the home of P. Ramlee.



P. Ramlee and the divine Zaiton in "Anakku Sazali

Cuba Gooding jr utk jerry maguire 1996 for best supporting actor

Effects on the Horror Genre in the '70s


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* Horror films of the 1970s revised the standards for visual shock. These films began to show violence in even more explicit detail than horror films of the late 1960s.

* William Friedkin's The Exorcist (1973) was the film that began the second surge of horror films by using complex and imaginative effects.

* Friedkin's film was a huge box office success and spawned many horror film imitations and variations that emphasized the same type of graphic effects used in The Exorcist.

* Many of the effects in The Exorcist were more complicated variations of established effects techniques.

* 1974's The Texas Chainsaw Massacre was made on a small budget but contained many realistically gory scenes. Director Tobe Hooper went to great lengths to make Massacre the most disgusting film ever made, only to have it topped by George Romero's Dawn of the Dead in 1979. Because the plot of this film focused on killing zombies by destroying their brains, it was extremely gory and used many creative techniques to realistically portray the violence.

* Another film of the 1970s that emphasized graphic violence was Francis Ford Coppola's The Godfather (1972). While this film was not a horror film, it included quite a bit of gore. In one scene, a man is shot through his eye, and in another, a man is shot in his forehead. Both scenes involved latex makeup, bloodfilled tubing exploded by ballbearings or squibs (small firecrackers).

* Makeup artist Dick Smith developed the technology required for this type of violence further for 1976's Taxi Driver, which included another scene in which a character is shot in the forehead. By using a removable plug instead of a squib, less cleanup was required and there was no need to replace exploded latex rubber for each take.

* Clearly, throughout the 1970s, special effects technology continued to develop, making films more realistically violent and gory.

~from Schechter & Everitt, Film Tricks: Special Effects in the Movies

sekngucing

takkan copy paste saja, mana idea sendiri TT?

buiscasey

bg link original source sudah... x yah copy paste...