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Essay / Research Paper Abstract
A paper which considers the concept of frame in early cinema, and the way in which the development of montage extended and expanded the director's ability to create fictional worlds which extended beyond the basic confines of the visual "frame". Bibliography lists 3 sources.
Page Count:
3 pages (~225 words per page)
File: JL5_JLframe.rtf
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Unformatted sample text from the term paper:
it is necessary to look firstly at the way that cinema has developed since its earliest forms: increasing technological sophistication and the use of montage changed both the parameters of
the "frame" and the extent to which directors could interpret it. As Gunning (1986) points out, cinema was primarily a fairground attraction in its early days, being advertised and marketed
on the strength of the new technology which it used rather than for the narrative content of the films themselves.
Bridgett (2004) makes the salient point that advertising emphasised the technical, mechanical aspects by emphasising that films
were made in Cinematograph or Vitascope or Biograph. The Lumieres Sortie de la Usine, for instance, was made in Cinematograph, and the attraction was not the narrative content of the
film, which was minimal, but the method of reproduction. The audiences perspective was confined to whatever was within the frame, and the existence of the frame itself was of more
importance than narrative creativity. The kind of innovation which we might encounter in, say, the British director Hepworths How it Feels to be Run Over is confined solely to a
surprise twist at the end - the camera, representing the subjective perspective of the audience, is "run over" by a car rather than by the expected horse-and-carriage - and all
the action is still firmly confined within the parameters of the frame, and of a basic linear narrative.
As Manovich (1995) points out, the key to twentieth century cinemas system of representation is
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