Chapter 12 Modernism and Cinema

Thomas Alva Edison patented his invention of the Kinestoscope in 1891. Cinema as we know it today therefore traces back it origin to the 189 s! when penny arcade kinetoscopes were in rage. "oving pict#res have come a long way since then. $n his seminal work! %The &ork of Art in the Age of "echanical 'eprod#ction!( &alter )en*amin observed that %the camera was s#rgeon(s scalpel which laid bare the optical #nconscio#s.( +owhere were the effects of modern technology and artistic movements more strongly felt! and disseminated! than in cinema. $n this chapter! we will see how forces of modernism impacted the very yo#ng art form ! s#ch as cinema. ,o# will also learn abo#t some of the important names and movements related to this epoch.

The Pioneers of cinema

,o# will #nderstand how cinema and forces of modernity go hand in hand when yo# go thro#gh the works of the following-

. . . .

The /#miere )rothers Edison "elies 0.&.1riffith

. . . .

Edwin 2 3orter Charlie Chaplin )#ster Keaton Carl Theodore 0reyer

Great Filmmakers and Modernism

a.

The /#mi4re )rothers

&e owe the beginnings of cinema to A#g#ste /#mi4re 518678199:; and /o#is /#mi4re 5186:81968; . /o#is worked on a machine to compete with Edison(s Kinetoscope and invented the Cinematograph ! which was a camera and pro*ector in one. Their first film was Workers Leaving the Lumiere Factory 51899;! along with The Arrival of a Train at a Station 51899;. The /#mieres are also noted for introd#cing the first ever special effects on screen in The Demolition of a Wall 51899; in which reverse motion was #sed to <reb#ild= a wall.

b.

1eorge "elies

A con*#rer! cartoonist! magician and inventor! 1eorge "elies was a m#ltifaceted talent. >e is said to be the first to #se the trick photography and developed devices s#ch as s#perimposition and stop motion. >is adaptation of ?#les @erne(s Le

Voyage dans la Lune or A Trip to the Moon 519 7; and The Melomanic 519 A; were among the early landmarks in the history of motion pict#res.

c.

0& 1riffith

0& 1riffith is often termed as the father of cinema. >e was a st#dent of Edwin 2 3orter! whose The Great Train o!!ery 519 A; was the first film with a definite storyline. 1riffith(s most famo#s work is "irth of a #ation 51919;. 2et d#ring the Civil &ar 51861869;! the film is noted for being o#trageo#sly racist! primarily beca#se its representation- <The evil blacks vers#s the good white=. $t blatantly arg#es for K# Kl#B Klan. A blockb#ster ! the film is also remembered for its realistic depiction of historical incidents! s#ch as assassination of /incoln and 2herman(s march thro#gh 1eorgia. As if to atone for his %sin( of racism! 1riffith(s neBt was $ntolerance! a plea for racial integration. 3olitically! this was an era where momento#s events were taking place- The Treaty of @ersailles was signed in ?#ne 1919 signalling the official end of &&$! The &all 2treet collapsed in 1979! >itler became the Chancellor of 1ermany in 19AA! and in the same year ! 'oosevelt la#nched the %+ew 0eal( as a response to the economic 0epression in America. +ew way of socio8political order res#lted in novel artistic modes offering a radical perspective on the prevailing conditions.

Modernism and German Expressionistic Cinema

The impact of eBpressionism movement was soon realiCed in cinematic art. 'obert &iene(s The $a!inet of Dr $aligari 51919;! considered as one of the foremost eBpression of this aesthetics. $t is a narrative of a mad doctor who #ses a somnamb#list 5sleep8walker; to commit crimes for him. &iene presents his actors in eBaggerated make8#p! and places them in distorted sets and ang#lar architect#re. Dr $aligari embodies all the stylistic feat#res of eBpressionism- chiarosc#ro

5interplay of lights and shadows;! obliD#e angles! spatial distortions! danger l#rking in the corner! city as a threatening site! morally ambig#o#s characters. $t was also blamed for brainwashing the 1ermans! res#lting in the rise of +aCism. Ether landmark eBpressionistic films of this period are +osferat# 51977;! The /ast /a#gh 5197:; and "etropolis 5197F;. 0irectors s#ch as GritC /ang! Karl Gre#nd and )illy &ilder! took eBpressionism to AmericaH the res#lt of this transcontinental eBod#s was a hybrid of 1erman eBpressionism! Grench poetic realism! and American p#lpI film noir.

G& "#rna# 51888819A1; was yet another early eBponent of eBpressionism. Along with GritC /ang and 1.&. 3abst! his films are f#ll of dread and s#ggest a world between reality and fantasy. The themes of repression and seB#ality rec#r which echo something of "#rna#(s personal life since he was a closet homoseB#al d#ring the period of 1ermany(s homophobic laws. >is films are known for creating a sense of an alternative #niverse. Ene of the best horror films! +osferat#! A 2ymphony of Terror 51977;! is a classic eBample of 1erman eBpressionism! with "aB 2hreck playing Co#nt Erlok! a 0rac#la8like character.

'ecogniCed as the first science8fiction film! GritC /ang(s Metropolis 5197F; was one of the most eBpensive films of its times. The fairy tale plot foc#ses on Greder Gredersen spoilt son of a rich father! the "aster of "etropolis. Greder learns the oppressive living conditions of the working class! and comes to #nderstand them thro#gh a saintly yo#ng girl! "aria! who also mediates in cases of disp#tes between the ind#strialists and the workers. $n order to break this alliance! the "aster gets "aria kidnapped! collaborates with a mad scientist and creates a female robot. This evil do#ble of "aria is #nleashed on the city! where the femme fatale dances in a cl#b and instigates a riot in the streets.

Ene lasting image is of the Tower of )abel as "aria addresses the workers.

"etropolis is credited for blending imageries of religion with that of a science8 fiction! which have been referred in many later works- a f#t#ristic robot! a steel8 handed mad scientist! b#rning at stake! workers walking into the *aws of a machine

d.

Carl Theodore Dreyer 5188981968;

)orn in 0enmark! 0reyer(s films are marked by a#sterity and stately pace. >e took female s#ffering as a great theme! where women come in conflict with domineering! patriarchal forces. 0reyer started his career with /eaves from 2atan(s )ook 51919;! a work inspired by 0& 1riffith(s epic! %ntolerance. 0reyer(s mon#mental work is La &assion De 'eanne D(Arc 5The 3assion of ?oan of ArcH 1978;! where ?oan is played by 'enee Galconetti ! a stage actress! who played the part witho#t make#p. Gor 0reyer! she embodied simplicity! starkness! and s#ffering. A perfectionist! he made Galconetti kneel down on stones for long ho#rs to strip her face of emotions. /et me repeat the o#tline of the story of ?oan of Arc for yo#! tho#gh it is so well8 known. A simple co#ntry girl from Erleans! dressed as a boy! led the Grench troops to defeat the English army. ?oan was b#rned at the stake in 1:A1 on charges of heresy. An important feat#re of the shooting of ?oan of Arc! is 0reyer(s attention to details. The set was b#ilt in one piece with movable walls for the cameras. The sets are sparse and the emphasis is not on cost#mes or pict#resD#e scenery. Additionally! 0reyer #sed #n#s#al editing and cinematography. The prison g#ards and the ecclesiastics on the co#rt are seen from a low angle. Galconetti is shot in softer shades of grays! rather than in the sharp contrasts of black and white! shades 0reyer #ses for her r#thless eBaminers.

Vampyr 5The VampireH 19A7; is 0reyer(s first so#nd film! where he p#shes the s#b*ective camera to a new depth of psychological horror. The film was inspired by a short story by 2heridan /e Gan# <Carmilla!= that appeared in his collection Thro#gh a 1lass 0arkly. 0reyer takes the vampire8story template to evoke dread by forging 1erman8EBpressionist lighting to a GrenchJ2#rrealist imagery of the #nconscio#s. A cr#cial scene involves the hero looking into a coffin and finding his own body insideH and soon we are sealed inside the glass coffin as tho#gh a p#nishment for voye#rism. Thro#gh s#ch innovative points of view shots! protracted dream seD#ences! and a ha#nting so#nd track! Vampyr has cemented its stat#s as a perfectly chilling horror film. The film! however! was an all8ro#nd debacle! and 0reyer had a nervo#s breakdown after its completion.

QU ! 1

1.

Gill in the blanks-

iKKKKKK is Edison(s contrib#tion to cinema. iiKKKKKK. is a science fiction film by GritC /ang. iii. Carl 0reyer(s most well8known work is KK.

2.

2tate whether the following are tr#e or false-

i. ii.

Vampyr is 0reyer(s first so#nd film. Dr $aligari is a film by GritC /ang. A Trip to the Moon is the first film ever made.

iii.

Monta"e as an editin" techni#$e "ontage editing came o#t of the 2oviet eBperimental cinema of the 197 s. /ev K#leshov(s significant contrib#tion was the idea that each shot is like a b#ilding block and it derives its meaning from its conteBt! that is! the shots placed aro#nd it. 0#ring his workshop sessions at the state film school! @1$K! K#leshov and his st#dents wo#ld systematically dissect 0.&. 1riffith(s $ntolerance 51916;! viewing it several times! editing! reediting H assembling and reassembling it. K#leshov f#rther felt that *#Btaposition m#st be inherent in all film signs. 2hots therefore acD#ire meaning when *#Btaposed with what comes before and after them. To p#t his principles into practice! K#leshov *#Btaposed several shots from different pieces of films which he then t#rned into a seD#ence. EBperimenting with! what he called! the <K#leshov effect=! he took footage of the face of actor $van "oCh#kin! and spliced in shots of a woman lying in a coffin! a little girl with a teddy bear! and a bowl of so#p. The a#dience reacted positively believing that the actor had emoted wellH however! in reality! the actor(s face never changed eBpressions 5only his still shot was #sed;! and K#leshov concl#ded that people react to a conteBt! along with the content! to derive the meaning of a scene or a seD#ence. "ontage was #sed to perfection by 2ergei Eisenstein who eBplained it as! < A montage is assembled from separate images that provide a partial representation which are in combination and *#Btaposition.= 2#ggestive of conflict and collision! "ontage is partic#larly #sed when an editorLfilmmaker want to convey a great deal into a brief segment.

The Comic Masters

a. Charlie Chaplin 51889819FF;

Charles Chaplin was born in England. Abandoned by an alcoholic father! his mother was a certified l#natic and p#t away in a mental asyl#m when the yo#ng Charles was nine. >e started performing on the stage by the age of eight and *oined a theatrical gro#p. Chaplin came to >ollywood in 191A! and soon became an internationally s#ccessf#l star. $n his a#tobiography! he recalls /os Angeles as <an #gly city! hot and oppressive= 5Chaplin 196:-178;. 2oon! along with "ary 3ickford! 0o#glas Gairbanks! 0.&. 1riffith! and &.2. >art! he formed a prod#ction company! the Mnited Artists Corporation. >is slapstick style! co#pled with sentimental themes of his films to#ched a #niversal chord. $n his first film The Kid 51971;! he endeared himself to the masses in his role as an #nderdog who adopts an orphan.

$n The Gold ush 51979;! the /ittle Tramp becomes a gold prospector. 2ome of the noteworthy scenes are where a starving Chaplin boils and relishes his bootH the dance of the rollsH and the h#t teetering on the edge of the precipice. The 1old '#sh is the magn#m op#s of Chaplin(s career. $ity Lights 519A1; is considered as one of Chaplin(s tri#mphs! with its blend of melodrama and physical comedy. Chaplin plays the /ittle Tramp who is moved by a blind flower girl(s plight. $n a case of mistaken identity! she ass#mes that he is a rich man. The Tram needs money for her eye operation to restore her vision and participates in a boBing match. Tho#gh the first film with speech was #sed in The ?aCC )anker 5197F;! Chaplin was convinced that speech wo#ld r#in the bea#ty of cinema! and defiantly presented the film as a <comedy romance in pantomime!= with little so#nd effectsI with m#sic by Chaplin himself. The film str#ck an emotional chord with the a#dienceI incl#ding the +obel priCe winning scientist Alfred Einstein! who was seen wiping his tears after the show.

2ince 1916! Chaplin had been thinking abo#t a feeding machine! and also a radio8 electric hat that that co#ld register one(s tho#ghts. >e #sed the feeding machine in "odern Times. $n the film! The Tramp is constantly trying to get back into *ail! where he feels safe and cared for. An indictment of crass capitalism and r#thless ind#strialiCation! the film satiriCes assembly line prod#ction. Chaplin shows how in the modern times! a simple worker has become a part of the machines aro#nd him. Ene of the highlights of the film is the place where after ho#rs of labor! the little man gets a l#nch break! where he sits with a bowl of so#p! twitching to the rhythm of the machine. Chaplin pantomimes his way thro#gh this film! f#ll of warmth for the working millions.

b. %$ster &eaton 518998 1966;

)#ster Keaton was born! ?oseph Grancis! in a va#deville family. >e started in films with comedian Gatty Arb#ckle in 191F. Keaton was a geni#s as well as a masterf#l filmmaker whose technically innovative direction paid immac#late attention to details. 'ated by many as s#perior to Charlie Chaplin! )#ster Keaton(s films are interesting largely d#e to their stoic and s#rreal D#ality. >e also had a penchant for performing his own st#nts! which is evident from his preference for long! fl#id takes. Another ma*or factor for his lasting pop#larity is that he *ettisoned slapstick! favoring a s#btle comic style. $ndefatigable in the face of tro#bles! Keaton(s signat#re style was the stoically brave the odds and carry on. Among his many admirers are- /#is )#n#el! Ch#ck ?ones! &oody Allen! ?ackie Chan! and 2teven 2pielberg. )eca#se of his ability to keep his compos#re in the middle of a chaos! he was called the 1reat 2tone Gace.

Three Ages 5197A;! an early film of Keaton(s! is a spoof of 1riffith(s %ntolerance. Keaton tells three stories set in the prehistoric era! the 'oman age and the present day. Each time he is faced with a strong rival in love! who he tackles in his trademark style. $n one of his shortest films! 2herlock! ?r 5197:;! Keaton plays a pro*ectionist! who dreams of becoming a detective. >e is falsely acc#sed by his *ealo#s rival of stealing from his girlfriend(s father! and is banished from her ho#se. $n his state of dream! he becomes 2herlock! ?r.! the world(s second greatest detective.

The General 5197F; is considered Keaton(s greatest comedy! and is set d#ring the Civil &ar. The action takes place d#ring the Civil &ar 51861869;. The 1eneral is act#ally the name of his locomotive! and Keaton is an engineer! ?ohnny 1ray! who loves his engine! and a girl! Annabelle /ee. The film clearly s#pports the 2o#th! as we find the ,ankees stealing the locomotive. "#ch of the action centers on Keaton(s search for The 1eneral! and winning over the girl. The film! as #s#al! is f#ll of gags

The comedy arises in The $ameraman 51978; with Keaton sharing a dressing room at the swimming pool with a big b#lly. The two share a match8boB of a space which Keaton tries to negotiate as the b#lly p#shes him in a corner. An overhead shot describes the t#ssle between the two men. The scene ends with Keaton coming o#t in a bathing s#it meant for a m#ch bigger man.

QU !
1.

Fill in the 'lanks(

i. KKKwas signed in ?#ne 1919 heralding the official end of &&$. ii. KKKKK.. as a techniD#e was introd#ced by K#leshov and perfected byKKKKKKKK iii. Chaplin(s KKKKKKKKKKK is an indictment of r#thless forces of capitalism and ind#strialiCation.

2.

Match the follo)in"(

a @1$K b The 1eneral c $ntolerance d City /ights

i ii ii i

)#ster Keaton 0& 1riffiths Charlie Chaplin

iv /ev K#leshov

3.

*ssi"nment

0isc#ss the interplay between painting and cinema d#ring the early period of films.

+$""ested readin"( 1. 7. Chaplin! Charlie. My Auto!iography. /ondon- 3eng#in! 1966. Trotter! 0avid. $inema and Modernism. EBford- )lackwell! 7 F.

+elected )e'sites

1. 7.

http-LLwww.images*o#rnal.comLiss#e 9LreviewsLcarldreyerL http-LLchaplin.bfi.org.#kL

A. http-LLwww.neatorama.comL7 1 L :L7 Lcharlie8chaplin8celebrating8the8 classic8comicL :. http-LLlifewitho#tb#ildings.netL7 9L 9Ls#bverting8the8spectacle8of8modern8 times8charlie8chaplin8and8the8sit#ationists.html 9. http-LLwww.cineaste.comLarticlesLscreening8modernism.htm 6. http-LLwww.marBists.orgLreferenceLs#b*ectLphilosophyLworksLgeLben*amin.htm

*ns)er key Q$i, 1. 7. Q$i, i8KinestoscopeH ii8 "etropolisH iii8 The 3assion of ?oan of Arc i8Tr#eH ii8 GalseH iii8Galse

1. 7.

i8 The Treaty of @ersailles H ii8Eisenstein H iii8 "odern Times a8ivH b8iH c8iiH d8iii