Technological Advancements in Filmmaking

Technological Advancements in Filmmaking

The advances of the complexity of film have been motivated by the persistent technological evolution, ignition, and manipulation by the inventiveness and human initiative, which has provided filmmakers the chance to practice more craftily in an effort to tell more sophisticated stories. Similarly, with proximity and societal attitudes, this technological advance has initiated the development of distinct methods, styles, and movements which would not have been possible without more advanced apparatus. Nevertheless, whereas this technological development has been linear, the progression has not essentially coincided with an akin quality of evolution. That is, the technological sophistication of the production should not assess a filmmaker’s skills. However, the skills ought to be judged by the ability to wield the time’s technology and their choice to clearly and effectively convey a narration, make an impression, or evoke an emotion. While the direct technological advancement of films has enabled filmmakers by providing more diversified techniques and records of tools, it is the ability of the filmmaker to discerningly and effectively use this technology in a societal and temporal context, which truly promotes cinematic quality, which does not have a definite linear progression.

With the progress in film history, there have also been the complexity of the technology of filmmaking from cameras, moving to sound recording, and finally editing. Technological progress in these sectors extends a filmmaker’s creative potential. However, the presence of technological advancements does not imply that it is essentially grander in each advancements. Instead, technological progress is beneficial in that it provides a filmmaker with a widened base of the available toolset from which they are able to discern the best-suited techniques and equipment to a specific production (Piccirillo n.p). The above filmmaking methods and procedures would be referred to as formal cinematic elements otherwise, elements particular to the art form of film, including camera movement and editing. With the progress in film, the list of formal cinematic elements has expanded hence empowered filmmakers to make more sophisticated films at their own discretion. Even limited to the restrictions of cinematic attractions, the principal paradigm prior to 1908 shows this evidence (Piccirillo n.p).

Consequently, the early pioneer cinematic films would not undergo transformations by the technological progress of the later periods, since their presentations did not demand it. Moreover, they cannot be viewed as exclusively preparatory, since, like later films, they explored a theme in a specifically cinematic way. Typically, the early times’ films were simple, comprised of short glimpses featuring well-known figures, performances by acrobats or dancers, or excerpts from notable vaudeville acts. While it is factual that the earlier films were small scale productions not confined by primitive technology, which only lasted a few twenty seconds, the longest film period which could be held by the kinetoscope, technological advancements would not essentially have promoted them since their simplistic sense did not need such (Piccirillo n.p). Nonetheless, filmmaking technology advanced with the cinematography of the Lumiere Brothers, which empowered filmmakers to escape the studio limitations into location shooting.

However, this did not result in improved films, rather only augmented the probabilities for generational films, whose production would not have been possible in a studio. In light of the advancement, there was the expansion of filmmakers’ toolset as they obtained the alternative of shooting in a studio with light control and the capability of on-shoot location. Generally, the alternatives were never universally better, rather only specifically suited to a certain productions and in themselves, would evolve with time. Eventually, single-shot films gave way to other films, which comprised of a number of single-shot scenes. Later on, the technological advancements gave way to films which would utilize analytical editing with the use of several shots from different distances in one scene to display emotions and detail. The progress of evolving technological editing is clearer in the state-sponsored, constructivist-influenced Soviet Montage film of the 1920s. Nowell-Smith asserts that Soviet Montage films constitute a vast number of shots compared to other types of films of that period. They also regularly broke down individual actions into a number of shots.

However, the montage films were not largely driven by the more sophisticated editing techniques in themselves. Conversely, they were driven by the more particular editing strategies involving graphic, temporal, and spatial tensions. For instance, Montage filmmakers emphasized the need of filmmakers to calculate the different shots that is slow motion against the fast motion, light against dark, among others. The intervals or differences would form the root of the effect of the film on the viewers. The influence of Montage films’ dialecticism led to theory of the need for shots to clash with each other in an attempt to develop a new impression in the viewer’s mind. The aforementioned practice is implemented several times in films, including the 1928 film October (Piccirillo n.p). Further on, juxtaposition is a practice employed in shots of films to illustrate their clashing. With October as an example, it is precise that the Soviet Montage films achieved great success due to their technological advancements as well as their purposeful utilization of formal cinematic features, a case of editing, as a result of the progress to create a discrete style. The inventiveness of Montage films provided their technological goals hence resulting in high-quality filmmaking.

Whereas Soviet Montage films paid attention to editing, they also recognized the significance of a remarkable composition in each film shot. Therefore, the above technique was also identified by German expressionists as well as French impressionists who utilized other formal cinematic features, including mise-en-scene and camera work, to externalize the inner states of the characters. In the case of the French impressionists, filmmaking was centered on photogenie which is described as the quality which sets aside a shot of a film from the actual photographed object. According to Thompson, and David Bordwell, photogenie is developed by the camera properties such as framing isolating objects from their environments, transformation of appearance of stock films that are black and white, and particular optical effects also transforming them, among others. The above emphaisi caused the impressionists to create advanced camera techniques in a bid to externalize the subjectivity of characters. As such, the impressionists manipulated the characteristics of the present technology, in relation to camera, to decisively elicit a preferred effect. Thompson, and David Bordwell detail the use of optical devices of the camera by impressionists (34).

The advanced use of unique cinematic techniques, as opposed to the tools only, enhanced character reliability as well as greater clarity in narratives. The innovativeness reflects a precise evolutionary step, compelled by human ability, in the faculty of the camera in telling a story. Whereas the impressionists utilized camerawork in achieving this effect, the expressionists used miseen-scene, described as all elements put before the camera for photography. The latter includes the costumes, settings, makeup, lighting, figure behavior and props. The expressionists’ film aimed at fusing these features into s distorted and singular composition displaying the subject’s inner state, mostly seen in films such as The Cabinet of Dr. Caligari (Wiene, Janowitz, and Meyer n.p).

Technologically, film advancements also focused on lighting. According to Piccirillo, for a primary part, expressionist films utilized simple lighting on the sides and fonts, which flatly illuminated the scenes and evenly stressed the connections between the decor and figure. Expressionism them illustrated the aim of technological simplicity as a particular goal is increasingly effective compared to complexity. With the use of complicated lighting techniques, it was purposefully meant to create shadows which augment the general frame distortion. However, once again, the ability of a filmmaker to discerningly and appropriately employ techniques as well as tools including lighting, as opposed to the subjective use of them, connects with quality. The latter become evident in the advancement of technologies, namely, color and sound.

The initiation of synchronized sound was first seen in the late 1920s and early 1930s and was met with anxiety from some directors and critics (Thompson and Bordwell 5). The apprehension was caused by the fear that broad dialogue scenes in films would eliminate a camera movement’s flexibility along with editing the silent period. The espousal of sound illustrated a major forward step in the technological advancement of film, although, for its gainful application, the practice had to undergo a self-sufficient advancement. In the early stages, the sound did not virtually connect to better films. For example, initially, the microphones were insensitive, and thus studies frequently insisted characters undertake diction lessons as well as speak distinctly and slowly.

The majority of early films have a slow motion, and their performances appear stilted to contemporary ears. Improvements in syncing methods, microphones, and multiple-track recording of sound gradually empowered filmmakers to utilize the once inept tools effectively. (Thompson, and Bordwell 23) note that the majority of filmmakers realized that sound utilized imaginatively, provided a valuable innovative stylistic resource. The incorporation of picture and better sync-sound opened up improved storytelling avenues, which were not possible previously. For instance, the 1931 film Fritz Lange’s M, makes use of the advanced probability of audible dialogue. Although most importantly, Lange does not solely depend on dialogue in an attempt to progress the story, although sustains the powerful visual methods of storytelling while reserving dialogue to relay information which cannot be visually explained. In the early years, theaters used to run single-reel films, coming at a 1000 ft. standard length. As a result, they gave the playing time around 16 minutes. However, production companies commenced importing films of multiple-reels from Europe around 1907. As a result, the format was popularly accepted in the US at around 1912, as seen in the highly successful Louis Mercanton’s Queen Elizabeth, which featured a reel of three and a half. As exhibitors commenced showing more features, with the film constituting multiple reels, they discovered numerous gains over the short single-reel film. For one thing, viewers viewed these longer films with unique specialties and were ready to pay extra for admission. Due to the popularity of these feature films, they generally experienced longer theater runs compared to their previous single-reel features.

In addition, M illustrates a perfect exemplar of sound being a motif in filmmaking. For instance, the murder focused on in the narrative whistles a poignant tune, which is used at some critical point of the plot to push the story forward. Nevertheless, the use of sound in M is not the primary cause of the quality of the film, but instead the ability of the filmmaker to skillfully and discerningly use it. Furthermore, the sole use of sound is insufficient to claim it a better film of the silent epoch. For comparison, ‘The Cheat’ is a narrative which was convincingly and clearly relayed visually. Its story was not jumbled by the lack of synchronized sound (Chang 41). As such, the filmmakers successfully managed to tell the film story through the use of technology in place. However, although The Cheat did not sufficiently utilize sound technology, M would have been almost impossible, if not difficult, film story to narrate without sound technology. The latter explores the purpose of technological advancements in mandating if not allowing filmmakers to create what would have been impossible without the evolution of technology.

Color in film experiences a self-sufficient evolution, similar to sound. The majority of films during the silent epoch, for example, utilized processes such as toning and tinting to display a general color frame. Chang (41) asserts in relation to the process, saying color could offer information concerning the narrative situation. As a result, it would present to the spectator a more clear version of the story, similar to the use of mise-en-scene and photogenie by the expressionists and impressionists.

Other films changed hand color sections of the frame to stenciling after photography. Color commenced its ascent in the mainstream with the introduction of the three-strip process of coloring by Technicolor in the 1930 era (Piccirillo n.p). However, not all filmmakers immediately commenced creating color films. Furthermore, filmmakers who immediately began using color had a reason to do so. Although this was largely caused by the increased budgets as a result of color shots by as high as 30%, today, we consider color to be a realistic feature of films, while in the 1930 and 1940 eras, it was often linked to spectacle and fantasy. Color in shooting could be utilized in the case of exotic adventures such as the 1936, The Garden of Allah, musicals such as the 1944 film, Meet Me in St. Loius, and 1939 film The Adventures of Robin Hood. However, regardless of the new technology, a film needed to incorporate color for it to be regarded as high quality. For instance, Citizen Kane is a 1941 film by Orson Welles, which has black and white shots, in spite of the rise of color film from the earlier decade (Welles 346). Although it is possible that the decision to use black and white shots was done due to budget reasons, it dramatically accentuated its shadowy and mysterious tone. In this instance, the decision to use black and white shots from the primitive technology typically enhanced the final result. Nevertheless, other technologies were skillfully implemented after meticulous choice to produce the sophisticated film.

In spite of Citizen Kane not using Technicolor, the film clearly reflects its use of technological advancements in its production. The use of rhythm in sound and editing, for example, is indicative of the Montage films. Furthermore, the tenets of the aforementioned films, specifically the dialectical montage, advanced with technology including synchronized sound. For instance, in a Citizen Kane’s scene, there is a non-diegetic shriek heard when Kane struck his wife. The scream conflicts with the cinematic sound in an effort to develop a new perception in the viewer’s mind. It is also evident that the clash is a subjective technique, akin to that of German Expressionism and French Impressionism. In view of this convergence of technical tools and styles, Citizen Kane presents a perfect example of the probabilities enhanced by technological advancements (Welles 245). However, it is most significant to note that human inventiveness account for the comprehension of these innovations in a successful way as evidenced in Citizen Kane.

Understanding the profound effect of film on its earliest audiences is currently difficult, overwhelmed by the numerous video images. Nonetheless, the mere volume of documentation concerning the disbelief, fear and delight of the early viewers with regard to what they were viewing proposes that watching a film was previously an inundated experience for a majority. Spectator were amazed by the realistic film details such as Rough Sea at Dover by Robert Paul, and in some instances, panicked and attempted to run from the theater while watching films with moving carriages or trains sped heading towards the viewers (Nowell-Smith 28). Even the perception of the public of movie as a mode of expression was significantly different from the modern understanding. Further on, the motion picture represented progress on the photograph and was a mode of communication familiar with viewers. Perhaps, this is the reasons behind the documentation of events by the early films in short segments although did not tell stories. During the novelty cinematic era, audiences were majorly interested in the sensation of the movie projector, thus vaudeville theaters advertised the type of film projector which was being used.

By the end of the nineteenth century, public excitement with regard to the novelty of motion picture wore off. As a result, filmmakers were also commencing experiments on the possibilities of the film as mode of communication, as opposed to the previous regard as a documentation strategy, analogous to the photograph or camera. Technical improvement gave filmmakers room to experiment using special effects which generated apparently magical changes on screen. The aforementioned magical transformations include flowered changed to women, men appearing in a position previously taken up by women, people disappearing with smoke puffs along with other similar techniques (Piccirillo n.p). The advancements in film technology is still unpunctuated. Improved technologies are invented, tested as well as perfected. In the present times, the emergence of digital cinematic techniques and equipment has started encroaching into the sphere once solely occupied by photographic film. However, as was the case in prior evolutionary iterations, this technology only functions as a substitute alternative for filmmakers to select, although not a prerequisite of contemporary quality. The latter is mirrored by passion from some film directors, concerning apprehension and digital technology.

In sum, the film industry as it is currently recognized evolved from the early nineteenth century industry through a sequence of technological improvements. The above developments includes, the discovery of motion illusion through combining single still images, the development of photography as well as the research on animal and human locomotion. The technological developments presented commenced with the culmination of technological advances, where the knowledge of motion picture being an entertainment faculty first emerged. Afterward, the industry experienced extraordinary developments, where some transformations were as a result of artistic visions of each participant, others were accidental while some were through commercial necessity. The attitudes and trend surrounding it synchronize with the patterns which have form the characteristics of the history of cinema. However, supporters of cinema did no need to fret, since neither implementation nor disregard for the improved technology can result to finality of cinematic quality. The filmmakers possesses the responsibility of enhancing cinematic quality in either way since the quality of the projects will eventually rely on their ability to efficiently employ the forma cinematic features, regardless of the case in the future, to precisely convey a narrative, idea, emotion or impression.