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ARTISTIC PRODUCTION
The Film Picture
The Film Picture in the History of the Film
The history of the him picture is the history of the film. It cannot be presented ill a few words. One should mention here all the great film directors, some important cameramen, and the best films in the history of the cinema.
Until 1910— 15 the film had not evolved as a picture art. It hardly knew its own methods. The camera stood in its place, unmoving and unparticipating, and passively caught even the most violent movement.
Around 1910 there appeared — in the 'art film', with the developing artistic self-confidence of the film — the photograplied stage picture, and thus the birth of the true film picture was impeded.
By 1915 D. W. Griffith had developed the moving camera, that is the camera set-up as an elastic means of expression. Now the camera began to move around objects, photographing them from all sides, accompanying events, following them, avoiding them, and so forth.
Montage and the close-up make their appearance very early. The great Russian directors first began in the twenties to use them as a decisive method of expression in the film.
In the period from 1923 to 1929, the classical period of the silent film, the better European productions developed an extraordinary film picture discipline. The innovations of the Russian, the German and French avant-garde films, as well as the tirst British documentaries became common artistic property.
The sound film caused a catastrophy. Dialogue depreciates the film picture and over-emphasizes the film actor. The level suddenly dechned. JVIass production utilized such film innovations as the close-up, montage, tricks, etc., but it banalized them, in that it either did not exploit them at all or merely repeated them to death. Very few film directors differentiated them, developed them further, combined them with the new laws of the sound film.
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