A message to the lecturer;
If you get bored reading before the end, I suggest looking at the posts 'What is New Media' (below) and 'Timelines'.
Friday, June 5, 2009
What is New Media?
The definition of media is “Materials that hold data in any form or that allow data to pass through them, including paper, transparencies, multipart forms, hard, floppy and optical discs, magnetic tape, wire, cable and fiber.” (ask.com)
According to ask.com, the definition of new is “just found, discovered, or learned”
But is what is considered new actually new?
If we consider new to be the most up to date, current version of something, such as technology, using the description ‘new’ would only be used on objects created within the immediate past. Technology is advancing so rapidly that much of the ‘new’ technology becomes obsolete after a few years.
However, for the purposes of this essay, New Media is seen as the most recently developed technology that surrounds our lives; the Internet, the mobile phones, the high definition Televisions. New media has even found a way to permeate into the art sector. Nowadays, there are many artists who choose to do their art digitally. There is a growing market for the devices to produce digital art.
This can make New Media be seen as a rather exclusive, as not only is the software required to do New Media art quite expensive, but it can be rather daunting to make the required media work. Generation Y uses new Media most comfortably and many of the older generations do not have the same techno-savvy that this generation possesses. Generation Y have grown up with the technology, and generally tend to favour New Media over traditional media.
However, technology has not only affected the medium on which art is created, it has also affected art in other ways. Websites can be seen by anyone anywhere in the world. This has opened up a wide range of possibilities to artists, who are now able to advertise their artwork online and, hopefully, gain an online following. An online presence is a necessity to today’s artists.
However, technology is not just a tool of art, it is also able to shape the course that art will take. An example of this is the popularization of ‘phone films’, which is the use of mobile phones to create art (mainly in the form of films). This has only been possible due to the increase of technology and its availability to the masses. The have even have several film festivals dedicated solely towards phone film, such as the ‘Paris Pocket Film Festival’ and the ‘Mobile Phone Movie Awards Xi’an, China’. It is at film festivals like these that budding artists can get an idea of what is happening on the art scene, and be inspired by the work of other artists.
However, this is not the only way for artist interaction. The web is a major source of interactivity, due mainly to file sharing sites, such as ‘netjam’ and Oekaki.
Netjam is a website that allows its members to post a music file onto a server. These files can be worked on by other members and the new files are reposted onto the website with their edited content.
Oekaki is an online drawing forum that provides the software necessary to produce drawings. These drawings are done online, and then posted on the forum for other users to comment and provide feedback on.
These websites allow interconnection and interactivity between like-minded individuals, not only providing a place for users to gather and discuss their interests, but providing support that might not usually be available.
In general this interactivity “is all about collaboration and user controlled information: share, tag, vote and rank what is important to a user. With this process, usually the best out of many raise to the surface. The following social applications can help artists through the searching process by exploiting the collaborative filtering of many users.” (Styliaras 2008, p158) Websites such as Facebook and Twitter have the beginnings of this interactivity, however art sites allow greater sharing than the social networking sites. Art is an expression of people’s true feelings, and art sites allow people who would not normally talk to each other to communicate about a common interest.
To a limited extent this interactivity existed in traditional media, however the introduction of new media has provided artists with a greater deal of interaction. And one of the most interactive forms of New Media is Immersive Digital Environments. Immersive Digital Environments (IDE) is a form of virtual reality, in which virtual reality is defined as “a technology which allows a user to interact with a computer-simulated environment”. IDE are a highly evolving media and can be used for art and entertainment. IDE can come in many forms, such as a reactive environment, in which the way you move affects the environment, simulations, which are mainly used for training professionals in real life, potentially dangerous situations and not art, and virtual reality environments, in which you need the correct gear to participate in. The possibilities for artists are limitless, as with IDE they are literally able to create their own world.
Not only does new media exist in the art world, but it has significantly changed the course of art. New genres have sprung up dealing solely with new media, new methods of art appreciation have been found, and a new social network has been created.
In the words of Lev Manovitch “While New Media strengthens existing cultural forms and languages…it simultaneously opens them up for redefinition. Elements of their interfaces become separated from the types of data to which they were traditionally connected…online distribution of culture challenges traditional “off-line” formats. .. New Media transforms all culture and cultural theory into an “open source”. This opening up of cultural techniques, conventions, forms and concepts is ultimately the most promising effect of computerization.” (Manovitch 2001, p333)
According to ask.com, the definition of new is “just found, discovered, or learned”
But is what is considered new actually new?
If we consider new to be the most up to date, current version of something, such as technology, using the description ‘new’ would only be used on objects created within the immediate past. Technology is advancing so rapidly that much of the ‘new’ technology becomes obsolete after a few years.
However, for the purposes of this essay, New Media is seen as the most recently developed technology that surrounds our lives; the Internet, the mobile phones, the high definition Televisions. New media has even found a way to permeate into the art sector. Nowadays, there are many artists who choose to do their art digitally. There is a growing market for the devices to produce digital art.
This can make New Media be seen as a rather exclusive, as not only is the software required to do New Media art quite expensive, but it can be rather daunting to make the required media work. Generation Y uses new Media most comfortably and many of the older generations do not have the same techno-savvy that this generation possesses. Generation Y have grown up with the technology, and generally tend to favour New Media over traditional media.
However, technology has not only affected the medium on which art is created, it has also affected art in other ways. Websites can be seen by anyone anywhere in the world. This has opened up a wide range of possibilities to artists, who are now able to advertise their artwork online and, hopefully, gain an online following. An online presence is a necessity to today’s artists.
However, technology is not just a tool of art, it is also able to shape the course that art will take. An example of this is the popularization of ‘phone films’, which is the use of mobile phones to create art (mainly in the form of films). This has only been possible due to the increase of technology and its availability to the masses. The have even have several film festivals dedicated solely towards phone film, such as the ‘Paris Pocket Film Festival’ and the ‘Mobile Phone Movie Awards Xi’an, China’. It is at film festivals like these that budding artists can get an idea of what is happening on the art scene, and be inspired by the work of other artists.
However, this is not the only way for artist interaction. The web is a major source of interactivity, due mainly to file sharing sites, such as ‘netjam’ and Oekaki.
Netjam is a website that allows its members to post a music file onto a server. These files can be worked on by other members and the new files are reposted onto the website with their edited content.
Oekaki is an online drawing forum that provides the software necessary to produce drawings. These drawings are done online, and then posted on the forum for other users to comment and provide feedback on.
These websites allow interconnection and interactivity between like-minded individuals, not only providing a place for users to gather and discuss their interests, but providing support that might not usually be available.
In general this interactivity “is all about collaboration and user controlled information: share, tag, vote and rank what is important to a user. With this process, usually the best out of many raise to the surface. The following social applications can help artists through the searching process by exploiting the collaborative filtering of many users.” (Styliaras 2008, p158) Websites such as Facebook and Twitter have the beginnings of this interactivity, however art sites allow greater sharing than the social networking sites. Art is an expression of people’s true feelings, and art sites allow people who would not normally talk to each other to communicate about a common interest.
To a limited extent this interactivity existed in traditional media, however the introduction of new media has provided artists with a greater deal of interaction. And one of the most interactive forms of New Media is Immersive Digital Environments. Immersive Digital Environments (IDE) is a form of virtual reality, in which virtual reality is defined as “a technology which allows a user to interact with a computer-simulated environment”. IDE are a highly evolving media and can be used for art and entertainment. IDE can come in many forms, such as a reactive environment, in which the way you move affects the environment, simulations, which are mainly used for training professionals in real life, potentially dangerous situations and not art, and virtual reality environments, in which you need the correct gear to participate in. The possibilities for artists are limitless, as with IDE they are literally able to create their own world.
Not only does new media exist in the art world, but it has significantly changed the course of art. New genres have sprung up dealing solely with new media, new methods of art appreciation have been found, and a new social network has been created.
In the words of Lev Manovitch “While New Media strengthens existing cultural forms and languages…it simultaneously opens them up for redefinition. Elements of their interfaces become separated from the types of data to which they were traditionally connected…online distribution of culture challenges traditional “off-line” formats. .. New Media transforms all culture and cultural theory into an “open source”. This opening up of cultural techniques, conventions, forms and concepts is ultimately the most promising effect of computerization.” (Manovitch 2001, p333)
Thursday, June 4, 2009
Vision
Consecutive Vision
Consecutive vision was used during the Renaissance. Consecutive vision is where the entire painting has the same degree of focal clarity.This means that anywhere you look in the picture, the same amount of detail will be shown, even in the background.
Simultaneous/Biocular vision
Simultaneous vision is where one point is in focus, and it goes out of focus over 360 degrees. The further away from the point of focus, the more out of focus it gets. Simultaneous vision mimics the way people look at the world, with two eyes focused on the one point, and the rest kind of blurring out.
Monocular Vision
Monocular Vision is where everything on the same plane is in focus. Monocular vision was inspird by the invention of photography, and mimics the way a camera views the world.
Gestalt Vision
In Gestalt vision the unimportant things are rendered, rather than the important things. An example of Gestalt vision would, if you were rendering a window, be to draw the straight lines and leave out the corners, or draw the corners and leave out the straight lines (as seen in this example). By only drawing the unimportant things, you are actually drawing attention to what is not there, leaving the mind to fill in the blanks.
Cone (foveal/photopic) vision
These terms refer to our daylight vision where we look through the centre of our eyes and see colour. The name comes from the cones in our eyes that we use to see colour. This would look like a 'normal' colour painting
Rod (peripheral/scotopic) vision
Scotopic vision is the monochromatic vision of the eye in dim light. Since cone cells are nonfunctional in low light, scotopic vision is produced exclusively through rod cells so therefore there is no colour perception.
Hagen Haltern, A Chair in Peripheral Vision
Mesopic vision
Mesopic vision occurs in intermediate lighting conditions … and is effectively a combination of scotopic and photopicvision. This however gives inaccurate visual acuity and colour discrimination.
(http://en.wikipedia.org/wiki/Scotopic_vision [viewed 5.6.2007])
Penti Mento
Penti Mento is where traces from a previous working can be seen in a painting. These traces should not be from an entirely different painting that the artist has painted over, but be the outlines of a different pose or underdrawing. The word derives from an italian word meaning repent.
"The term has sometimes been used in a modern sense to describe the appearance of the sides of buildings with painted advertising. Often they are painted over with newer ads and the paint wears away to reveal the older layers."
(http://en.wikipedia.org/wiki/Pentimento [viewed 5.6.07])
Consecutive vision was used during the Renaissance. Consecutive vision is where the entire painting has the same degree of focal clarity.This means that anywhere you look in the picture, the same amount of detail will be shown, even in the background.
Simultaneous/Biocular vision
Simultaneous vision is where one point is in focus, and it goes out of focus over 360 degrees. The further away from the point of focus, the more out of focus it gets. Simultaneous vision mimics the way people look at the world, with two eyes focused on the one point, and the rest kind of blurring out.
Monocular Vision
Monocular Vision is where everything on the same plane is in focus. Monocular vision was inspird by the invention of photography, and mimics the way a camera views the world.
Gestalt Vision
In Gestalt vision the unimportant things are rendered, rather than the important things. An example of Gestalt vision would, if you were rendering a window, be to draw the straight lines and leave out the corners, or draw the corners and leave out the straight lines (as seen in this example). By only drawing the unimportant things, you are actually drawing attention to what is not there, leaving the mind to fill in the blanks.
Gestalt - Laws of Organisation
Proximity—elements tend to be grouped together according to their nearness
Similarity—items similar in some respect tend to be grouped together
Closure—items are grouped together if they tend to complete some entity
Simplicity—items will be organized into simple figures according to symmetry, regularity, and smoothness.
(http://chd.gmu.edu/immersion/knowledgebase/strategies/cognitivism/gestalt/gestalt.htm
[viewed 12.2.2007])
Scanning
Scanning also takes time into account in the picture. Generally, scanning is multiple images forming a cohesive whole that show the passage of time.
Similarity—items similar in some respect tend to be grouped together
Closure—items are grouped together if they tend to complete some entity
Simplicity—items will be organized into simple figures according to symmetry, regularity, and smoothness.
(http://chd.gmu.edu/immersion/knowledgebase/strategies/cognitivism/gestalt/gestalt.htm
[viewed 12.2.2007])
Scanning
Scanning also takes time into account in the picture. Generally, scanning is multiple images forming a cohesive whole that show the passage of time.
.
David Hockney, Chair
David Hockney, Chair
These terms refer to our daylight vision where we look through the centre of our eyes and see colour. The name comes from the cones in our eyes that we use to see colour. This would look like a 'normal' colour painting
Rod (peripheral/scotopic) vision
Scotopic vision is the monochromatic vision of the eye in dim light. Since cone cells are nonfunctional in low light, scotopic vision is produced exclusively through rod cells so therefore there is no colour perception.
Hagen Haltern, A Chair in Peripheral Vision
Mesopic vision
Mesopic vision occurs in intermediate lighting conditions … and is effectively a combination of scotopic and photopicvision. This however gives inaccurate visual acuity and colour discrimination.
(http://en.wikipedia.org/wiki/Scotopic_vision [viewed 5.6.2007])
Penti Mento
Penti Mento is where traces from a previous working can be seen in a painting. These traces should not be from an entirely different painting that the artist has painted over, but be the outlines of a different pose or underdrawing. The word derives from an italian word meaning repent.
"The term has sometimes been used in a modern sense to describe the appearance of the sides of buildings with painted advertising. Often they are painted over with newer ads and the paint wears away to reveal the older layers."
(http://en.wikipedia.org/wiki/Pentimento [viewed 5.6.07])
Representation and meaning
Transitions in the Foote, Cone and Belding Grid
According to the Foote, Cone & Belding grid (FCB), if objects are placed in a specific location the observer draws specific conclusions from that placement.
According to this grid:
~Analytical mindsets go on the left
~Emotional response goes on the right
~Temporal concerns are on the bottom
~Spiritual transcendence is at the top
Vanitas
Vanitas is Latin for vanity. Vanitas is "a still life composition in which the objects depicted are symbolic of the passage of time and human mortality, therefore representing the vanity of human desires.”
(Martin, Judy [1986] Longman Dictionary of Art. Longman, Essex, p. 214)
Vanitas will often use objects such as a clock or a skull, to representthe frailty of human existence, and the inevitability of fate.
Allegory
“The representation of abstract ideas or principles by characters, figures, or events in narrative, dramatic, or pictorial form.”
(http://www.thefreedictionary.com/allegory [viewed 5.6.2009])
Metaphor
“Metaphor is defined as the substitution of one idea or object with another, used to assist expression or understanding.”
(http://knowgramming.com/metaphor.htm [viewed 5.6.2009])
Often a metaphor expresses a difficult idea, such as a 3-D metaphor of the intangible/negative space surrounding a table that has been molded into tangible/positive space.
Sublime
The sublime “refers to the experience of pleasurable anxiety that we experience when confronting wild and threatening sights …"
(http://en.wikipedia.org/wiki/Jean-Fran%C3%A7ois_Lyotard [viewed 5.6.2009])
According to the Foote, Cone & Belding grid (FCB), if objects are placed in a specific location the observer draws specific conclusions from that placement.
According to this grid:
~Analytical mindsets go on the left
~Emotional response goes on the right
~Temporal concerns are on the bottom
~Spiritual transcendence is at the top
The FCB is used mainly in advertising, as people react to the products better when they are in this postion, however it was also used in paintings. In these paintings the hero would typically go on the left, with the monster/woman on the right. Gold/rewards were down the bottom, while the top of the painting showed spiritual transcendence (heaven)
Vanitas is Latin for vanity. Vanitas is "a still life composition in which the objects depicted are symbolic of the passage of time and human mortality, therefore representing the vanity of human desires.”
(Martin, Judy [1986] Longman Dictionary of Art. Longman, Essex, p. 214)
Vanitas will often use objects such as a clock or a skull, to representthe frailty of human existence, and the inevitability of fate.
Allegory
“The representation of abstract ideas or principles by characters, figures, or events in narrative, dramatic, or pictorial form.”
(http://www.thefreedictionary.com/allegory [viewed 5.6.2009])
Metaphor
“Metaphor is defined as the substitution of one idea or object with another, used to assist expression or understanding.”
(http://knowgramming.com/metaphor.htm [viewed 5.6.2009])
Often a metaphor expresses a difficult idea, such as a 3-D metaphor of the intangible/negative space surrounding a table that has been molded into tangible/positive space.
Sublime
The sublime “refers to the experience of pleasurable anxiety that we experience when confronting wild and threatening sights …"
(http://en.wikipedia.org/wiki/Jean-Fran%C3%A7ois_Lyotard [viewed 5.6.2009])
Wednesday, June 3, 2009
Composition
Composition is the "placement or arrangement of visual elements or ingredients in a work of art" (www.wikipedia.com)
There are 7 basic types of composition; Classical 'U', Lazy 'S', Pyramidal, Chain, Vignette, Titian's formula and the Golden section.
Classical 'U' Shaped Composition
Although classical compositions are commonly described as having a “U”- shaped structure, the true shape is closer to a “J”. This subtle change to the “J” shape creates a vertical on the right side preventing the eye from wandering out of the composition in a left-to-right reading In many “U”-shaped compositions, the foreground features everyday (temporal) concerns whereas the distance features an almost spiritual realm. The vista leads to an important point of interest.
The use of lighting and shade in U-shaped compositions had important social implications. In the Eighteenth Century the socially significant were highlighted, while the socially insignificant were rendered in the shadow.
Lazy 'S' Composition
A winding shape from foreground to distance will exemplify the “S”-shaped rhythm, binding the composition together. Usually, the road in the foreground starts from the left to invite a left-to-right reading. The rythem of a lazy S composition will take you back into the painting. The beginning of the S always starts on the left side of the painting.
Pyramid
The pyramidal structure lends a sense of calm and formal dignity to projected meanings. Artists wishing to illustrate classical myths and ideals (in the form of allegories) often employ this structure. The most noteable example of a pyramid shaped composition is the Mona Lisa.
Chain
The chain composition has many links, like links in a chain, and these interlocking rhythms tie the key features together. This linking of pictorial components occurs both two and three- dimensionally. As these links are not all on the same plane, it gives the painting a feeling of depth.
Vignette
The vignette focuses a viewer’s attention on key features. It is a device commonly applied in portraiture, especially in miniatures. A vignette is where an artwork fades out around the edges. Sometimes artists will use the vignette device to replicate the lost of focal clarity at the periphery of our vision.
Titian's Formula
Charles Ricketts uses this term to describe a checkerboard effect of light and dark areas that give life to an image. It is not a text book term.
(Charles Ricketts [1908] Burlington Magazine, Vol. 13, No. 61, p. 10; [online]
http://www.jstor.org/view/09510788/ap020061/02a00050/1?frame=noframe&userID=89db107d@jcu.edu.au/01cce4405b00501b86ad1&dpi=3&config=jstor
[viewed 12.2.2007])
This formula is used to stimulate the eye. The name 'Titian's formula' is based on the artist Titian, who was a leading Venetian painter in the 16th century. He was the first artist noticed to practice this technique. Not only did Titian work with patterns of light and dark in many of his paintings, he also carefully balanced his compositions with colour.
Golden Section
According to the Thanks & Hudson Art Dictionary, a golden section is a "traditional proportion which is supposed to express the secret of visual harmony. In its simplest form it consists of a line divided into two so that the smaller part is to the larger as the larger is to the whole. The ratio 1:φ (1:1.6180339…) is 'irrational', i.e. inexpressible in whole numbers. It is roughly equivalent to 8:13" (www.credoreference.com)
In classical compositions key features are arranged on the two vertical and horizontal Golden Section divisions. The Golden section was used especially in the Renaissance.
The Golden sectioon is used to help your eye 'step' backwards into the piece, by having lines at significant intervals.
There are 7 basic types of composition; Classical 'U', Lazy 'S', Pyramidal, Chain, Vignette, Titian's formula and the Golden section.
Classical 'U' Shaped Composition
Although classical compositions are commonly described as having a “U”- shaped structure, the true shape is closer to a “J”. This subtle change to the “J” shape creates a vertical on the right side preventing the eye from wandering out of the composition in a left-to-right reading In many “U”-shaped compositions, the foreground features everyday (temporal) concerns whereas the distance features an almost spiritual realm. The vista leads to an important point of interest.
The use of lighting and shade in U-shaped compositions had important social implications. In the Eighteenth Century the socially significant were highlighted, while the socially insignificant were rendered in the shadow.
Lazy 'S' Composition
A winding shape from foreground to distance will exemplify the “S”-shaped rhythm, binding the composition together. Usually, the road in the foreground starts from the left to invite a left-to-right reading. The rythem of a lazy S composition will take you back into the painting. The beginning of the S always starts on the left side of the painting.
Pyramid
The pyramidal structure lends a sense of calm and formal dignity to projected meanings. Artists wishing to illustrate classical myths and ideals (in the form of allegories) often employ this structure. The most noteable example of a pyramid shaped composition is the Mona Lisa.
Chain
The chain composition has many links, like links in a chain, and these interlocking rhythms tie the key features together. This linking of pictorial components occurs both two and three- dimensionally. As these links are not all on the same plane, it gives the painting a feeling of depth.
Vignette
The vignette focuses a viewer’s attention on key features. It is a device commonly applied in portraiture, especially in miniatures. A vignette is where an artwork fades out around the edges. Sometimes artists will use the vignette device to replicate the lost of focal clarity at the periphery of our vision.
Titian's Formula
Charles Ricketts uses this term to describe a checkerboard effect of light and dark areas that give life to an image. It is not a text book term.
(Charles Ricketts [1908] Burlington Magazine, Vol. 13, No. 61, p. 10; [online]
http://www.jstor.org/view/09510788/ap020061/02a00050/1?frame=noframe&userID=89db107d@jcu.edu.au/01cce4405b00501b86ad1&dpi=3&config=jstor
[viewed 12.2.2007])
This formula is used to stimulate the eye. The name 'Titian's formula' is based on the artist Titian, who was a leading Venetian painter in the 16th century. He was the first artist noticed to practice this technique. Not only did Titian work with patterns of light and dark in many of his paintings, he also carefully balanced his compositions with colour.
Golden Section
According to the Thanks & Hudson Art Dictionary, a golden section is a "traditional proportion which is supposed to express the secret of visual harmony. In its simplest form it consists of a line divided into two so that the smaller part is to the larger as the larger is to the whole. The ratio 1:φ (1:1.6180339…) is 'irrational', i.e. inexpressible in whole numbers. It is roughly equivalent to 8:13" (www.credoreference.com)
In classical compositions key features are arranged on the two vertical and horizontal Golden Section divisions. The Golden section was used especially in the Renaissance.
The Golden sectioon is used to help your eye 'step' backwards into the piece, by having lines at significant intervals.
History of film
The first moving image in history was made in 1878. It was a clip titled "A Horse in Motion" and was made by Eadweard Muybridge.
The earliest celluloid film was shot by Louis Aimé Augustin Le Prince using the Le Prince single-lens camera made in 1888. It was called "The Round hay Garden Scene" and goes for 2.11 seconds. It was taken in the garden of the Whitley family house in Oakwood Grange Road, Roundhay, a suburb of Leeds, Yorkshire, Great Britain, possibly on October 14, 1888
The first film ever made was "Exiting the Factory" in 1895. It is simply a film of people exiting a factory.
The first public exhibition of motion pictures occurred on 28th December 1895with "Arrival of a train at La Ciotat".
The first feature film ever made was "The story of the Kelly Gang", which was made in Australia in 1906. It is considered the first full length feature film because it was longer than 60 minutes, although only about 20 minutes of the film remain today. When "The story of the Kelly Gang" was originally released, it was banned in some parts of Australia due to concerns for law and order. It was made only 25 years after Ned Kelly died.
The very first spoken voice in a feature film was heard in New York on October 6th, 1927 when "The Jazz Singer" was released. The voice was that of Al Jolson.
The use of synchronised music in movies had been in use for over a year as a result of the Vitaphone system introduced by Warner Brothers. The first film to use Vitaphone was "Don Juan" starring John Barrymore.
The earliest celluloid film was shot by Louis Aimé Augustin Le Prince using the Le Prince single-lens camera made in 1888. It was called "The Round hay Garden Scene" and goes for 2.11 seconds. It was taken in the garden of the Whitley family house in Oakwood Grange Road, Roundhay, a suburb of Leeds, Yorkshire, Great Britain, possibly on October 14, 1888
The first film ever made was "Exiting the Factory" in 1895. It is simply a film of people exiting a factory.
The first public exhibition of motion pictures occurred on 28th December 1895with "Arrival of a train at La Ciotat".
The first feature film ever made was "The story of the Kelly Gang", which was made in Australia in 1906. It is considered the first full length feature film because it was longer than 60 minutes, although only about 20 minutes of the film remain today. When "The story of the Kelly Gang" was originally released, it was banned in some parts of Australia due to concerns for law and order. It was made only 25 years after Ned Kelly died.
The very first spoken voice in a feature film was heard in New York on October 6th, 1927 when "The Jazz Singer" was released. The voice was that of Al Jolson.
The use of synchronised music in movies had been in use for over a year as a result of the Vitaphone system introduced by Warner Brothers. The first film to use Vitaphone was "Don Juan" starring John Barrymore.
Film Devices
At first glance, it would appear that movies all follow the same formula; a hook to capture the viewers attention, a climax and the ending.
However, there is much more subtler tricks going on in films.
A hook is a means of taking hold or captivating an audience. It is often used in the beginning of the movie, to entice viewers to keep watching. Often a hook is achieved by having an unusual or unexplainable scene, creating a sense of mystery. Viewers will (hopefully) be drawn into the movie and continue watching.
The establishing shot is a long (wide-angle or full) shot at the beginning of a scene, and is intended to show things from a distance. This shot is to inform the audience with an overview in order to help identify and orient the locale. The shot is usually followed by a more detailed shot that brings characters, objects, or other figures closer. An establishing shot sometimes refers to the events that happen prior to the beginning of the story, and lead to the story. Sound can also be used to help establish the location; birds chirping will indicate the country, the noise of traffic will indicate the city and the sound of bagpipes indicates Scotland. The information disclosed in the establishing shot helps to fill out the skeletal story of a screenplay or a character's background.
A montage is a French word meaning "editing", "putting together" or "assembling shots”. Montage is an editing style, or form, of movie collage consisting of putting a series of short shots or images together to form a coherent sequence to create a composite picture, or to suggest meaning or a larger idea. In simple terms, montage is the structure of editing within a film. Montage is not usually accompanied with dialogue, and is made up of dissolves, cuts, fades, super-impositions, and wipes, which are often used to link the images in a montage sequence.
Cross cutting is the editing technique of alternating, interweaving, or interspersing one narrative action (scene, sequence, or event) with another - usually in different locations or places. Cross cutting suggests parallel action (that takes place simultaneously). It is used to dramatically build tension and suspense in chase scenes, and is also known as inter-cutting or parallel editing.
A leitmotif is an intentionally repeated, recurring element or theme associated with a particular person, idea, milieu, or action. This can be a repeated sound, shot, bit of dialogue, piece of music, etc., that helps unify a film by reminding the viewer of its earlier appearance.
Foreshadowing is the act of supplying hints (in the form of symbols, images, motifs, repetition, dialogue or mood) within a film about the outcome of the plot, or about an upcoming action that will take place. This is normally used in order to prepare the viewer for later events, revelations, or plot developments. Ominous music often foreshadows danger or builds suspense.
Transition is one of several ways of moving from one shot or scene to the next, including such transitional effects or shots as a cut, fade, dissolve, and wipe; a transition focus between two scenes means the current scene goes out of focus and the next scene comes into focus.
A Macguffin is Alfred Hitchcock's term for the device or plot element (an item, object, goal, event, or piece of knowledge) that catches the viewer's attention or drives the logic or action of the plot and appears extremely important to the film characters, but turns out to be insignificant or is to be ignored after it has served its purpose.
'Macguffin' is a Scottish derivation, meaning a "lion trap" for trapping lions in the lion-less Scottish Highlands (i.e., a trap that means nothing, since it is for a place where there is no such animal).
Hitchcock explained the purpose of the MacGuffin through a joke.
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Two men are riding on a train. One notices an oddly shaped package, wrapped in brown paper, in the overhead bin and asks his companion what it is.
"That's a MacGuffin," answers the second man.
"And what is it for?"
"It's for trapping lions in the Scottish Highlands."
"But," says the first man, "there are no lions in the Scottish Highlands."
"Then," concedes the other man, "that's not a MacGuffin.“
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We're never told what's in the package, because it isn't important. But something has to be in the package, or the joke can't proceed.
A red herring is a narrative element intended to distract the reader from a more important event in the plot, usually a twist ending. Originally a way of training of young hounds was to drag a smelly fish in front of a puppy until it knew the scent. Later, when the dog was being trained to follow an animal scent the trainer would confuse it by dragging a red herring. The dog would eventually learn to follow the original subtle animal scent.
Dissolve or Lap dissolve, fade is a transitional editing technique between two sequences, shots or scenes, in which the visible image of one shot or scene is gradually replaced superimposed or blended with the image from another shot or scene. Often the technique is used to suggest the passage of time and to transform one scene to the next.
Val Lewton noted the horror tactic, now a standard horror movie device known as “The Bus." He first used it in Cat People.
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A woman is trailed by someone as she walks through dark city streets. As she hurries along, music, sound effects, lighting and editing stress that something terribly ominous is about to happen. Suddenly, a hissing, screeching roar fills the sound track. The woman puts up one arm, as if to defend herself, and we realize the roar is a just a bus coming to a stop.
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Homage
Within the content of the story-line of a film, a reference is occasionally made to another film. Accordingly, an homage is performed to the film and or director of the referenced film in the content of the new production. Such allusions are made in the script, sets, images or clips taken directly from the honoured/venerated work.
http://www.allmovie.com/glossary/term/homage
The climax is the highest point of anxiety or tension in a story or film in which the central character faces, confronts, and deals with the consequence(s) of all his/her actions.
Some films have a twist ending or surprise ending. This occurs when a film has an unexpected or a surprise ending that isn’t revealed until the end of the picture. This may cause us to re-evaluate the characters and narrative.
However, there is much more subtler tricks going on in films.
A hook is a means of taking hold or captivating an audience. It is often used in the beginning of the movie, to entice viewers to keep watching. Often a hook is achieved by having an unusual or unexplainable scene, creating a sense of mystery. Viewers will (hopefully) be drawn into the movie and continue watching.
The establishing shot is a long (wide-angle or full) shot at the beginning of a scene, and is intended to show things from a distance. This shot is to inform the audience with an overview in order to help identify and orient the locale. The shot is usually followed by a more detailed shot that brings characters, objects, or other figures closer. An establishing shot sometimes refers to the events that happen prior to the beginning of the story, and lead to the story. Sound can also be used to help establish the location; birds chirping will indicate the country, the noise of traffic will indicate the city and the sound of bagpipes indicates Scotland. The information disclosed in the establishing shot helps to fill out the skeletal story of a screenplay or a character's background.
A montage is a French word meaning "editing", "putting together" or "assembling shots”. Montage is an editing style, or form, of movie collage consisting of putting a series of short shots or images together to form a coherent sequence to create a composite picture, or to suggest meaning or a larger idea. In simple terms, montage is the structure of editing within a film. Montage is not usually accompanied with dialogue, and is made up of dissolves, cuts, fades, super-impositions, and wipes, which are often used to link the images in a montage sequence.
Cross cutting is the editing technique of alternating, interweaving, or interspersing one narrative action (scene, sequence, or event) with another - usually in different locations or places. Cross cutting suggests parallel action (that takes place simultaneously). It is used to dramatically build tension and suspense in chase scenes, and is also known as inter-cutting or parallel editing.
A leitmotif is an intentionally repeated, recurring element or theme associated with a particular person, idea, milieu, or action. This can be a repeated sound, shot, bit of dialogue, piece of music, etc., that helps unify a film by reminding the viewer of its earlier appearance.
Foreshadowing is the act of supplying hints (in the form of symbols, images, motifs, repetition, dialogue or mood) within a film about the outcome of the plot, or about an upcoming action that will take place. This is normally used in order to prepare the viewer for later events, revelations, or plot developments. Ominous music often foreshadows danger or builds suspense.
Transition is one of several ways of moving from one shot or scene to the next, including such transitional effects or shots as a cut, fade, dissolve, and wipe; a transition focus between two scenes means the current scene goes out of focus and the next scene comes into focus.
A Macguffin is Alfred Hitchcock's term for the device or plot element (an item, object, goal, event, or piece of knowledge) that catches the viewer's attention or drives the logic or action of the plot and appears extremely important to the film characters, but turns out to be insignificant or is to be ignored after it has served its purpose.
'Macguffin' is a Scottish derivation, meaning a "lion trap" for trapping lions in the lion-less Scottish Highlands (i.e., a trap that means nothing, since it is for a place where there is no such animal).
Hitchcock explained the purpose of the MacGuffin through a joke.
-
Two men are riding on a train. One notices an oddly shaped package, wrapped in brown paper, in the overhead bin and asks his companion what it is.
"That's a MacGuffin," answers the second man.
"And what is it for?"
"It's for trapping lions in the Scottish Highlands."
"But," says the first man, "there are no lions in the Scottish Highlands."
"Then," concedes the other man, "that's not a MacGuffin.“
-
We're never told what's in the package, because it isn't important. But something has to be in the package, or the joke can't proceed.
A red herring is a narrative element intended to distract the reader from a more important event in the plot, usually a twist ending. Originally a way of training of young hounds was to drag a smelly fish in front of a puppy until it knew the scent. Later, when the dog was being trained to follow an animal scent the trainer would confuse it by dragging a red herring. The dog would eventually learn to follow the original subtle animal scent.
Dissolve or Lap dissolve, fade is a transitional editing technique between two sequences, shots or scenes, in which the visible image of one shot or scene is gradually replaced superimposed or blended with the image from another shot or scene. Often the technique is used to suggest the passage of time and to transform one scene to the next.
Val Lewton noted the horror tactic, now a standard horror movie device known as “The Bus." He first used it in Cat People.
-
A woman is trailed by someone as she walks through dark city streets. As she hurries along, music, sound effects, lighting and editing stress that something terribly ominous is about to happen. Suddenly, a hissing, screeching roar fills the sound track. The woman puts up one arm, as if to defend herself, and we realize the roar is a just a bus coming to a stop.
-
Homage
Within the content of the story-line of a film, a reference is occasionally made to another film. Accordingly, an homage is performed to the film and or director of the referenced film in the content of the new production. Such allusions are made in the script, sets, images or clips taken directly from the honoured/venerated work.
http://www.allmovie.com/glossary/term/homage
The climax is the highest point of anxiety or tension in a story or film in which the central character faces, confronts, and deals with the consequence(s) of all his/her actions.
Some films have a twist ending or surprise ending. This occurs when a film has an unexpected or a surprise ending that isn’t revealed until the end of the picture. This may cause us to re-evaluate the characters and narrative.
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