1. The emergence of cinema.
The history of cinema comes in the 19th century. But photo as a method of capturing immovable images was noticed back in the 1 half of the 19th century, in order to make the process of shooting and playing back the movement more likely, it was required that the photographing could take place with short shutter speeds. But even afterwards the proper types of photoemulsions appeared in the 70s of the 19th century. cinema was not immediately noticed. The fact that we are now seen as indisputable, inventors and pioneers of cinematography have taken into account not immediately. Were made 10 crawl to make a system of recording and playback of moving images, which included the role of the famous Edison, but also his system was uncomfortable, designed only for personal viewing, in fact, that did not allow Edison to reach a sensation.
As a result, the French, the Louis brothers and Auguste Lumière became the recognized inventors of the cinematograph. Lumière's equipment turned out to be quite comfortable, with its support it was possible to simply take pictures and show films on the big screen, which was the triumph of their invention. "Cinema" (or "cinema") - for example, the name of the Lumière device.
The 1st public presentation was given in Paris back in March 1895, but the birthday of the cinema is a different date, December 28, 1895, when the 1st paid movie show was held (it happened in the basement of the "Grand Cafe" on Capuchin Boulevard).
In their own sessions Lumière showed a number of short (only 50 sec.) clips, the first of which was "The exit of workers from the factory. However, the video titled "Arrival of the train" became more famous from these clips. The train on the screen as if was moving towards the hall, which actually looked quite close to reality and produced a powerful emotion on the visitors.
2. The first steps in the movie.
Subsequently, the excellent invention of Lumières was the cinema, but there was no cinema. Pioneers, who founded the system of recording and playback of images, did not foresee all the probabilities of the application of cinematography. Lumières believed that the key function of their invention was to record and save newsreels for posterity. Other faces in the presentation of moving illustrations are just funny entertainment. However, even in the inaccessibility of the plot cinema cinema quickly gained popularity. Attention to the sessions of cinematography of some authoritative people, heads of countries, including the Russian lord, strongly contributed to the spread of cinematography throughout the world.
Soon the director of the first theater in Paris, Georges Méliès, became interested in cinematography. He was the first to evaluate the ability of the cinematography, seeing in it, before that, a wonderful tool to firmly expand the abilities of the scene. He was the first to photograph screenplays, to apply almost all the cinema-specific tricks and effects, and in general he became one of the key founders of the cinema as an autonomous image of art. One of Méliès's more popular films is considered to be "A Journey to the Moon" (1902).
In the direction of the first act of the 20th century, the duration and variety of film scripts were increasing little by little and inexorably. The attitude in society to the cinema changes - from its perception only as a form of comfort to its perception as an art form. In 1908, the notion of "d'art film" - "feature film" - was already noticed in France.
Not least, an important part of the development of large cinematography, the entry of fresh techniques and findings, is equal to the European cinema at the same time. In the German cinema, an Expressionist appointment is being developed, and in France, an avant-garde one. European directors are looking for new ways to increase the expressiveness of the images of scenes and objects in the cinema by applying various methods that influence the personal emotions of the visitor and to expand the abilities of the film language.
Before the revolution, the national cinema was in the leading one on the way of copying Western models. However, in the 20th Russian directors themselves began to experiment with the expressive probabilities of the cinema. All the more so, they are concerned about increasing the expressiveness of their films, supporting a special strategy of editing movie fragments. Findings of some directors, especially Sergei Eisenstein, have entered the yellow fund of big cinema art.
3. Movie with sound
Until 1927, literally all the films were "dumb", they contained only the image, without sound. In the early 1920s, there was a first system that could record and reproduce an audio theatre, but film makers have been cautious for a long time, expressing doubts about the importance of increasing the cost of production and distribution of films. 1, the South American company Warner Brothers made a decision on the experience, in 1927 it released the 1st film, in which the character on the screen talking - "Jazz Artist".
Coming to the cinema of sound a certain number of reducing the role of techniques of artistic expression, which was previously designed to largely as one to compensate for the inaccessibility of sound. Sound guided to the creation of more realistic, well-defined narrative story, and the least relative cinema. Some familiar directors and actors (including Charlie Chaplin) performed in front of the sound theatre or to prevent the sound from giving them a visual experience, but the sound reached the cinema space quite agilely, and during the 30s literally all the films became sound. The variety of artistic techniques and expressive means in the cinema is falling, but despite all of the above, it is important to increase the role of dialogues, which carry a key content and expressive load in a fairly large group of films.
In the USA, as a result of the Great Depression, the entire film industry is irrevocably in the hands of large sums of money, seeing the key task of a cinematograph in the stamping of the same type of films, designed primarily for paid triumph. These films were of high quality, but were made according to normal recipes and deprived of some kind of author's manner, which is not amazing, because the director who made the film, had the least freedom.
In the USSR (and even more so in Germany), directors felt pressure from the regime, which limited the likelihood of experimentation. In the USSR, there was a bet on "socialist realism" and the creation of the smallest number of films, but with the highest quality, this desire lasted until the twentieth Congress and the beginning of "warm weather". (1956г.).
In the post-war period (the end of the 40s and 50s), Italian (with its so-called neo-realism) and Japanese cinematography (especially the films made by Akiro Kurosawa) contributed to the formation of a large cinema.
4. Color Cinema
The introduction of colour into a cinema was slower than the introduction of sound. Technical ability to create a good colored movie was noticed in the 30's, and in 1939 in the USA was shot once from the first color films, which gained a huge popularity - "Gone with the wind", but the persistent superiority of color films before black and white began to develop only in the 60-70's. Except for this, the properties of the film are improving little by little - it increases its light sensitivity, actually allowing in many cases to turn out without additional illumination, to take pictures in more difficult criteria.
In the post-war period, the formation of a cinematographer turned out to be connected to a certain extent with social and political tendencies. In the Soviet Union and Eastern European countries the subsequent arrival of "warm weather" begins a surge in the formation of cinematography, at this time it is shot fresh attractive films, are noticed fresh familiar names. In Western Europe, at this time, experiments with fresh methods of conveying the mental state of mind of characters, mental expressiveness will last, in the USA - vis-a-vis, the cinema is on the way to enhance the untamed spectacle. After that, under the pressure of competition from TV in the USA, the desire to create expensive, with a large number of effects and scenery, movies - "blockbusters" - increases even more.
5. Recent trends
Last, important innovations in cinema are connected with the beginning of wide application of computer graphics, and at all in those cases and scenes where it is difficult to present something normal ways, but also literally everywhere. One of the more modern in the project of full use of computer graphics was the movie "Matrix", and computer effects (along with, absolutely, with a non-standard and deeply thoughtful scenario) provided the movie a great triumph. At the moment, computer graphics, allowing just to realize the inconspicuous on the screen "mixing" shot from life and brought with the support of a computer image, sets fresh stereotypes of spectacularity and realism (where it concerns difficult and atypical scenes) cinema.
