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The Third Generation of Filmmaker
As we continue our exploration through the history of cinema, we have witnessed the remarkable evolution from its infancy under French dominance to the bold innovations brought by the second generation of filmmakers like Georges Méliès, who blended magic with movie-making. These pioneers set the stage for a burgeoning film industry that began to take root in America. Now, we turn our focus to the pivotal years of 1898 and 1899—a time when American cinema began to carve its own identity, marking the rise of the third generation of filmmakers.
The first generation of cinema was characterized by groundbreaking technical inventions and narrative experiments, with figures such as Thomas Edison and the Lumière brothers pioneering the very medium of film. The second generation, led by visionaries like Méliès, expanded on these foundations by injecting storytelling with fantastical elements and special effects, pushing the boundaries of what cinema could achieve both visually and emotionally.
As the 19th century drew to a close, American filmmakers began to emerge with fresh perspectives and innovative ideas that would further differentiate American cinema from its European counterparts. The third generation of filmmakers was not content with merely continuing the traditions set by their predecessors. Instead, they sought to explore and expand the medium’s potential, focusing on narrative complexity, the exploration of American themes and realities, and the refinement of filmmaking techniques.
As we delve deeper into this era, we will explore the specific contributions of key filmmakers, the films that defined this generation, and how these developments set the stage for the explosive growth of the film industry in the early 20th century.
Edwin Stanton Porter: Bridging Old and New in American Cinema
Edwin Stanton Porter emerged as a pivotal figure in the transition from the Méliès-inspired fantastical style to a more distinctly American form of filmmaking. One of Porter’s notable early works, his adaptation of the classic tale “Jack and the Beanstalk,” exemplifies this bridge between European influence and the evolving American cinematic style.
“Jack and the Beanstalk” (1902): A Méliès-Influenced Narrative
Released in 1902, Porter’s “Jack and the Beanstalk” drew heavily from the fantastical and narrative-driven approach pioneered by Georges Méliès. The film, like Méliès’ works, was based on a well-known book and incorporated numerous elements that paid homage to the French filmmaker’s style.
Theatrical Presentation
Porter’s direction in “Jack and the Beanstalk” remained deeply rooted in the theatrical tradition. The staging, costumes, and acting all mirrored the conventions of stage plays, which was a common approach in early cinema, particularly for films adapting well-known stories or fairy tales. This theatricality was not just a stylistic choice but also a practical one, as many of the era’s filmmakers and actors came from a theater background and applied the same methods to the new medium of film.
Dissolve Transitions and Chronological Logic
Following Méliès’ example, Porter utilized dissolve transitions to enhance the magical elements of the story, such as Jack’s discovery of the beanstalk and his adventures in the giant’s castle in the sky. These dissolves not only served to connect different scenes in a visually appealing way but also helped convey a sense of magic and transformation that was central to the fairy tale.
The narrative structure of Porter’s film adhered strictly to chronological logic, with events unfolding in a linear sequence that viewers could easily follow. This approach, while straightforward, did not advance the narrative complexity seen in Méliès’ films; instead, it maintained a simple and direct storytelling style that was accessible to the broad audiences of the time.
While Edwin Stanton Porter’s “Jack and the Beanstalk” did not significantly advance the film techniques beyond what Méliès had already achieved, it played a crucial role in the transition of these techniques into the context of American cinema. Porter’s work is significant as it reflects the early stages of American filmmakers adopting and adapting European cinematic styles to suit their own narratives and audiences. His films represent a key moment in the development of American cinema, setting the stage for the more complex narrative and technical innovations that would soon follow.
Porter’s contributions to cinema would become more pronounced in his later works, where he began to experiment with narrative structure and continuity editing, eventually leading to significant advancements in the language of film. However, “Jack and the Beanstalk” stands as an important marker of the era, showcasing the blend of old world charm and new world aspirations that characterized American cinema at the dawn of the 20th century.
The Evolution of Narrative Techniques in “Life of an American Fireman”
Edwin Stanton Porter’s 1903 film, “Life of an American Fireman,” marks a significant development in the narrative and technical aspects of early American cinema. This film illustrates Porter’s evolving style and his experiments with narrative structure and cinematographic techniques, moving away from the purely theatrical toward a more dynamic and realistic portrayal of action.
“Life of an American Fireman” is a pioneering narrative film that portrays the heroic actions of firefighters during an emergency. The film combines documentary and narrative elements to enhance the dramatic effect, showcasing Porter’s ability to blend realism with storytelling. Unlike his earlier works, which heavily relied on theatrical sets and arrangements, this film features less theatrical and more practical sets that reflect a move towards realism in cinema.
Innovations and Cinematic Techniques
The Opening Shot: Dream Sequence
The film opens with a shot that is particularly notable for its time—a firefighter asleep, dreaming of a woman and a child, portrayed through a superimposition over the scene. This technique was commonly used to depict dreams or thoughts, effectively conveying the internal state of the character to the audience. This method not only deepens the narrative but also showcases an early use of visual effects to represent non-physical concepts.
The First Close-Up
One of the film’s significant technical contributions is what might be considered one of the first uses of a close-up shot—a hand turning a fire alarm. This close-up is crucial because it highlights an important action and shifts the viewer’s focus from broader scenes to specific details, enhancing the narrative’s tension and urgency.
Parallel Time and Simultaneous Action
Porter’s film attempts to depict simultaneous actions—a technique that he explored to show different perspectives and actions occurring simultaneously. For example, the scene where firefighters slide down the pole from the second floor to the first is intended to show a continuous action from two angles. However, the execution reveals the limitations of early editing techniques. After showing all the firefighters sliding down the pole on the second floor, the film cuts to them beginning to slide down again on the first floor. This redundancy stretches the action unnaturally, extending what should be a momentary sequence into half a minute.
The same issue occurs during the rescue scene, where the action of rescuing individuals from a burning building is shown from multiple angles but is repeated from the start in each new angle. This approach was intended to provide comprehensive coverage of the event but ended up confusing the sense of time and continuity.
Porter’s Legacy and Learning Curve
“Life of an American Fireman” exemplifies Edwin Stanton Porter’s transitional role in the history of cinema. His work on this film demonstrates early attempts at using film editing not only to tell a story but to enhance the viewer’s understanding of simultaneous events, despite the evident technical and conceptual challenges. These efforts paved the way for the more sophisticated narrative techniques that would develop in cinema, as filmmakers continued to explore and refine the possibilities of film editing and story construction. Porter’s innovations, particularly his use of close-ups and attempts at depicting parallel actions, significantly influenced the direction of narrative filmmaking, marking an important step forward in the evolution of cinematic language. The next article will discuss his most famous film, The Great Train Robbery.
Deepen Your Knowledge with these books:
- “The Cinema of Attractions Reloaded” edited by Wanda Strauven
This collection of essays revisits the early years of cinema, focusing on films as visual spectacles or “attractions,” a concept linked to Méliès’ work. It provides a scholarly framework to understand Méliès’ place in early film history. Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company – This book focuses specifically on Edwin S. Porter’s career and his significant role in shaping early American filmmaking through his work with the Edison Manufacturing Company.
“The Emergence of Cinema: The American Screen to 1907” by Charles Musser –A detailed exploration of the very early days of cinema, this comprehensive volume explores the development of American cinema up to 1907, providing detailed insights into the technological and narrative advancements of the era.
An Evening’s Entertainment: The Age of the Silent Feature Picture, 1915–1928 –Richard Koszarski examines the silent film era, offering context to the narrative and stylistic developments that followed the foundational work of early filmmakers like Porter.
- The Silent Cinema Reader – Edited by Lee Grieveson and Peter Krämer, this anthology compiles essential essays and articles on silent cinema, covering various aspects of film history, theory, and criticism.
- The Oxford History of World Cinema – Edited by Geoffrey Nowell-Smith, this extensive reference provides a global perspective on film history, including detailed sections on early American cinema and its pioneers.
