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106-463: The film is now regarded by many critics as a masterpiece, admired particularly for its cinematography . In Sight and Sound magazine's 2012 poll on the greatest films of all time, it placed 19th in the directors' poll and 24th in the critics' poll. The film centers around the Borgen family in rural Denmark during the autumn of 1925. The devout widower Morten, patriarch of the family, prominent member of

212-406: A chronophotographic gun, which was capable of taking 12 consecutive frames a second and recording all the frames of the same picture. The late nineteenth to the early twentieth centuries brought rise to the use of film not only for entertainment purposes but for scientific exploration as well. French biologist and filmmaker Jean Painleve lobbied heavily for the use of film in the scientific field, as

318-417: A film stock is one of the first decisions made in preparing a typical film production. Aside from the film gauge selection – 8 mm (amateur), 16 mm (semi-professional), 35 mm (professional) and 65 mm (epic photography, rarely used except in special event venues) – the cinematographer has a selection of stocks in reversal (which, when developed, create a positive image) and negative formats along with

424-426: A films intensity, vibe, show passage of time, and have many other effects. Camera movement within a film can play a role in enhancing the visual quality and impact of a film. Some aspects of camera movement that contribute to this are: Cinematography can begin with digital image sensor or rolls of film. Advancements in film emulsion and grain structure provided a wide range of available film stocks . The selection of

530-687: A great inconvenience to the scientific and medical worlds. The development of film and increased usage of cameras allowed doctors and scientists to grasp a better understanding and knowledge of their projects. The origins of today's cinema go back to the Lumière brothers , Auguste and Louis, who in 1895 developed a machine called the Cinematographe, which had the ability to capture and show moving images. The early era of cinema saw rapid innovation. Filmmakers discover and apply new methods such as editing, special effects, close-ups, etc. Hollywood began to emerge as

636-473: A lesser film than its predecessors, it is a fitting close to Dreyer's career as it deals with a woman who, through the tribulations of her life, never expresses regret for her choices. David Thomson says it "awaits rediscovery as Dreyer's finest film and vindication of his method." Thomson quotes Dreyer: What interests me—and this comes before technique—is reproducing the feelings of the characters in my films...The important thing...is not only to catch hold of

742-441: A railway engine were usually specifically referred to as " phantom rides ". In 1897, Robert W. Paul had the first real rotating camera head made to put on a tripod, so that he could follow the passing processions of Queen Victoria's Diamond Jubilee in one uninterrupted shot. This device had the camera mounted on a vertical axis that could be rotated by a worm gear driven by turning a crank handle, and Paul put it on general sale

848-416: A relevant and widely used technique in modern filmmaking. It continues to be employed by filmmakers to evoke specific moods, convey a sense of timelessness, and enhance the artistic expression of their stories. There are many types of Cinematography that each differ based on production purpose and process. These different types of Cinematography are similar in the sense that they all have the goal of conveying

954-407: A slow moving camera, as his style had been gradually progressing towards for several years. He also paid close attention to every minute detail during filming and later said that he "made the film crew equip the kitchen with everything he considered right for a country kitchen. Then... he set about removing the objects. Finally, only ten to fifteen remained, but they were just what were wanted to create

1060-563: A specific emotion, mood or feeling. For each different style however they can often convey different emotions and purposes. Some examples of different types of Cinematography can be known as Realism. This style of cinematography aims to create a realistic portrayal of the world, often using natural lighting, handheld cameras, and a documentary-like approach to filming. Classic Hollywood is a style of cinematography characterized by its use of highly polished, studio-produced films with glamorous sets, bright lighting, and romanticized narratives. Film Noir

1166-409: A sped-up effect is shown. Time lapses are used most effectively to show things like sunrises, natural movement, or growth. They are commonly used to show passage of time in a shorter sequence. Reverse motion is filming a scene normally, then playing the film in reverse. This is usually used to create uncommon/surreal effects, and create unusual scenes. The various techniques involving speed all can add to

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1272-461: A surreal meditation on fear. Logic gave way to mood and atmosphere in this story of a man protecting two sisters from a vampire . Both films were box office failures, and Dreyer did not make another movie until World War II. By 1943, Denmark was under Nazi occupation , and Dreyer's film Day of Wrath had as its theme the paranoia surrounding witch hunts in the seventeenth century in a strongly theocratic culture. With this work, Dreyer established

1378-488: A timeless and classic feel. By stripping away color, filmmakers can emphasize the composition, shapes, and textures within the frame, enhancing the visual impact. Notable films that have employed black-and-white cinematography include classics such as Casablanca (1942), Raging Bull (1980), and Schindler's List (1993). These films showcase the power and versatility of black-and-white cinematography in creating emotionally resonant visuals. Black-and-white cinematography remains

1484-520: A track parallel to the horse's, and each camera shutter was controlled by a trip wire triggered by the horse's hooves. They were 21 inches apart to cover the 20 feet taken by the horse stride, taking pictures at one-thousandth of a second. At the end of the decade, Muybridge had adapted sequences of his photographs to a zoopraxiscope for short, primitive projected "movies", which were sensations on his lecture tours by 1879 or 1880. Four years later, in 1882, French scientist Étienne-Jules Marey invented

1590-570: A transparent celluloid strip 35 mm wide. The results of this work were first shown in public in 1893, using the viewing apparatus also designed by Dickson, the Kinetoscope . Contained within a large box, only one person at a time looking into it through a peephole could view the movie. In the following year, Charles Francis Jenkins and his projector, the Phantoscope , made a successful audience viewing while Louis and Auguste Lumière perfected

1696-419: A wide range of film speeds (varying sensitivity to light) from ISO 50 (slow, least sensitive to light) to 800 (very fast, extremely sensitive to light) and differing response to color (low saturation , high saturation) and contrast (varying levels between pure black (no exposure) and pure white (complete overexposure). Advancements and adjustments to nearly all gauges of film create the "super" formats wherein

1802-417: A wider lens can give key information that takes place in the background of a shot. Camera distance can highlight specific details that can be important to a film shot. From very far away, a group of people can all look the same, but once you zoom in very close, the viewer is able to see differences within the population through details like facial expression and body language. Coloring is similar to lighting, in

1908-452: A yellow filter, which cuts down on blue wavelengths of light, can be used to darken a daylight sky (by eliminating blue light from hitting the film, thus greatly underexposing the mostly blue sky) while not biasing most human flesh tone. Filters can be used in front of the lens or, in some cases, behind the lens for different effects. Certain cinematographers, such as Christopher Doyle , are well known for their innovative use of filters; Doyle

2014-402: Is a style of cinematography that is characterized by its use of stark contrast and chiaroscuro lighting, low-key lighting, and a dark, brooding atmosphere. It often features crime, mystery, and morally ambiguous characters. To convey mood, emotion, narrative and other factors within the shot, cinematography is implemented by using different aspects within a film. Lighting on the scene can affect

2120-416: Is a technique used in filmmaking where the images are captured and presented in shades of gray, without color. This artistic approach has a rich history and has been employed in various films throughout cinema's evolution. It is a powerful tool that allows filmmakers to emphasize contrast, texture, and lighting, enhancing the visual storytelling experience. The use of black-and-white cinematography dates back to

2226-419: Is a vital element in cinematography that can be used in a variety of ways, such as the creation of action, or a sense of movement. Speed can be further used to slow down time, highlight important moments, and often times build a sense of suspense in a film. Slow motion is a technique which involves filming at a higher frame rate, then playing the footage again at a normal speed. This creates a slowed-down effect in

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2332-410: Is determined by the aperture size and the focal distance. A large or deep depth of field is generated with a very small iris aperture and focusing on a point in the distance, whereas a shallow depth of field will be achieved with a large (open) iris aperture and focusing closer to the lens. Depth of field is also governed by the format size. If one considers the field of view and angle of view, the smaller

2438-440: Is often a translucent color medium pressed between two planes of optical glass. Color filters work by blocking out certain color wavelengths of light from reaching the film. With color film, this works very intuitively wherein a blue filter will cut down on the passage of red, orange, and yellow light and create a blue tint on the film. In black-and-white photography, color filters are used somewhat counter-intuitively; for instance,

2544-420: Is one of the chief benefits. The focal length of the lens determines the angle of view and, therefore, the field of view . Cinematographers can choose from a range of wide-angle lenses , "normal" lenses and long focus lenses , as well as macro lenses and other special effect lens systems such as borescope lenses. Wide-angle lenses have short focal lengths and make spatial distances more obvious. A person in

2650-474: Is sometimes cited as Dreyer's greatest work, and frequently appears in lists of the greatest films of all time. The Village Voice ranked the film at number 16 in its Top 250 "Best Films of the Century" list in 1999, based on a poll of critics. In Sight and Sound 's 2012 poll on the greatest films of all time, the film placed 19th in the directors' poll and 24th in the critics' poll. In the earlier 2002 version of

2756-428: Is still used by some directors, especially in specific applications or out of fondness for the format. From its birth in the 1880s, movies were predominantly monochrome. Contrary to popular belief, monochrome does not always mean black-and-white; it means a movie shot in a single tone or color. Since the cost of tinted film bases was substantially higher, most movies were produced in black-and-white monochrome. Even with

2862-495: Is the art of motion picture (and more recently, electronic video camera ) photography. Cinematographers use a lens to focus reflected light from objects into a real image that is transferred to some image sensor or light-sensitive material inside the movie camera . These exposures are created sequentially and preserved for later processing and viewing as a motion picture. Capturing images with an electronic image sensor produces an electrical charge for each pixel in

2968-517: Is the earliest surviving motion picture. This movie was shot on paper film. An experimental film camera was developed by British inventor William Friese Greene and patented in 1889. W. K. L. Dickson , working under the direction of Thomas Alva Edison , was the first to design a successful apparatus, the Kinetograph , patented in 1891. This camera took a series of instantaneous photographs on standard Eastman Kodak photographic emulsion coated onto

3074-431: Is the hand-tinted Annabelle Serpentine Dance in 1895 by Edison Manufacturing Company . Machine-based tinting later became popular. Tinting continued until the advent of natural color cinematography in the 1910s. Many black-and-white movies have been colorized recently using digital tinting. This includes footage shot from both world wars, sporting events and political propaganda. In 1902, Edward Raymond Turner produced

3180-663: The Cinématographe , an apparatus that took, printed, and projected film, in Paris in December 1895. The Lumière brothers were the first to present projected, moving, photographic, pictures to a paying audience of more than one person. In 1896, movie theaters were open in France (Paris, Lyon , Bordeaux , Nice, Marseille ); Italy ( Rome , Milan, Naples , Genoa , Venice, Bologna , Forlì ); Brussels ; and London. The chronological improvements in

3286-586: The Golden Lion . In 1956 the film was among films honored with the Golden Globe Award for Best Foreign Language Film , as well as the National Board of Review Award for Best Foreign Film in 1957. At the 1955 Bodil Awards it won for Best Actor ( Emil Hass Christensen ), Best Actress (Birgitte Federspiel), and tied for Best Danish film with Sven Methling 's Der kom en dag . It is currently ranked as

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3392-580: The film laboratory to process the film stock can also offer a considerable variance in the image produced. By controlling the temperature and varying the duration in which the film is soaked in the development chemicals, and by skipping certain chemical processes (or partially skipping all of them), cinematographers can achieve very different looks from a single film stock in the laboratory. Some techniques that can be used are push processing , bleach bypass , and cross processing . Most of modern cinema uses digital cinematography and has no film stocks , but

3498-674: The 1830s, three different solutions for moving images were invented based on the concept of revolving drums and disks, the stroboscope by Simon von Stampfer in Austria, the phenakistoscope by Joseph Plateau in Belgium, and the zoetrope by William Horner in Britain. In 1845, Francis Ronalds invented the first successful camera able to make continuous recordings of the varying indications of meteorological and geomagnetic instruments over time. The cameras were supplied to numerous observatories around

3604-469: The 2010s, digital cinematography has become the dominant form of cinematography after largely superseding film cinematography. Numerous aspects contribute to the art of cinematography, including: The first film cameras were fastened directly to the head of a tripod or other support, with only the crudest kind of leveling devices provided, in the manner of the still-camera tripod heads of the period. The earliest film cameras were thus effectively fixed during

3710-611: The French film industry. While living in France he met Jean Cocteau , Jean Hugo , and other members of the French artistic scene. In 1928 he made his first classic film, The Passion of Joan of Arc . Working from the transcripts of Joan of Arc's trial, he created a masterpiece of emotion that drew equally on realism and expressionism. Because the Danish film industry was in financial ruin, Dreyer depended on private financing from Baron Nicolas de Gunzburg to make his next film, Vampyr (1932),

3816-556: The House ." Critic Robin Wood also praised the film, but wrote that "our sense of the interdependence of the characters and their actions is communicated visually... one cannot but admire the total essentials, a process that certainly imbues those essentials with expressive intensity. At the same time, I find it difficult not to react against the style as repressive and deadening." Dave Calhoun of Time Out wrote that "‘Powerful’ doesn't do justice" to

3922-445: The advent of early color experiments, the greater expense of color meant films were mostly made in black-and-white until the 1950s, when cheaper color processes were introduced, and in some years percentage of films shot on color film surpassed 51%. By the 1960s, color became by far the dominant film stock. In the coming decades, the usage of color film greatly increased while monochrome films became scarce. Black-and-white cinematography

4028-416: The area of the film used to capture a single frame of an image is expanded, although the physical gauge of the film remains the same. Super 8 mm , Super 16 mm, and Super 35  mm all utilize more of the overall film area for the image than their "regular" non-super counterparts. The larger the film gauge, the higher the overall image resolution clarity and technical quality. The techniques used by

4134-416: The artistic choices and technical considerations involved in creating compelling black-and-white imagery, offering a comprehensive understanding of the technique. Black-and-white cinematography allows filmmakers to focus on the interplay of light and shadow, emphasizing the contrast between different elements within a scene. This technique can evoke a sense of nostalgia, evoke a specific time period, or create

4240-521: The betrothal. Morten tries to convince Peter to permit the marriage, but he continues to refuse unless Morten and Anders join the orthodox church. As the discussion collapses into sectarian bickering, Morten receives a call announcing that Inger has gone into a difficult labor. Peter says he hopes Inger will die, as maybe then Morten will see the error of his ways and join Peter's church. Furious at Peter's comments, Morten attacks Peter and storms out with Anders,

4346-413: The camera's sensor designers perceptions of various film stocks and image adjustment parameters. Filters , such as diffusion filters or color effect filters, are also widely used to enhance mood or dramatic effects. Most photographic filters are made up of two pieces of optical glass glued together with some form of image or light manipulation material between the glass. In the case of color filters, there

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4452-473: The camera. By the late 1920s, most of the movies produced were sound films. Wide screen formats were first experimented within the 1950s. By the 1970s, most movies were color films. IMAX and other 70mm formats gained popularity. Wide distribution of films became commonplace, setting the ground for "blockbusters." Film cinematography dominated the motion picture industry from its inception until the 2010s when digital cinematography became dominant. Film cinematography

4558-454: The cameras themselves can be adjusted in ways that go far beyond the abilities of one particular film stock. They can provide varying degrees of color sensitivity, image contrast, light sensitivity and so on. One camera can achieve all the various looks of different emulsions. Digital image adjustments such as ISO and contrast are executed by estimating the same adjustments that would take place if actual film were in use, and are thus vulnerable to

4664-460: The characters that they played. Dreyer had some difficulty with the elderly actor Henrik Malberg being able to remember his dialogue for such long takes. Munk had written the original role of Morten Borgen specially for Malberg in 1925. Twice in the film, as Morten and Anders drive to and from their meeting with Peter the Tailor, they pass the rough cross erected at the place where the body of Kaj Munk

4770-457: The community, and patron of the local parish church, has three sons. Mikkel, the eldest, who has no faith, is happily married to the pious Inger, who is pregnant with their third child. Johannes, who was inspired by the Holy Spirit after studying Søren Kierkegaard , believes himself to be Jesus Christ and wanders the farm. He condemns the age's lack of faith, including that of his family and of

4876-470: The correct exposure at each location by eye. Actress Birgitte Federspiel said that “Lighting was his great gift and he did it with expertise. He shaped light artistically like a sculptor or a painter would.” Dreyer staged the actors around the lighting design on the set and not to accommodate their performances. Federspiel said that Dreyer never verbally told the actors when he was pleased with their performances and would simply smile when they were performing

4982-533: The distance is shown as much smaller while someone in the front will loom large. On the other hand, long focus lenses reduce such exaggerations, depicting far-off objects as seemingly close together and flattening perspective. The differences between the perspective rendering is actually not due to the focal length by itself, but by the distance between the subjects and the camera. Therefore, the use of different focal lengths in combination with different camera to subject distances creates these different rendering. Changing

5088-498: The earliest digitally shot feature movies, Julia and Julia (1987). In 1998, with the introduction of HDCAM recorders and 1920×1080 pixel digital professional video cameras based on CCD technology, the idea, now re-branded as "digital cinematography", began to gain traction. Shot and released in 1998, The Last Broadcast is believed by some to be the first feature-length video shot and edited entirely on consumer-level digital equipment. In May 1999, George Lucas challenged

5194-416: The early days of cinema when color film was not yet available. Filmmakers relied on this technique to create visually striking and atmospheric films. Even with the advent of color film technology, black-and-white cinematography continued to be utilized for artistic and thematic purposes. Ken Dancyger's book The Technique of Film and Video Editing: History, Theory, and Practice provides valuable insights into

5300-503: The film a 4/4. He wrote "For the ordinary filmgoer, and I include myself, Ordet is a difficult film to enter. But once you're inside, it is impossible to escape." Critic Tom Milne wrote that "the interior scenes are luminous with a sense of expansive affection arising from the rich, warmly observed detail of the relationship... Throughout the film Dreyer's emphasis is on the density of emotion allied to gesture which he first explored in Master of

5406-531: The film and that it "reminds us how in the end we know little about the mysteries of life. Dreyer manages to say all this within the framework of a strange, wondrous and shocking work. Once seen, it’s unlikely to leave you." Peter Bradshaw of The Guardian called it "a gripping and eerie tragedy of the supernatural", but also thought it was not as good as Day of Wrath or The Passion of Joan Of Arc . Rotten Tomatoes reports an approval rating of 100% based on 26 reviews, with an average rating of 9.62/10. The film

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5512-466: The film, which can put emphasis on or add fluidity to a scene. On the other hand, fast motion is the opposite of slow motion, filming at a lower frame rate and then playing the film back at a normal speed. This creates a sped-up effect which can help to emphasize passage of time, or create a sense of urgency. Time lapse is when you take a series of still photographs at a regular interval over a long period of time. From here, if you play them back continuously,

5618-669: The film-like qualities of their images. More recently, more and more dedicated video cameras are being equipped with larger sensors capable of 35mm film-like depth of field. The aspect ratio of an image is the ratio of its width to its height. This can be expressed either as a ratio of 2 integers, such as 4:3, or in a decimal format, such as 1.33:1 or simply 1.33. Different ratios provide different aesthetic effects. Standards for aspect ratio have varied significantly over time. Carl Theodor Dreyer Carl Theodor Dreyer ( Danish: [ˈkʰɑˀl ˈtsʰe̝ːotɒ ˈtʁɑjˀɐ] ; 3 February 1889 – 20 March 1968), commonly known as Carl Th. Dreyer ,

5724-478: The final film. The film premiered on 10 January 1955 at Dagmar Teatret in Copenhagen. It was Dreyer's first film since The Passion of Joan of Arc to immediately receive critical praise and was especially popular in his native Denmark with both critics and audiences, as well as with critics in other countries. It also won the Golden Lion at the 16th Venice International Film Festival . Critic Roger Ebert gave

5830-401: The finished film. While waiting for Federspiel to return to the production after having the child Dreyer and Bendtsen planned out the final resurrection scene. They shot two different versions of the scene, a version from Munk's play which suggests the possibility of Inger just appearing to be dead and a version where the resurrection is a genuine miracle. Dreyer chose to use the second version in

5936-458: The first films with a natural color process rather than using colorization techniques. In 1909, Kinemacolor was first shown to the public. In 1917, the earliest version of Technicolor was introduced. Kodachrome was introduced in 1935. Eastmancolor was introduced in 1950 and became the color standard for the rest of the century. In the 2010s, color films were largely superseded by color digital cinematography. In digital cinematography,

6042-514: The focal length only while keeping the same camera position does not affect perspective but the camera angle of view only. A zoom lens allows a camera operator to change his focal length within a shot or quickly between setups for shots. As prime lenses offer greater optical quality and are "faster" (larger aperture openings, usable in less light) than zoom lenses, they are often employed in professional cinematography over zoom lenses. Certain scenes or even types of filmmaking, however, may require

6148-457: The foreground and background of the sets in sharp focus. This practice is known as deep focus . Deep focus became a popular cinematographic device from the 1940s onward in Hollywood. Today, the trend is for more shallow focus . To change the plane of focus from one object or character to another within a shot is commonly known as a rack focus . Early in the transition to digital cinematography,

6254-429: The great films ever made, and in 2012's poll , it was voted the ninth-best film by film critics and 37th by film directors. His other well-known films include Michael (1924), Vampyr (1932), Day of Wrath (1943), Ordet ( The Word ) (1955), and Gertrud (1964). Dreyer was born illegitimate in Copenhagen, Denmark. His birth mother was an unmarried, Scanian maid named Josefine Bernhardine Nilsson, and he

6360-468: The historical and theoretical aspects of black-and-white cinematography. Dancyger explores how this technique has been employed throughout film history, examining its impact on storytelling, mood, and visual aesthetics. The book delves into the artistic choices and technical considerations involved in creating compelling black-and-white imagery, offering a comprehensive understanding of the technique. Black-and-white cinematography allows filmmakers to focus on

6466-535: The image is, the shorter the focal length should be, as to keep the same field of view. Then, the smaller the image is, the more depth of field is obtained, for the same field of view. Therefore, 70mm has less depth of field than 35mm for a given field of view, 16mm more than 35mm, and early video cameras, as well as most modern consumer level video cameras, even more depth of field than 16mm. In Citizen Kane (1941), cinematographer Gregg Toland and director Orson Welles used tighter apertures to create every detail of

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6572-506: The image, which is electronically processed and stored in a video file for subsequent processing or display. Images captured with photographic emulsion result in a series of invisible latent images on the film stock, which are chemically " developed " into a visible image . The images on the film stock are projected for viewing in the same motion picture. Cinematography finds uses in many fields of science and business, as well as for entertainment purposes and mass communication . In

6678-417: The images are captured and presented in shades of gray, without color. This artistic approach has a rich history and has been employed in various films throughout cinema's evolution. It is a powerful tool that allows filmmakers to emphasize contrast, texture, and lighting, enhancing the visual storytelling experience. The use of black-and-white cinematography dates back to the early days of cinema when color film

6784-450: The inability of digital video cameras to easily achieve shallow depth of field, due to their small image sensors, was initially an issue of frustration for film makers trying to emulate the look of 35mm film. Optical adapters were devised which accomplished this by mounting a larger format lens which projected its image, at the size of the larger format, on a ground glass screen preserving the depth of field. The adapter and lens then mounted on

6890-537: The interplay of light and shadow, emphasizing the contrast between different elements within a scene. This technique can evoke a sense of nostalgia, evoke a specific time period, or create a timeless and classic feel. By stripping away color, filmmakers can emphasize the composition, shapes, and textures within the frame, enhancing the visual impact. Notable films that have employed black-and-white cinematography include classics such as Casablanca (1942), Raging Bull (1980), and Schindler's List (1993). These films showcase

6996-534: The late 1970s to early 1980s, the entertainment industry slowly began transitioning to digital imaging and digital video over the next two decades. The CCD was followed by the CMOS active-pixel sensor ( CMOS sensor ), developed in the 1990s. Beginning in the late 1980s, Sony began marketing the concept of " electronic cinematography", utilizing its analog Sony HDVS professional video cameras . The effort met with very little success. However, this led to one of

7102-501: The list the film ranked 45th in critic's poll. In 2018 the film ranked 65th on the BBC 's list of the 100 greatest foreign-language films, as voted on by 209 film critics from 43 countries. It has been released on DVD by The Criterion Collection with spine number 126 as part of a box set with the other Dreyer films Day of Wrath and Gertrud . Ordet was entered into the 16th Venice International Film Festival and won its highest prize,

7208-605: The mecca of the film industry, and many of the famous studios today such as Warner Bros and Paramount Pictures began to rule the film world. Over time, cinema and cinematography have changed drastically. From the silent films of the early 20th century, to the ability of sound to be added to films in the 1920s, widescreen and color films in the 50s, huge improvements in general creativity and methodology have emerged. The experimental film Roundhay Garden Scene , filmed by Louis Le Prince in Roundhay , Leeds , England, on October 14, 1888,

7314-493: The medium may be listed concisely. In 1896, Edison showed his improved Vitascope projector, the first commercially successful projector in the U.S. Cooper Hewitt invented mercury lamps which made it practical to shoot films indoors without sunlight in 1905. The first animated cartoon was produced in 1906. Credits began to appear at the beginning of motion pictures in 1911. The Bell and Howell 2709 movie camera invented in 1915 allowed directors to make close-ups without physically moving

7420-494: The miracle of resurrection, both Morten and Peter rejoice, forgetting their religious differences. As Inger sits up, Mikkel embraces her and proclaims that he has finally found faith. After several years of financial problems stalled his film career, Dreyer was awarded a lifelong lease to the Dagmar Bio, an art-house movie theater in Copenhagen, in 1952 . The Danish government had often given such awards to older artists, and

7526-536: The modern-minded new pastor of the village. The youngest son, Anders, is lovesick for the daughter of the leader of a local Inner Mission sect. Anders confesses to Mikkel and Inger that he loves Anne Petersen, the daughter of Peter the Tailor. They agree to convince Morten to assent to the match. Later, Inger attempts to convince Morten to allow Anders to marry Anne. Morten angrily refuses, but changes his mind when he finds out Peter has refused Anders' proposal. Morten and Anders go to meet Peter, in order to negotiate

7632-485: The mood of a scene or film. Darker shots with less natural light can be gloomy, scary, sad, intense. Brighter lighting can equate to a happier, exciting, more positive mood. Camera angle can affect a scene by setting perspective. It conveys how characters or the audience see something, and through what angle. Camera angle can also play an important role by highlighting either a close up detail, or background setting. A close up angle can highlight detail on someone's face, while

7738-404: The movie is shot on digital media such as flash storage , as well as distributed through a digital medium such as a hard drive . The basis for digital cameras are metal–oxide–semiconductor (MOS) image sensors . The first practical semiconductor image sensor was the charge-coupled device (CCD), based on MOS capacitor technology. Following the commercialization of CCD sensors during

7844-519: The new medium was more efficient in capturing and documenting the behavior, movement, and environment of microorganisms, cells, and bacteria, than the naked eye. The introduction of film into scientific fields allowed for not only the viewing of "new images and objects, such as cells and natural objects, but also the viewing of them in real time", whereas prior to the invention of moving pictures, scientists and doctors alike had to rely on hand-drawn sketches of human anatomy and its microorganisms. This posed

7950-449: The next year. Shots taken using such a "panning" head were also referred to as "panoramas" in the film catalogues of the first decade of the cinema. This eventually led to the creation of a panoramic photo as well. The standard pattern for early film studios was provided by the studio which Georges Méliès had built in 1897. This had a glass roof and three glass walls constructed after the model of large studios for still photography, and it

8056-451: The play's premiere in 1932 and had been writing notes for a film adaptation since 1933. Dansk Kulturfilm suggested that Dreyer finally make the film and be retroactively paid for his years of work on the script. Munk had himself finished a script for a film version, which he tried and failed to sell to the production company Nordisk Film . The Swedish film adaptation, The Word , directed by Gustaf Molander and starring Victor Sjöström ,

8162-421: The power and versatility of black-and-white cinematography in creating emotionally resonant visuals. Black-and-white cinematography remains a relevant and widely used technique in modern filmmaking. It continues to be employed by filmmakers to evoke specific moods, convey a sense of timelessness, and enhance the artistic expression of their stories. After the advent of motion pictures, a tremendous amount of energy

8268-588: The profits from the theater allowed Dreyer to begin production on a new film through Palladium Studios . Around that time, Palladium president Tage Nielsen received a suggestion for Dreyer's next film from the government-run Dansk Kulturfilm; Dreyer had worked with them before. Kaj Munk 's play I Begyndelsen var Ordet ( In the Beginning was the Word ) was written in 1925 and premiered in Copenhagen in 1932. Dreyer had attended

8374-413: The right psychological illusion." Dreyer's shooting method was to shoot one individual shot per day. In the mornings Dreyer would rehearse with the actors while simultaneously blocking their movement, set up lights and block the camera movement. Then at the very end of the day Dreyer would film the single shot, usually shooting between 2 and 3 takes. Dreyer chose not to pre-plan any shots and every decision

8480-441: The shot, and hence the first camera movements were the result of mounting a camera on a moving vehicle. The first known of these was a film shot by a Lumière cameraman from the back platform of a train leaving Jerusalem in 1896, and by 1898, there were a number of films shot from moving trains. Although listed under the general heading of "panoramas" in the sales catalogues of the time, those films shot straight forward from in front of

8586-483: The small advances." Dreyer died of pneumonia in Copenhagen at age 79. The documentary Carl Th. Dreyer: My Metier contains reminiscences from people who knew him. As a young man, Dreyer worked as a journalist, and he eventually joined the film industry as a writer of title cards for silent films and subsequently of screenplays. He was initially hired by Nordisk Film in 1913. His first attempts at film direction had limited success, and he left Denmark to work in

8692-408: The small format video camera which in turn focused on the ground glass screen. Digital SLR still cameras have sensor sizes similar to that of the 35mm film frame, and thus are able to produce images with similar depth of field. The advent of video functions in these cameras sparked a revolution in digital cinematography, with more and more film makers adopting still cameras for the purpose because of

8798-542: The sound film. " — Carl Theodor Dreyer Filming lasted for four months: two months on a studio set and two months in Vedersø , a village in West Jutland where Munk had served as a Lutheran priest. Ordet is best remembered for its cinematography. The film has a total of 114 individual shots, half of which occur in the first and last scenes of the film. Many shots lasted for up to seven minutes. Dreyer used mostly long takes and

8904-430: The style that would mark his sound films: careful compositions, stark monochrome cinematography, and very long takes . Dreyer made two documentaries in the more than a decade before his next full-length feature film, in 1955, Ordet ( The Word ), based on the play of the same name by Kaj Munk . The film combines a love story with a conflict of faith. Dreyer's last film was 1964's Gertrud . Although seen by some as

9010-607: The supremacy of the movie-making medium of film for the first time by including footage filmed with high-definition digital cameras in Star Wars: Episode I – The Phantom Menace . In late 2013, Paramount became the first major studio to distribute movies to theaters in digital format, eliminating 35mm film entirely. Since then the demand of movies to be developed onto digital format rather than 35mm has increased significantly. As digital technology improved, movie studios began increasingly shifting toward digital cinematography. Since

9116-502: The themes of many of his films. Dreyer was ideologically conservative. David Bordwell stated "As a youth he belonged to the Social Liberal party, a conservative group radical only in their opposition to military expenditures." Dreyer recalled "Even when I was with Ekstrabladet , I was conservative...I don't believe in revolutions. They have, as a rule, the tedious quality of pulling development back. I believe more in evolution, in

9222-465: The third most spiritually significant film of all time by Arts and Faith online community. The film was included by the Vatican in a list of important films compiled in 1995, under the category of "Religion". Cinematography Cinematography (from Ancient Greek κίνημα ( kínēma )  'movement' and γράφειν ( gráphein )  'to write, draw, paint, etc.')

9328-541: The two of them rushing home. While the doctor cannot save the baby, he is able to save Inger's life. After the doctor and pastor leave, Johannes angers his father by telling him that death is nearby and will take Inger, unless Morten has faith in him. Morten refuses to listen and, as prophesied, Inger dies suddenly. While preparing to go to Inger's funeral, Peter realizes that he has wronged Morten terribly, and reconciles with him over Inger's open coffin, agreeing to permit Anne and Anders to marry. Johannes suddenly interrupts

9434-420: The use of zooms for speed or ease of use, as well as shots involving a zoom move. As in other photography, the control of the exposed image is done in the lens with the control of the diaphragm aperture . For proper selection, the cinematographer needs that all lenses be engraved with T-stop , not f-stop so that the eventual light loss due to the glass does not affect the exposure control when setting it using

9540-426: The usual meters. The choice of the aperture also affects image quality (aberrations) and depth of field. Focal length and diaphragm aperture affect the depth of field of a scene – that is, how much the background, mid-ground and foreground will be rendered in "acceptable focus" (only one exact plane of the image is in precise focus) on the film or video target. Depth of field (not to be confused with depth of focus )

9646-474: The wake, approaches Inger's coffin, and proclaims that she can be raised from the dead if the family will only have faith and ask God to do so. Inger's daughter takes Johannes (again, inspired by the Holy Spirit)' hand and impatiently asks him to raise her mother from the dead. Johannes praises her childlike faith and asks God to raise Inger, who begins to breathe and twitch in her coffin. Seeing what seems to be

9752-406: The way that he wanted them to. The blocking of the actor's movement was so precise and carefully planned out that many of them had to count out their steps while speaking their dialogue. Federspiel said that Dreyer personally picked out costumes for every actor and even went shopping for stockings with her. He also hired a linguistic specialist to make sure that all the actors spoke the same dialect as

9858-404: The way that it plays an important role in setting mood and emotion throughout a shot. A color like green can convey balance and peace through scenes of nature. A shot with a lot of red can express anger, intensity, passion or love. While some of these emotions might not come out intentionally while seeing color, it is a subconscious fact that color within cinematography can have a large effect. Speed

9964-401: The words they say, but also the thoughts behind the words. What I seek in my films, what I want to obtain, is a penetration to my actors' profound thoughts by means of their most subtle expressions...that lie in the depths of his soul. This what interests me above all, not the technique of the cinema. Gertrud is a film I made with all my heart. The great, never finished project of Dreyer's career

10070-450: The world and some remained in use until well into the 20th century. William Lincoln patented a device, in 1867 that showed animated pictures called the "wheel of life" or " zoopraxiscope ". In it moving drawings or photographs were watched through a slit. On 19 June 1878, Eadweard Muybridge successfully photographed a horse named " Sallie Gardner " in fast motion using a series of 24 stereoscopic cameras. The cameras were arranged along

10176-516: Was a Danish film director and screenwriter. Widely considered one of the greatest filmmakers in history, his movies are noted for emotional austerity and slow, stately pacing, frequent themes of social intolerance, the inseparability of fate and death, and the power of evil in earthly life. His 1928 movie The Passion of Joan of Arc is considered to be one of the great movies of all time , renowned for its cinematography and use of close-ups. It frequently appears on Sight & Sound ' s lists of

10282-442: Was a pioneer for increased usage of filters in movies and is highly respected throughout the cinema world. Lenses can be attached to the camera to give a certain look, feel, or effect by focus, color, etc. As does the human eye , the camera creates perspective and spatial relations with the rest of the world. However, unlike one's eye, a cinematographer can select different lenses for different purposes. Variation in focal length

10388-400: Was careful to stay true to Munk's intention and the play's message, he cut dialogue down to the bare essentials, resulting in a minimalist film. "I believe that long takes represent the film of the future. You must be able to make a film in six, seven, eight shots...Short scenes, quick cuts in my view mark the silent film, but the smooth medium shot — with continual camera movement — belongs to

10494-407: Was fitted with thin cotton cloths that could be stretched below the roof to diffuse the direct ray of the sun on sunny days. The soft overall light without real shadows that this arrangement produced, which also exists naturally on lightly overcast days, was to become the basis for film lighting in film studios for the next decade. Black-and-white cinematography is a technique used in filmmaking where

10600-509: Was found. Munk was assassinated in 1944 during the Nazi occupation of Denmark for openly preaching against collaboration with the Nazi regime. Like her character, Federspiel was really pregnant during the film's production and went into labor towards the end of the shoot. She agreed to allow Dreyer to tape record her labor pains while she was giving birth and then later use the recording as a sound effect in

10706-507: Was invested in the production of photography in natural color. The invention of the talking picture further increased the demand for the use of color photography. However, in comparison to other technological advances of the time, the arrival of color photography was a relatively slow process. Early movies were not actually color movies since they were shot monochrome and hand-colored or machine-colored afterward (such movies are referred to as colored and not color ). The earliest such example

10812-410: Was largely unhappy. He later recalled that his parents "constantly let me know that I should be grateful for the food I was given and that I strictly had no claim on anything since my mother got out of paying by lying down to die." He was a highly intelligent school student, who left home and formal education at the age of 16. He dissociated himself from his adoptive family, but their teachings influenced

10918-463: Was made the day of the shoot. Cinematographer Henning Bendtsen said that "each image is composed like a painting in which the background and the lighting are carefully prepared." Whereas most filmmakers at that time would use one or two lights for a scene, Dreyer and Bendtsen often used up to 20. Electricians often had to turn lights on and off during the shooting without it being noticeable on film. Dreyer disliked light meters and preferred to deduce

11024-615: Was not yet available. Filmmakers relied on this technique to create visually striking and atmospheric films. Even with the advent of color film technology, black-and-white cinematography continued to be utilized for artistic and thematic purposes. Ken Dancyger's book The Technique of Film and Video Editing: History, Theory, and Practice provides valuable insights into the historical and theoretical aspects of black-and-white cinematography. Dancyger explores how this technique has been employed throughout film history, examining its impact on storytelling, mood, and visual aesthetics. The book delves into

11130-575: Was put up for adoption by his birth father, Jens Christian Torp, a married Danish farmer living in Sweden who was his mother's employer. He spent the first two years of his life in orphanages until his adoption by a typographer named Carl Theodor Dreyer and his wife Inger Marie (née Olsen). He was named after his adoptive father, but in accordance with Danish practice, there is no Senior or Junior added to their names to distinguish them from each other. His adoptive parents were emotionally distant, and his childhood

11236-551: Was released In 1943. It couldn't premiere in Denmark until after World War II . For legal reasons, the 1943 film forced Palladium to wait until 1954 to begin production on Dreyer's film. Dreyer made changes to the original play, such as adding the film's opening scene (which was inspired by a passage from Munk's published memoir), omitting Johannes's previous love affair as a contributor to his mental illness and cutting two-thirds of Munk's original dialogue. Although Munk had died in 1944, he

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