116-396: Yasujirō Ozu ( 小津 安二郎 , Ozu Yasujirō , 12 December 1903 – 12 December 1963) was a Japanese filmmaker. He began his career during the era of silent films , and his last films were made in colour in the early 1960s. Ozu first made a number of short comedies, before turning to more serious themes in the 1930s. The most prominent themes of Ozu's work are family and marriage, and especially
232-445: A 16 fps projection of the same reel would take 16 minutes and 40 seconds, or 304 millimetres (12.0 in) per second. In the 1950s, many telecine conversions of silent films at grossly incorrect frame rates for broadcast television may have alienated viewers. Film speed is often a vexed issue among scholars and film buffs in the presentation of silents today, especially when it comes to DVD releases of restored films , such as
348-436: A 2023 television series based on Yasujirō Ozu's several films premiered. Silent films A silent film is a film without synchronized recorded sound (or more generally, no audible dialogue ). Though silent films convey narrative and emotion visually, various plot elements (such as a setting or era) or key lines of dialogue may, when necessary, be conveyed by the use of inter- title cards . The term "silent film"
464-440: A 50mm lens, which is usually considered to be the lens closest to human vision. Ozu did not use typical transitions between scenes. In between scenes he would show shots of certain static objects as transitions, or use direct cuts, rather than fades or dissolves. Most often the static objects would be buildings, where the next indoor scene would take place. It was during these transitions that he would use music, which might begin at
580-469: A comfort station near Yingcheng . He mentions that two tickets, ointment and prophylatics are provided, and that three Korean and twelve Chinese women were being held at the comfort station for their use. Comfort station rates and schedules are also given by Ozu. In 1939, he wrote the first draft of the script for The Flavor of Green Tea over Rice , but shelved it due to extensive changes insisted on by military censors. The first film Ozu made on his return
696-518: A dialogue sound-track was The Only Son in 1936, five years after Japan's first talking film, Heinosuke Gosho 's The Neighbor's Wife and Mine . On 9 September 1937, at a time when Shochiku was unhappy about Ozu's lack of box-office success, despite the praise he received from critics, the thirty-four-year-old Ozu was conscripted into the Imperial Japanese Army . He spent two years in China in
812-620: A documentary Derii e, Derii e ("To Delhi, to Delhi") about Chandra Bose . During his time in Singapore, having little inclination to work, he spent an entire year reading, playing tennis and watching American films provided by the Army information corps. He was particularly impressed with Orson Welles's Citizen Kane . He occupied a fifth-floor room facing the sea in the Cathay Building where he entertained guests, drew pictures, and collected rugs. At
928-491: A few premises." Ozu invented the "tatami shot", in which the camera is placed at a low height, supposedly at the eye level of a person kneeling on a tatami mat. Actually, Ozu's camera is often even lower than that, only one or two feet off the ground, which necessitated the use of special tripods and raised sets. He used this low height even when there were no sitting scenes, such as when his characters walked in hallways. When Ozu made his move to colour, he chose to shoot under
1044-451: A good-looking boy in a lower class, and had to commute to school by train. In March 1921, Ozu graduated from the high school. He attempted the exam for entrance into what is now Kobe University 's economics department, but failed. In 1922, he took the exam for a teacher training college, but failed it too. On 31 March 1922, he began working as a substitute teacher at a school in Mie prefecture . He
1160-413: A job. After he marries the fiancee he has to admit to her that he is unemployed so she takes a job in a bar. After an argument with her he apologizes for being irresponsible. He goes back to the company he turned down to accept the receptionist job, but they give him a salaried position instead. A poster from Harold Lloyd 's silent comedy Speedy is used as a prop in the film. One visual gag in
1276-413: A key professional in silent film and was often separate from the scenario writer who created the story. Inter-titles (or titles as they were generally called at the time) "often were graphic elements themselves, featuring illustrations or abstract decorations that commented on the action". Showings of silent films almost always featured live music starting with the first public projection of movies by
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#17330934025711392-465: A low budget salute to sentimental silent comedies, particularly Charlie Chaplin 's The Kid . The German film Tuvalu (1999) is mostly silent; the small amount of dialog is an odd mix of European languages, increasing the film's universality. Guy Maddin won awards for his homage to Soviet-era silent films with his short The Heart of the World after which he made a feature-length silent, Brand Upon
1508-547: A man as he is hacked to death is very much like its depiction in period films. Ozu's writings also offers a glimpse into the Japanese military's use of comfort women . In a letter sent to friends in Japan on 11 April 1938, from Dingyuan County in China's Anhui Province , Ozu writes about the comfort station protocol in lightly coded terms. In a 13 January 1939 diary entry, Ozu writes more openly about his group's upcoming turn for use of
1624-645: A much longer time for color to be adopted by the industry and an effective process to be developed. Blue represented night scenes, yellow or amber meant day. Red represented fire and green represented a mysterious atmosphere. Similarly, toning of film (such as the common silent film generalization of sepia -toning) with special solutions replaced the silver particles in the film stock with salts or dyes of various colors. A combination of tinting and toning could be used as an effect that could be striking. Some films were hand-tinted, such as Annabelle Serpentine Dance (1894), from Edison Studios . In it, Annabelle Whitford ,
1740-450: A music-only soundtrack in place of dialogue. The term silent film is a retronym —a term created to retroactively distinguish something from later developments. Early sound films, starting with The Jazz Singer in 1927, were variously referred to as the "talkies", "sound films", or "talking pictures" . The idea of combining motion pictures with recorded sound is older than film (it was suggested almost immediately after Edison introduced
1856-432: A nearby house called Mugeisō. Ozu's films from the late 1940s onward were favourably received, and the entries in the so-called "Noriko trilogy" (starring Setsuko Hara ) of Late Spring (1949), Early Summer (1951) and Tokyo Story (1953) are among his most acclaimed works, with Tokyo Story widely considered his masterpiece. Late Spring , the first of these films, was the beginning of Ozu's commercial success and
1972-498: A race to design, implement, and market several rival sound-on-disc and sound-on-film sound formats, such as Photokinema (1921), Phonofilm (1923), Vitaphone (1926), Fox Movietone (1927) and RCA Photophone (1928). Warner Bros. was the first studio to accept sound as an element in film production and utilize the Vitaphone, a sound-on-disc technology, to do so. The studio then released The Jazz Singer in 1927, which marked
2088-492: A special effect in many of his films. His 1915 epic The Birth of a Nation used a number of colors, including amber, blue, lavender, and a striking red tint for scenes such as the "burning of Atlanta" and the ride of the Ku Klux Klan at the climax of the picture. Griffith later invented a color system in which colored lights flashed on areas of the screen to achieve a color. With the development of sound-on-film technology and
2204-405: A theme that runs through several of Ozu's films of the period, that of youth unemployment in Japan at the time. Akira Iwasaki described Ozu's films in the period starting with this film and extending to I Was Born, But... as having "more directly depicted the psychological depression of the 'dark period' than any other films." A Kinema Jumpo critic complained that the film's playfulness
2320-405: A trip to a hot spring. In his early works, Ozu used the pseudonym "James Maki" for his screenwriting credit. His film Young Miss , with an all-star cast, was the first time he used the pen name James Maki, and was also his first film to appear in film magazine Kinema Jumpo 's "Best Ten" at third position. In 1932, his I Was Born, But... , a comedy about childhood with serious overtones,
2436-494: A young dancer from Broadway, is dressed in white veils that appear to change colors as she dances. This technique was designed to capture the effect of the live performances of Loie Fuller , beginning in 1891, in which stage lights with colored gels turned her white flowing dresses and sleeves into artistic movement. Hand coloring was often used in the early "trick" and fantasy films of Europe, especially those by Georges Méliès . Méliès began hand-tinting his work as early as 1897 and
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#17330934025712552-545: Is a 1929 Japanese silent film directed by Yasujirō Ozu . The film is now lost, except for an excerpt of approximately 10 minutes. Ozu's friend and coworker Hiroshi Shimizu , who co-wrote the script, was originally slated to direct the film. Shimizu's wife Kinuyo Tanaka starred in the film. The plot involved a young man ( Minoru Takada ) who turns down a receptionist job after graduating college because he feels it isn't good enough for him, but needs to fool his mother ( Utako Suzuki ) and fiancee (Tanaka) into thinking he has
2668-516: Is said to have traveled the long journey from the school in the mountains to watch films on the weekend. In December 1922, his family, with the exception of Ozu and his sister, moved back to Tokyo to live with his father. In March 1923, when his sister graduated, he also returned to live in Tokyo. With his uncle acting as intermediary, Ozu was hired by the Shochiku Film Company , as an assistant in
2784-448: Is silent during its middle third, complete with intertitles; Stanley Tucci 's The Impostors has an opening silent sequence in the style of early silent comedies. Brazilian filmmaker Renato Falcão's Margarette's Feast (2003) is silent. Writer/director Michael Pleckaitis puts his own twist on the genre with Silent (2007). While not silent, the Mr. Bean television series and movies have used
2900-424: Is something of a misnomer, as these films were almost always accompanied by live sounds. During the silent era, which existed from the mid-1890s to the late 1920s, a pianist , theater organist —or even, in larger cities, an orchestra —would play music to accompany the films. Pianists and organists would play either from sheet music , or improvisation . Sometimes a person would even narrate the inter-title cards for
3016-436: The benshi , a live narrator who provided commentary and character voices. The benshi became a central element in Japanese film, as well as providing translation for foreign (mostly American) movies. The popularity of the benshi was one reason why silent films persisted well into the 1930s in Japan. Conversely, as benshi -narrated films often lacked intertitles, modern-day audiences may sometimes find it difficult to follow
3132-604: The Battle of Nanchang and the Battle of Xiushui River . In June, he was ordered back to Japan, arriving in Kobe in July, and his conscription ended on 16 July 1939. Some of Ozu's published diaries cover his wartime experiences between 20 December 1938 and 5 June 1939. Another diary from his wartime years ( 陣中日記 ) he expressly forbade from publication. In the published diaries, reference to his group's participation in chemical warfare (in violation of
3248-517: The Geneva Protocol , though Japan had withdrawn from the League of Nations in 1933) can be found, for example, in various entries from March 1939. In other entries, he describes Chinese soldiers in disparaging terms, likening them in one passage to insects. Although operating as a military squad leader, Ozu retains his directorial perspective, once commenting that the initial shock and subsequent agony of
3364-599: The Second Sino-Japanese War . He arrived in Shanghai on 27 September 1937 as part of an infantry regiment which handled chemical weapons. He started as a corporal, but was promoted to sergeant on 1 June 1938. From January until September 1938, he was stationed in Nanjing , where he met Sadao Yamanaka , who was stationed nearby. In September, Yamanaka died of illness. In 1939, Ozu was dispatched to Hankou , where he fought in
3480-421: The audience could better understand what an actor was feeling and portraying on screen. Much silent film acting is apt to strike modern-day audiences as simplistic or campy . The melodramatic acting style was in some cases a habit actors transferred from their former stage experience. Vaudeville was an especially popular origin for many American silent film actors. The pervading presence of stage actors in film
3596-556: The phonograph in 1877), and some early experiments had the projectionist manually adjusting the frame rate to fit the sound, but because of the technical challenges involved, the introduction of synchronized dialogue became practical only in the late 1920s with the perfection of the Audion amplifier tube and the advent of the Vitaphone system. Within a decade, the widespread production of silent films for popular entertainment had ceased, and
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3712-522: The 1899 Cendrillion (Cinderella) and 1900 Jeanne d'Arc (Joan of Arc) provide early examples of hand-tinted films in which the color was a critical part of the scenography or mise-en-scène ; such precise tinting used the workshop of Elisabeth Thuillier in Paris, with teams of female artists adding layers of color to each frame by hand rather than using a more common (and less expensive) process of stenciling. A newly restored version of Méliès' A Trip to
3828-626: The 1960s; however, Tokyo Story gained recognition after winning the Sutherland Trophy at the 1958 London Film Festival. Ozu's last film was An Autumn Afternoon , which was released in 1962. He served as president of the Directors Guild of Japan from 1955 until his death in 1963. In 1959 he became the first recipient from the field of cinema to win the Japan Art Academy Prize. Ozu was known for his drinking. He and Noda measured
3944-519: The Anglophonic audience. Five , also known as Five Dedicated to Ozu , is an Iranian documentary film directed by Abbas Kiarostami . The film consists of five long takes set by the ocean. Five sequences: 1) A piece of driftwood on the seashore, carried about by the waves 2) People walking on the seashore. The oldest ones stop by, look at the sea, then go away 3) Blurry shapes on a winter beach. A herd of dogs. A love story 4) A group of loud ducks cross
4060-510: The Brain! (2006), incorporating live Foley artists , narration and orchestra at select showings. Shadow of the Vampire (2000) is a highly fictionalized depiction of the filming of Friedrich Wilhelm Murnau 's classic silent vampire movie Nosferatu (1922). Werner Herzog honored the same film in his own version, Nosferatu: Phantom der Nacht (1979). Some films draw a direct contrast between
4176-642: The Devil (1927). Israel has worked mainly in silent comedy, scoring the films of Harold Lloyd , Buster Keaton , Charley Chase , and others. Timothy Brock has restored many of Charlie Chaplin 's scores, in addition to composing new scores. Contemporary music ensembles are helping to introduce classic silent films to a wider audience through a broad range of musical styles and approaches. Some performers create new compositions using traditional musical instruments, while others add electronic sounds, modern harmonies, rhythms, improvisation, and sound design elements to enhance
4292-452: The German colour process Agfacolor , as he felt that it captured reds much better than any other colour process. Ozu eschewed the traditional rules of movie storytelling, most notably eyelines . In his review of Floating Weeds , film critic Roger Ebert recounts: [Ozu] once had a young assistant who suggested that perhaps he should shoot conversations so that it seemed to the audience that
4408-679: The Lumière brothers on December 28, 1895, in Paris. This was furthered in 1896 by the first motion-picture exhibition in the United States at Koster and Bial's Music Hall in New York City. At this event, Edison set the precedent that all exhibitions should be accompanied by an orchestra. From the beginning, music was recognized as essential, contributing atmosphere, and giving the audience vital emotional cues. Musicians sometimes played on film sets during shooting for similar reasons. However, depending on
4524-536: The Moon , originally released in 1902, shows an exuberant use of color designed to add texture and interest to the image. Comments by an American distributor in a 1908 film-supply catalog further underscore France's continuing dominance in the field of hand-coloring films during the early silent era. The distributor offers for sale at varying prices "High-Class" motion pictures by Pathé , Urban-Eclipse , Gaumont , Kalem , Itala Film , Ambrosio Film , and Selig . Several of
4640-564: The Nakajō merchant family. Ozu had five brothers and sisters. When he was three, he developed meningitis , and was in a coma for a couple of days. Asae devoted herself to nursing him, and Ozu made a recovery. He attended Meiji nursery school and primary school. In March 1913, at the age of nine, he and his siblings were sent by his father to live in his father's home town of Matsusaka in Mie Prefecture , where he remained until 1924. In March 1916, at
4756-612: The Ofuna studios on 18 February 1946. His first film released after the war was Record of a Tenement Gentleman in 1947. Around this time, the Chigasakikan Ryokan became Ozu's favoured location for scriptwriting. Tokyo Story was the last script that Ozu wrote at Chigasakikan. In later years, Ozu and Noda used a small house in the mountains at Tateshina in Nagano Prefecture called Unkosō to write scripts, with Ozu staying in
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4872-505: The Sahara desert and a British cricket pitch. War scenes were shot on the plains of Grasmere, Staten Island . The Perils of Pauline and its even more popular sequel The Exploits of Elaine were filmed largely on the island. So was the 1906 blockbuster Life of a Cowboy , by Edwin S. Porter Company , and filming moved to the West Coast around 1912. The following are American films from
4988-471: The US have been lost, though these estimates are inaccurate due to a lack of numerical data. Film projection mostly evolved from magic lantern shows, in which images from handpainted glass slides were projected onto a wall or screen. After the advent of photography in the 19th century, still photographs were sometimes used. Narration of the showman was important in spectacular entertainment screenings and vital in
5104-451: The United States. In view of the enormous amount of labor involved which calls for individual hand painting of every one of sixteen pictures to the foot or 16,000 separate pictures for each 1,000 feet of film very few American colorists will undertake the work at any price. As film coloring has progressed much more rapidly in France than in any other country, all of our coloring is done for us by
5220-547: The action—particularly for comedies and action films. Slow projection of a cellulose nitrate base film carried a risk of fire, as each frame was exposed for a longer time to the intense heat of the projection lamp; but there were other reasons to project a film at a greater pace. Often projectionists received general instructions from the distributors on the musical director's cue sheet as to how fast particular reels or scenes should be projected. In rare instances, usually for larger productions, cue sheets produced specifically for
5336-674: The actual song being performed. Films in this category include Griffith's Lady of the Pavements with Lupe Vélez , Edwin Carewe 's Evangeline with Dolores del Río , and Rupert Julian 's The Phantom of the Opera with Mary Philbin and Virginia Pearson . The Silent Film Sound and Music Archive digitizes music and cue sheets written for silent films and makes them available for use by performers, scholars, and enthusiasts. Silent-film actors emphasized body language and facial expression so that
5452-412: The adoption of sound-on-film technology. Traditional film colorization, all of which involved the use of dyes in some form, interfered with the high resolution required for built-in recorded sound, and were therefore abandoned. The innovative three-strip technicolor process introduced in the mid-1930s was costly and fraught with limitations, and color would not have the same prevalence in film as it did in
5568-409: The age of 12, he entered what is now Ujiyamada High School. He was a boarder at the school and did judo. He frequently skipped classes to watch films such as Quo Vadis or The Last Days of Pompeii . In 1917, he saw the film Civilization and decided that he wanted to be a film director. In 1920, at the age of 17, he was thrown out of the dormitory after being accused of writing a love letter to
5684-415: The audience. Though at the time the technology to synchronize sound with the film did not exist, music was seen as an essential part of the viewing experience. "Silent film" is typically used as a historical term to describe an era of cinema prior to the invention of synchronized sound, but it also applies to such sound-era films as City Lights , Modern Times and Silent Movie which are accompanied by
5800-562: The beginning of film and 1928. The following list includes only films produced in the sound era with the specific artistic intention of being silent. Several filmmakers have paid homage to the comedies of the silent era, including Charlie Chaplin , with Modern Times (1936), Orson Welles with Too Much Johnson (1938), Jacques Tati with Les Vacances de Monsieur Hulot (1953), Pierre Etaix with The Suitor (1962), and Mel Brooks with Silent Movie (1976). Taiwanese director Hou Hsiao-hsien 's acclaimed drama Three Times (2005)
5916-458: The best coloring establishment in Paris and we have found that we obtain better quality, cheaper prices and quicker deliveries, even in coloring American made films, than if the work were done elsewhere. By the beginning of the 1910s, with the onset of feature-length films, tinting was used as another mood setter, just as commonplace as music. The director D. W. Griffith displayed a constant interest and concern about color, and used tinting as
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#17330934025716032-472: The biggest-budgeted films to arrive at the exhibiting theater with original, specially composed scores. However, the first designated full-blown scores had in fact been composed in 1908, by Camille Saint-Saëns for The Assassination of the Duke of Guise , and by Mikhail Ippolitov-Ivanov for Stenka Razin . When organists or pianists used sheet music, they still might add improvisational flourishes to heighten
6148-461: The case of the 2002 restoration of Metropolis . With the lack of natural color processing available, films of the silent era were frequently dipped in dyestuffs and dyed various shades and hues to signal a mood or represent a time of day. Hand tinting dates back to 1895 in the United States with Edison's release of selected hand-tinted prints of Butterfly Dance . Additionally, experiments in color film started as early as in 1909, although it took
6264-466: The characters were looking at one another. Ozu agreed to a test. They shot a scene both ways, and compared them. "You see?" Ozu said. "No difference!" Ozu was also an innovator in Japanese narrative structure through his use of ellipses , or the decision not to depict major events in the story. In An Autumn Afternoon (1962), for example, a wedding is merely mentioned in one scene, and the next sequence references this wedding (which has already occurred);
6380-399: The cinematography department, on 1 August 1923, against the wishes of his father. His family home was destroyed in the earthquake of 1923 , but no members of his family were injured. On 12 December 1924, Ozu started a year of military service. He finished his military service on 30 November 1925, leaving as a corporal. In 1926, he became a third assistant director at Shochiku. In 1927, he
6496-498: The crucial differences between stage and screen acting. Directors such as Albert Capellani and Maurice Tourneur began to insist on naturalism in their films. By the mid-1920s many American silent films had adopted a more naturalistic acting style, though not all actors and directors accepted naturalistic, low-key acting straight away; as late as 1927, films featuring expressionistic acting styles, such as Metropolis , were still being released. Greta Garbo , whose first American film
6612-418: The development of his cinematography and storytelling style. These three films were followed by his first colour film, Equinox Flower , in 1958, Floating Weeds in 1959 and Late Autumn in 1960. In addition to Noda, other regular collaborators included cinematographer Yuharu Atsuta, along with the actors Chishū Ryū , Setsuko Hara and Haruko Sugimura . His work was only rarely shown overseas before
6728-459: The development of motion picture cameras, projectors and transparent celluloid film. Although Thomas Edison was keen to develop a film system that would be synchronised with his phonograph , he eventually introduced the kinetoscope as a silent motion picture viewer in 1893 and later "kinetophone" versions remained unsuccessful. The art of motion pictures grew into full maturity in the "silent era" ( 1894 in film – 1929 in film ). The height of
6844-401: The drama on screen. Even when special effects were not indicated in the score, if an organist was playing a theater organ capable of an unusual sound effect such as "galloping horses", it would be used during scenes of dramatic horseback chases. At the height of the silent era, movies were the single largest source of employment for instrumental musicians, at least in the United States. However,
6960-464: The end of one scene, progress through the static transition, and fade into the new scene. He rarely used non- diegetic music in any scenes other than in the transitions. Ozu moved the camera less and less as his career progressed, and ceased using tracking shots altogether in his colour films. However, David Bordwell argues that Ozu is one of the few directors to "create a systematic alternative to Hollywood continuity cinema, but he does so by changing only
7076-784: The end of the Second World War, in August 1945, Ozu destroyed the script and all footage of the film. He was detained as a civilian, and worked in a rubber plantation. Of his film team of 32 people, there was only space for 28 on the first repatriation boat to Japan. Ozu won a lottery giving him a place, but gave it to someone else who was anxious to return. Ozu returned to Japan in February 1946, and moved back in with his mother, who had been staying with his sister in Noda in Chiba prefecture . He reported for work at
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#17330934025717192-555: The famous " Mighty Wurlitzer " could simulate some orchestral sounds along with a number of percussion effects such as bass drums and cymbals, and sound effects ranging from "train and boat whistles [to] car horns and bird whistles; ... some could even simulate pistol shots, ringing phones, the sound of surf, horses' hooves, smashing pottery, [and] thunder and rain". Musical scores for early silent films were either improvised or compiled of classical or theatrical repertory music. Once full features became commonplace, however, music
7308-437: The film occurs when the man is apologizing to his wife and suddenly slaps her head, but it is then revealed that he was killing a mosquito. According to Donald Richie , Ozu's 1930 film I Flunked, But... was based in part on this film. To David Bordwell I Flunked, But... presents the opposite situation to this film, in that the protagonist does not graduate and so does not have to face unemployment. Both films reflect
7424-475: The first film serial , The Million Dollar Mystery , released in 1914. The first westerns were filmed at Fred Scott 's Movie Ranch in South Beach, Staten Island. Actors costumed as cowboys and Native Americans galloped across Scott's movie ranch set, which had a frontier main street, a wide selection of stagecoaches and a 56-foot stockade. The island provided a serviceable stand-in for locations as varied as
7540-411: The first commercially successful sound film , but silent films were still the majority of features released in both 1927 and 1928, along with so-called goat-glanded films: silents with a subsection of sound film inserted. Thus the modern sound film era may be regarded as coming to dominance beginning in 1929. For a listing of notable silent era films, see List of years in film for the years between
7656-622: The formation of the Motion Picture Patents Company in an attempt to control the industry and shut out smaller producers. The "Edison Trust", as it was nicknamed, was made up of Edison , Biograph , Essanay Studios , Kalem Company , George Kleine Productions , Lubin Studios , Georges Méliès , Pathé , Selig Studios , and Vitagraph Studios , and dominated distribution through the General Film Company . This company dominated
7772-459: The image to flicker , and images with low rates of flicker are very unpleasant to watch. Early studies by Thomas Edison for his Kinetoscope machine determined that any rate below 46 images per second "will strain the eye". and this holds true for projected images under normal cinema conditions also. The solution adopted for the Kinetoscope was to run the film at over 40 frames/sec, but this
7888-443: The image, in one direction then the other 5) A pond, at night. Frogs improvising a concert. A storm, then the sunrise. In 2003, the centenary of Ozu's birth was commemorated at various film festivals around the world. Shochiku produced the film Café Lumière (珈琲時光), directed by Taiwanese film-maker Hou Hsiao-hsien as homage to Ozu, with direct reference to the late master's Tokyo Story (1953), to premiere on Ozu's birthday. Ozu
8004-691: The industry as both a vertical and horizontal monopoly and is a contributing factor in studios' migration to the West Coast. The Motion Picture Patents Co. and the General Film Co. were found guilty of antitrust violation in October 1915, and were dissolved. The Thanhouser film studio was founded in New Rochelle, New York , in 1909 by American theatrical impresario Edwin Thanhouser . The company produced and released 1,086 films between 1910 and 1917, including
8120-535: The industry had moved fully into the sound era , in which movies were accompanied by synchronized sound recordings of spoken dialogue, music and sound effects . Most early motion pictures are considered lost owing to their physical decay, as the nitrate filmstock used in that era was extremely unstable and flammable. Additionally, many films were deliberately destroyed, because they had negligible remaining immediate financial value in that era. It has often been claimed that around 75 percent of silent films produced in
8236-828: The industry's acceptance of it, tinting was abandoned altogether, because the dyes used in the tinting process interfered with the soundtracks present on film strips. The early studios were located in the New York City area . Edison Studios were first in West Orange, New Jersey (1892), they were moved to the Bronx, New York (1907). Fox (1909) and Biograph (1906) started in Manhattan , with studios in St George, Staten Island . Other films were shot in Fort Lee, New Jersey . In December 1908, Edison led
8352-532: The introduction of sound with its 24 frame/sec standard speed 2-bladed shutters have become the norm for 35 mm cinema projectors, though three-bladed shutters have remained standard on 16 mm and 8 mm projectors, which are frequently used to project amateur footage shot at 16 or 18 frames/sec. A 35 mm film frame rate of 24 fps translates to a film speed of 456 millimetres (18.0 in) per second. One 1,000-foot (300 m) reel requires 11 minutes and 7 seconds to be projected at 24 fps, while
8468-470: The introduction of talkies, coupled with the roughly simultaneous onset of the Great Depression , was devastating to many musicians. A number of countries devised other ways of bringing sound to silent films. The early cinema of Brazil , for example, featured fitas cantatas (singing films), filmed operettas with singers performing behind the screen. In Japan , films had not only live music but also
8584-615: The lecturing circuit. The principle of stroboscopic animation was well-known since the introduction of the phenakistiscope in 1833, a popular optical toy , but the development of cinematography was hampered by long exposure times for photographic emulsions , until Eadweard Muybridge managed to record a chronophotographic sequence in 1878. After others had animated his pictures in zoetropes , Muybridge started lecturing with his own zoopraxiscope animation projector in 1880. The work of other pioneering chronophotographers, including Étienne-Jules Marey and Ottomar Anschütz , furthered
8700-426: The longer, more prestigious films in the catalog are offered in both standard black-and-white "plain stock" as well as in "hand-painted" color. A plain-stock copy, for example, of the 1907 release Ben Hur is offered for $ 120 ($ 4,069 USD today), while a colored version of the same 1000-foot, 15-minute film costs $ 270 ($ 9,156) including the extra $ 150 coloring charge, which amounted to 15 cents more per foot. Although
8816-401: The mid-1910s, as the differences between stage and screen became apparent. Due to the work of directors such as D. W. Griffith , cinematography became less stage-like, and the development of the close up allowed for understated and realistic acting. Lillian Gish has been called film's "first true actress" for her work in the period, as she pioneered new film performing techniques, recognizing
8932-512: The most humanistic director of all time. In 2013, director Yoji Yamada of the Otoko wa Tsurai yo film series remade Tokyo Story in a modern setting as Tokyo Family . In the Wim Wenders documentary film Tokyo-Ga , the director travels to Japan to explore the world of Ozu, interviewing both Chishū Ryū and Yuharu Atsuta. In 2023, OZU: Ozu Yasujirō ga Kaita Monogatari (OZU～小津安二郎が描いた物語～),
9048-434: The narrative content. The style of his films is most striking in his later films, a style he had not fully developed until his post-war sound films. He did not conform to Hollywood conventions. Rather than using the typical over-the-shoulder shots in his dialogue scenes by most directors, the camera gazes on the actors directly, which has the effect of placing the viewer in the middle of the scene. Throughout his career, Ozu used
9164-520: The new "talkies" around the mid-1930s. The visual quality of silent movies—especially those produced in the 1920s—was often high, but there remains a widely held misconception that these films were primitive, or are barely watchable by modern standards. This misconception comes from the general public's unfamiliarity with the medium, as well as from carelessness on the part of the industry. Most silent films are poorly preserved, leading to their deterioration, and well-preserved films are often played back at
9280-450: The plots without specialised subtitling or additional commentary. Few film scores survived intact from the silent period, and musicologists are still confronted by questions when they attempt to precisely reconstruct those that remain. Scores used in current reissues or screenings of silent films may be complete reconstructions of compositions, newly composed for the occasion, assembled from already existing music libraries, or improvised on
9396-489: The progression of their scripts by how many bottles of sake they had drunk. Ozu never married. He lived with his mother until she died in 1961. A heavy smoker, Ozu died of throat cancer in 1963 on his sixtieth birthday. The grave he shares with his mother at Engaku-ji in Kamakura bears no name—just the character mu ("nothingness"). Ozu is probably as well known for the technical style and innovation of his films as for
9512-438: The projectionist provided a detailed guide to presenting the film. Theaters also—to maximize profit—sometimes varied projection speeds depending on the time of day or popularity of a film, or to fit a film into a prescribed time slot. All motion-picture film projectors require a moving shutter to block the light whilst the film is moving, otherwise the image is smeared in the direction of the movement. However this shutter causes
9628-424: The reasons for the cited extra charge were likely obvious to customers, the distributor explains why his catalog's colored films command such significantly higher prices and require more time for delivery. His explanation also provides insight into the general state of film-coloring services in the United States by 1908: The coloring of moving picture films is a line of work which cannot be satisfactorily performed in
9744-434: The relationships between generations. His most widely beloved films include Late Spring (1949), Tokyo Story (1953) and An Autumn Afternoon (1962). Widely regarded as one of the world's greatest and most influential filmmakers, Ozu's work has continued to receive acclaim since his death. In the 2012 Sight & Sound poll, Ozu's Tokyo Story was voted the third-greatest film of all time by critics world-wide. In
9860-486: The release of D. W. Griffith 's epic The Birth of a Nation (1915). In 1999, the Finnish filmmaker Aki Kaurismäki produced Juha in black and white, which captures the style of a silent film, using intertitles in place of spoken dialogue. Special release prints with titles in several different languages were produced for international distribution. In India, the film Pushpak (1988), starring Kamal Haasan ,
9976-568: The same poll, Tokyo Story was voted the greatest film of all time by 358 directors and film-makers world-wide. Ozu was born in the Fukagawa district of Tokyo , the second son of merchant Toranosuke Ozu and his wife Asae. His family was a branch of the Ozu Yoemon merchant family from Ise , and Toranosuke was the 5th generation manager of the family's fertilizer business in Nihonbashi . Asae came from
10092-440: The silent era (from the early 1910s in film to the late 1920s) was a particularly fruitful period, full of artistic innovation. The film movements of Classical Hollywood as well as French Impressionism , German Expressionism , and Soviet Montage began in this period. Silent filmmakers pioneered the art form to the extent that virtually every style and genre of film-making of the 20th and 21st centuries has its artistic roots in
10208-470: The silent era. The silent era was also a pioneering one from a technical point of view. Three-point lighting, the close-up , long shot , panning , and continuity editing all became prevalent long before silent films were replaced by " talking pictures " or "talkies" in the late 1920s. Some scholars claim that the artistic quality of cinema decreased for several years, during the early 1930s, until film directors , actors, and production staff adapted fully to
10324-515: The silent film era and the era of talkies. Sunset Boulevard shows the disconnect between the two eras in the character of Norma Desmond , played by silent film star Gloria Swanson , and Singin' in the Rain deals with Hollywood artists adjusting to the talkies. Peter Bogdanovich 's 1976 film Nickelodeon deals with the turmoil of silent filmmaking in Hollywood during the early 1910s, leading up to
10440-479: The silent film era that had earned the highest gross income as of 1932. The amounts given are gross rentals (the distributor's share of the box-office) as opposed to exhibition gross. Although attempts to create sync-sound motion pictures go back to the Edison lab in 1896, only from the early 1920s were the basic technologies such as vacuum tube amplifiers and high-quality loudspeakers available. The next few years saw
10556-427: The silents for nearly four decades. As motion pictures gradually increased in running time, a replacement was needed for the in-house interpreter who would explain parts of the film to the audience. Because silent films had no synchronized sound for dialogue, onscreen inter-titles were used to narrate story points, present key dialogue and sometimes even comment on the action for the audience. The title writer became
10672-473: The silver screen. The animated film Fantasia (1940), which is eight different animation sequences set to music, can be considered a silent film, with only one short scene involving dialogue. The espionage film The Thief (1952) has music and sound effects, but no dialogue, as do Thierry Zéno 's 1974 Vase de Noces and Patrick Bokanowski 's 1982 The Angel . I Graduated, But... I Graduated, But... ( 大学は出たけれど , Daigaku wa Deta keredo )
10788-438: The size of the exhibition site, musical accompaniment could drastically change in scale. Small-town and neighborhood movie theatres usually had a pianist . Beginning in the mid-1910s, large city theaters tended to have organists or ensembles of musicians. Massive theatre organs , which were designed to fill a gap between a simple piano soloist and a larger orchestra, had a wide range of special effects. Theatrical organs such as
10904-438: The spot in the manner of the silent-era theater musician. Interest in the scoring of silent films fell somewhat out of fashion during the 1960s and 1970s. There was a belief in many college film programs and repertory cinemas that audiences should experience silent film as a pure visual medium, undistracted by music. This belief may have been encouraged by the poor quality of the music tracks found on many silent film reprints of
11020-462: The standardization of the projection speed of 24 frames per second (fps) for sound films between 1926 and 1930, silent films were shot at variable speeds (or " frame rates ") anywhere from 12 to 40 fps, depending on the year and studio. "Standard silent film speed" is often said to be 16 fps as a result of the Lumière brothers' Cinématographe , but industry practice varied considerably; there
11136-484: The time. Since around 1980, there has been a revival of interest in presenting silent films with quality musical scores (either reworkings of period scores or cue sheets, or the composition of appropriate original scores). An early effort of this kind was Kevin Brownlow 's 1980 restoration of Abel Gance 's Napoléon (1927), featuring a score by Carl Davis . A slightly re-edited and sped-up version of Brownlow's restoration
11252-547: The title character's non-talkative nature to create a similar style of humor. A lesser-known example is Jérôme Savary 's La fille du garde-barrière (1975), an homage to silent-era films that uses intertitles and blends comedy, drama, and explicit sex scenes (which led to it being refused a cinema certificate by the British Board of Film Classification ). In 1990, Charles Lane directed and starred in Sidewalk Stories ,
11368-629: The traditional approach include organists such as Dennis James and pianists such as Neil Brand , Günter Buchwald, Philip C. Carli, Ben Model , and William P. Perry . Other contemporary pianists, such as Stephen Horne and Gabriel Thibaudeau, have often taken a more modern approach to scoring. Orchestral conductors such as Carl Davis and Robert Israel have written and compiled scores for numerous silent films; many of these have been featured in showings on Turner Classic Movies or have been released on DVD. Davis has composed new scores for classic silent dramas such as The Big Parade (1925) and Flesh and
11484-468: The viewing experience. Among the contemporary ensembles in this category are Un Drame Musical Instantané , Alloy Orchestra , Club Foot Orchestra , Silent Orchestra , Mont Alto Motion Picture Orchestra, Minima and the Caspervek Trio, RPM Orchestra . Donald Sosin and his wife Joanna Seaton specialize in adding vocals to silent films, particularly where there is onscreen singing that benefits from hearing
11600-436: The wedding itself is never shown. This is typical of Ozu's films, which eschew melodrama by eliding moments that would often be used in Hollywood in attempts to stir an emotional reaction from audiences. Ozu became recognized internationally when his films were shown abroad. Influential monographs by Donald Richie , Paul Schrader , and David Bordwell have ensured a wide appreciation of Ozu's style, aesthetics, and themes by
11716-409: The wrong speed or suffer from censorship cuts and missing frames and scenes, giving the appearance of poor editing. Many silent films exist only in second- or third-generation copies, often made from already damaged and neglected film stock. Many early screening were plagued by flicker on the screen, when the stroboscopic interruptions between frames lay below the critical flicker frequency . This
11832-680: Was a black comedy entirely devoid of dialog. The Australian film Doctor Plonk (2007), was a silent comedy directed by Rolf de Heer . Stage plays have drawn upon silent film styles and sources. Actor/writers Billy Van Zandt and Jane Milmore staged their Off-Broadway slapstick comedy Silent Laughter as a live action tribute to the silent screen era. Geoff Sobelle and Trey Lyford created and starred in All Wear Bowlers (2004), which started as an homage to Laurel and Hardy then evolved to incorporate life-sized silent film sequences of Sobelle and Lyford who jump back and forth between live action and
11948-415: Was compiled from photoplay music by the pianist, organist, orchestra conductor or the movie studio itself, which included a cue sheet with the film. These sheets were often lengthy, with detailed notes about effects and moods to watch for. Starting with the mostly original score composed by Joseph Carl Breil for D. W. Griffith 's epic The Birth of a Nation (1915), it became relatively common for
12064-478: Was controversial, the door had been opened for a new approach to the presentation of classic silent films. Today, a large number of soloists, music ensembles, and orchestras perform traditional and contemporary scores for silent films internationally. The legendary theater organist Gaylord Carter continued to perform and record his original silent film scores until shortly before his death in 2000; some of those scores are available on DVD reissues. Other purveyors of
12180-451: Was expensive for film. However, by using projectors with dual- and triple-blade shutters the flicker rate is multiplied two or three times higher than the number of film frames — each frame being flashed two or three times on screen. A three-blade shutter projecting a 16 fps film will slightly surpass Edison's figure, giving the audience 48 images per second. During the silent era projectors were commonly fitted with 3-bladed shutters. Since
12296-413: Was involved in a fracas where he punched another employee for jumping a queue at the studio cafeteria, and when called to the studio director's office, used it as an opportunity to present a film script he had written. In September 1927, he was promoted to director in the jidaigeki (period film) department, and directed his first film, Sword of Penitence , which has since been lost. Sword of Penitence
12412-403: Was later distributed in the United States by Francis Ford Coppola , with a live orchestral score composed by his father Carmine Coppola . In 1984, an edited restoration of Metropolis (1927) was released with a new rock music score by producer-composer Giorgio Moroder . Although the contemporary score, which included pop songs by Freddie Mercury , Pat Benatar , and Jon Anderson of Yes ,
12528-514: Was no actual standard. William Kennedy Laury Dickson , an Edison employee, settled on the astonishingly fast 40 frames per second. Additionally, cameramen of the era insisted that their cranking technique was exactly 16 fps, but modern examination of the films shows this to be in error, and that they often cranked faster. Unless carefully shown at their intended speeds silent films can appear unnaturally fast or slow. However, some scenes were intentionally undercranked during shooting to accelerate
12644-486: Was received by movie critics as the first notable work of social criticism in Japanese cinema, winning Ozu wide acclaim. In 1935, Ozu made a short documentary with a soundtrack: Kagami Jishi , in which Kikugoro VI performed a Kabuki dance of the same title. This was made by request of the Ministry of Education. Like the rest of Japan's cinema industry, Ozu was slow to switch to the production of talkies : his first film with
12760-620: Was released in 1926, would become known for her naturalistic acting. According to Anton Kaes, a silent film scholar from the University of California, Berkeley, American silent cinema began to see a shift in acting techniques between 1913 and 1921, influenced by techniques found in German silent film. This is mainly attributed to the influx of emigrants from the Weimar Republic , "including film directors, producers, cameramen, lighting and stage technicians, as well as actors and actresses". Until
12876-575: Was solved with the introduction of a three-bladed shutter (since 1902), causing two more interruptions per frame. Another widely held misconception is that silent films lacked color. In fact, color was far more prevalent in silent films than in the first few decades of sound films. By the early 1920s, 80 percent of movies could be seen in some sort of color, usually in the form of film tinting or toning or even hand coloring, but also with fairly natural two-color processes such as Kinemacolor and Technicolor . Traditional colorization processes ceased with
12992-454: Was the cause of this outburst from director Marshall Neilan in 1917: "The sooner the stage people who have come into pictures get out, the better for the pictures." In other cases, directors such as John Griffith Wray required their actors to deliver larger-than-life expressions for emphasis. As early as 1914, American viewers had begun to make known their preference for greater naturalness on screen. Silent films became less vaudevillian in
13108-532: Was the critically and commercially successful Brothers and Sisters of the Toda Family , released in 1941. He followed this with There Was a Father ( Chichi Ariki , 1942), which explored the strong bonds of affection between a father and son despite years of separation. In 1943, Ozu was again drafted into the army for the purpose of making a propaganda film in Burma . However, he was sent to Singapore instead, to make
13224-566: Was the first Ozu film to use a low camera position, which would become his trademark. After a series of the "no star" pictures, in September 1929, Ozu's first film with stars, I Graduated, But... , starring Minoru Takada [ jp ] and Kinuyo Tanaka , was released. In January 1930, he was entrusted with Shochiku's top star, Sumiko Kurishima , in her new year film, An Introduction to Marriage [ jp ] . His subsequent films of 1930 impressed Shiro Kido enough to invite Ozu on
13340-496: Was voted the tenth greatest director of all time in the 2002 British Film Institute 's Sight & Sound poll of critics' top 10 directors. Ozu's Tokyo Story has appeared several times in the Sight & Sound poll of best films selected by critics and directors. In 2012, it topped the poll of film directors' choices of "greatest film of all time". Ozu was one of film critic Roger Ebert 's favourite filmmakers, who described him as
13456-558: Was written by Ozu, with a screenplay by Kogo Noda , who would become his co-writer for the rest of his career. On September 25, he was called up for service in the military reserves until November, which meant that the film had to be partly finished by another director. In 1928, Shiro Kido, the head of the Shochiku studio, decided that the company would concentrate on making short comedy films without star actors. Ozu made many of these films. The film Body Beautiful , released on 1 December 1928,
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