Movies

What specific visual film techniques do you see utilized in contemporary television
The visual techniques used by film and television are similar to the point that they  trade  or  interchange  techniques.   One is the use of the camera.  Besides the angle and perspective of capturing images with the aid of the cinematographer, there is also technology to take into consideration as newer models of cameras are now digital, replacing the older celluloid and analog models (Mitchell, 2004).  In addition there is also the use of the technique called  mise en scene  which entail the organization of the elements seen onscreen which consist of costume or wardrobe, setting or backdrop, action and the use of light to capture the best image possible (Stadler and McWilliam, 2009).   This is very evident is some television shows like Dexter and 24 which makes use of various  plays  of the camera to set the mood to make the television viewer feel they are watching a movie.  The same can be said of the television reality series like Survivor and its derivatives where camera angle captures the best image of the participants as they do through the motions.  It is the visual techniques employed that made these seemingly  natural  actions more dramatic and appealing (Thompson, 2003).

What specific television visual techniques do you see utilized in contemporary films  
Film is also influenced by television in the use of equipment.  Before, filmmakers used to employ the  ancient  cranked camera and the use of analog projectors using celluloid film.   In keeping with the times, film outfits now make use of digital models of cameras to record movies which have proven to be easier to use and more efficient in terms of editing and shortens the time in processing the film before it it released (Midnightanjel, 2009).In what ways have film and television influenced each other during their shared history  
Film and television have both influenced one another. It would be erroneous to think that television is the  poor cousin  of film as  shown by the way television has influenced film in terms of the technology used and it is through technology that they are becoming closer to the point of being intertwined.  Chronologically, films were first and before television came into being, filmmakers have developed and perfected various techniques in getting the best out of their resources whether it is the equipment they use or the quality of performance of the actors.  When television started becoming available in almost every household, the cinematic techniques of film was applied here.  In addition, popular actors such as Tom Hanks (Bosom Buddies), John Travolta (Welcome Back, Kotter) and Jennifer Anniston (Friends) started out by appearing on television shows before  graduating  to the big screen.  If it were not for the influence of film on television with regard to the cinematic techniques used, these actors would remain unknown to us.  It is no surprise that the transition from television to film was not that hard for them.  The same can be said with the directors who alternate between television and film.

These instances show that film and television are headed to a point where they would be difficult to distinguish in terms of the visual techniques despite other aspects that sets them apart such as aspects of production that includes budgeting, format, shooting or taping schedules and locations.

Gangster films, particularly those produced in Asia, are typically based on cult culture prototypes that involve socio-political factors indigenous to the country of production. Film industries in India and Hong Kong have been exploring themes involving the underworld and mafia for decades. These films are known to be stylistically outlined, with a firm directorial focus on weaving congruent plots ably supported by succinct narratives. Albeit sometimes politically motivated to endorse certain subjective viewpoints, the vast majority of these films do churn out impressions of a far greater sensibility lying beneath the violent conflicts and interpersonal crises depicted on screen. This paper is going to critique two such films, namely, Company and Infernal Affairs III, which hit the theaters in 2002 and 2003 respectively. While the former explores the notorious underworld of Mumbai, India, the latter is based on Hong Kong.

Infernal Affairs III, directed by Andrew Lau and Alan Mak, recounts the tale of undercover intelligence in the Triads, the mafia world in Hong Kong. One of the key cinematic techniques adopted in this crime thriller is interplay of time. This may be noticed in the storytelling itself. Albeit the narrative of the movie is set in continuation with the 2002 film Infernal Affairs, it sometimes breaks away from the past and meanders into the future. Again, a number of characters are retained in the sequel, which implies temporal shift from events shown in Internal Affairs. Senior Inspector Lau Kin-Ming, police officer Chan Wing-Yan and mafia kingpin Hon Sam feature in Internal Affairs III, highlighting a creative use of cinematic time. Chan Wing-Yan, the police officer who struggles with his own identity after disguising himself as a mafia member for ten years to investigate into the modus operandi of the Hong Kong underworld, dies at the end of Internal Affairs, but only to be reintroduced in flashback in the beginning of the latter film. Once again, the films narrative switches ahead of time following the death of Yan. Hence, the narrative discontinuity, which serves both as a filmic device and thematic linkage, marks a deliberate departure from classical flashbacks where time is treated in a linear manner (Marchetti 6).

Time and narrative take a similar course in Company, the 2002 Bollywood film directed by Ram Gopal Varma. Like Infernal Affairs III, Company too depicts the dire consequences of criminal involvement over a lengthy period of time. In this regard, the character of Chandu in Company may well be compared to that of Yan in Infernal Affairs III. Both in the beginning harbor aspirations for making progress in life and both get disillusioned at a point when there is no turning back from the darkest world of crimes. However, the case with Chandu is a lot grimmer than that with Yan. He is at once a mastermind and victim of his self-induced machinery, which is inescapable and unforgiving. While Yan, as a mole, is driven by a singular goal to unmask the world of crimes, Chandu wittingly joins it. Chandus association with Malik, the indisputable don of the Mumbai underworld, marks the beginning of his own end. The crucial theme Varma wants to project through the rift between Chandu and Malik is crisis of subversive values. The same thematic aspect is also included in Infernal Affairs III, but not through the actions carried out by the seemingly good characters.
As regards the treatment of time, Company focuses primarily on interpersonal romantic relations of both Malik and Chandu. In the course of the plot, both fall out with each other and seek vengeance for what they believe to be violation of ethical codes of the criminal world. Subsequently, their spouses undergo tremendous emotional turmoil and look back despairingly at the good times they shared as a unified gang. The utter despotism of the two rival kingpins is presented in sharp contrast to the tender sentiments of the female leads.

Themes concerning identity crisis, corruption, and disguise dominate both films. Characters such as Ming and Chandu experience a sense of helplessness when their self-identities are put on stake at the cost of their assigned roles. Moreover, both films deliver strong socio-political messages relevant to their respective countries. The real context of Mumbai economy is shown in Company. Malik and his gang stand for an inviolable dictatorship induced by fear, which is attained by surreptitious flow of black money. This calls for a cultural interpretation of the contemporary middle-class society as well. Inspector Sreenivasan may be seen as a mitigating agent trying to make amends for the massive losses of lives and properties in Mumbai and elsewhere in the country and abroad. His primary concern is to restore order in the society. But when the rift between Malik and Chandu goes out of his hand as both of them flee India, he changes his modus operandi and becomes a force element uncaring for the basic humane values. As a result, Sreenivasan turns out to be a social representative-turned-legal manipulator. Similarly in Infernal Affairs III, Lau Kin-Ming turns violent on Lee Sum-Yee when the formers secrecy becomes exposed to the latter. However, it may also be noted that Sreenivasan is portrayed as a much more assured individual than Lau Kin-Ming.

The triumph of justice over greed for power and money is a recurrent theme in many contemporary gangster films and Company is no exception either (Nochimson 273). But this theme is presented as a subordinate cultural coefficient in Internal Affairs III, thus taking the wind out of its relevance on a more widespread ethical scale.

The fact that state-controlled law enforcing agencies in all nations invariably resort to counter-intelligence tactics to trace organized activities against the internal security interests of the country is underscored by the intervention of Internal Affairs and Mumbai Police in Infernal Affairs III and Company respectively. Internal Affairs is a security wing in Hong Kong investigating into the activities of organized Triads (Nochimson 212). On the other hand, the Company indirectly refers to the notorious real gang comprising underworld boss of Mumbai Dawood Ibrahim and his rival Chotta Rajan (Nochimson 273), who once created panic in India through a series of blasts and mass killings in Mumbai. Hence, both films take a referential stance to organized crimes in real world.

Citizen Kane is regarded as one of the most significant movies ever to be made in the history of Hollywood. Most of the movie critics and personalities agree and believe that this is one of the most important American films of all time. Why not With the kind of work and artistic ability dedicated on this movie, it is, without a doubt, worthy of all the praises and positive comments from different people around the globe.

In a sense, one of the greatest characteristics of Citizen Kane is its ability to present an idea in the most creative and meaningful way. Orson Welles, a great and reputable movie director, has done a great job in utilizing the cameras ability to present and depict ideas and themes in different approaches, which may vary from being obvious to a more concealed way.

In the scene wherein the lead character, Foster Kan (played by Orson Welles), is giving his speech in front of many people, Welles has creatively utilized the camera in presenting the films primary theme and the scenes main meaning. In this specific part of the movie, the camera is positioned on the lower part of Kanes image in front of the podium while delivering his speech, which supports the scenes theme with regard to hierarchy and supremacy in the society. The angle or position of the camera, which looks up to Kanes strong body movement and facial expression, uplifts the idea of dominance by those who are seating and aspiring to grab a position in the politics. Lastly, the long shot or wide angle of camera in the start of Kanes speech, which clearly presents his huge still-photo in the backdrop of the stage, reinforces the scenes theme of greediness and Kanes huge desire for power in the local politics.

The film consisted of four distinct but parallel stories that showed mans intolerance during four difference ages in history. The film covered 2, 500 years of history. Here are the stories

The Babylonian Era. This part of the film depicts the fall of Babylon as a consequence of intolerance arising from a conflict between religious fanatics within the empire

The Judean period (27 A.D.). This discusses the crucifixion and death of Jesus Christ. Emphasis is given to the rise of the Christian religion  the outcome of Jewish intolerance

St. Bartholomews Day Massacre (1572). The queen mother of France ordered the massacre of Huguenots in the city of Paris, as a result of the failure of the Edict of Toleration
Modern America (1914). This part discusses the inherent conflict between capitalists and workers. Crime, moral degradation, and violence as results of social intolerance. Man is presented as a selfish being, capable of destroying the lives of other individuals. Man is also a good being, capable of loving a cruel world.
The stories are not told separately. Instead, the film constantly cuts between each scene, setting up moral and psychological connections among the different parts. D.W. Griffith wants to create a single thematic arrangement of the film. As the four stories reach their climaxes, the cuts become more rapid. This means that the stories are merging under a single theme. For example, the transition from the third to the fourth story is abrupt. This is followed by an abrupt exaggeration of a problem (the inability of the Dear one appeal to the governor is fruitless). A sense of urgency is evident both in the film and the individual stories. It is possible that mans intolerance is becoming more and more rampant (manifested in many forms)  primarily in the form of indifference (the scene of the governor leaving the building and failing to help the woman).

Thus, the film achieves thematic and constructive continuity. The stories merge rapidly, as the theme reach its climax.

Griffith uses sentimental color techniques to emphasize the solitary nature of mans history. This also emphasizes the imprudence of intolerance as it relates to the development of ideas and concepts. Griffith apparently does not give the characters of the film names. This is because Griffith wants them to be generic symbols of mans fortunes and values. Today, this technique is used primarily in filming radical independent films. Note that the focus is not on the character but on what the character represents.

The movie was born at a wrong period of world history. Its theme was a contradiction of existing social, economic, and political conditions. The outbreak of the First World War is an indication of mans ineptness to the good. Indeed, when the movie was released, it became a flop at the box-office. Triangle Studios went bankrupt. Politicians of that time did not want the United States to participate in the war (participation was a means to attain tolerance). The world simply did not care of the consequences of intolerance as long as the society survives.

Present essay provides the criticism of popular music product based on Adornos discussion of mass culture, and popular music specifically. The analysis of Frankfurt Schools conceptualization of popular music is realized in the first place to find basic notions, concepts and theories used by Adorno to criticize the phenomenon of standardization, which in his view characterizes the production of popular music. Finally, Adornos theory is applied to the analysis of concrete popular song.

Adornos criticisms of popular music 
According to Adorno the basic trait, which distinguishes popular music from classic music is standardization (Adorno, 17). Such standardization, being a product of a popular musics function in social control over feelings, emotions, allowed patterns of behavior and reflection, is reflected both in formal structure of composition and in harmony and melodic development.

Based on experience of so-called Broadway music, Adorno rightly claims that formal structure generally has the rule that the chorus consists of thirty two bars and that the range is limited to one octave and one note (Adorno, 18). However, this rule may have certain exceptions in modern popular music, including its cross-fertilization with such earlier independent styles as blues, jazz and rock it basically characterized the linear and standardized structure of popular music production.

It should be mentioned that such standardization is explained by commercial technique of music production, where financial result is more important than the quality. The practice of sampling music through the use of electronic equipment shows that popular music, notwithstanding style divisions becomes more and more standardized in terms of rhythmic figures, formal structure and arrangement.

Harmonic component of popular music according to Adorno is also increasingly standardized. As he argues, Most important of all, the harmonic cornerstones of each hit  the beginning and the end of each part  must beat out the standard scheme. This scheme emphasizes the most primitive harmonic facts no matter what has harmonically intervened (Adorno, 19). Adorno does not mention that such square technique is borrowed from early blues music such as swing and boogie-woogie, however, he is right in saying that such harmonic simplification is designed to ease the experience of listening, which should be relaxing and meaningless, corresponding to the passive type of listening, welcomed by modern civilization.

All this results in the changing of listening patterns. Popular music produced for the modern listener focuses on effects, embellishments and details, without due attention to the understanding of the whole. In a possibility, all popular musics parts are interchangeable without loosing integrity, because such integrity is merely mechanical, according to Adorno. No catastrophe would happen if one chorus would be changed for another due to the predictability of harmonic and melodic development.

Moreover, it should be noted that under such conditions reflexive listening is subsumed my fan culture, which focuses on musicians image, popularity, lyrics, but not the music itself. The patterns used by popular music does not allow it to move forward towards development of formal, melodic and harmonic structures  its development is paralyzed in the stasis of stone-like forms, melodies and harmonies.

The diversity is only guaranteed by improvisation and listeners lack of professionalism, which is quite natural. According to Adorno, the process of standardization is accompanied by pseudo-individualization, by which one should understand the creation of market diversity of music products, songs, groups from which an ordinary, listener may choose what he likes (Adorno, 19). However, Adorno contends that such choice is only a chimera, because all music production is generally standardized.

To sum it up, according to Adornos analysis, standardization, reflected in form, melody and harmony is the basic feature of modern popular music, distinguishing it from serious music. In what follows we will try to apply Adornos concepts to the analysis of popular music product. We have chosen girl group Atomic Kitten song called Its OK

Standardization in the popular music example of Atomic Kitten song.

All basic traits of standardization and pseudo-individualization discussed by Adorno may be found in Atomic Kittens song called Its Ok. The introduction of the song, which is a melody made in old church mode  presumable Dorian or Lydian is quite functional, because it is not linked with the rest of the song neither harmonically nor thematically. Such types of introduction are used, because it is problematic from the structural point of view to start a song with a direct rhythmic beat and lyrics.

The introduction is interrupted by a rhythmic beat, which continues through the song and plays overt functional role. Its role is to create the rhythmic background of the song which in the other way would be lost because of song melodic fluidity and the lack of structure. Unnecessary and intrusive rhythmical beat, thus, enforces the integrity of the song and is designed to energize listener.

It should be noted that rhythmical beat used is a mere sample, chosen on synthesizer and then layered on the basic text. So, its role is quite mechanical. Moreover, it is utilization is directly caused by songs marketing priorities to become a hit on dance floors. It could be difficult to achieve it without articulating rhythm.
The melody used in song is based on rhythm and blues pattern, however not in its radical reflection. The melody is rather sterile, no harmonic modulations are made. The flow of music has no breakthroughs realized by the change of tonalities and cadences. The distinction between chorus and basic melody is difficult to discern, because they are not formally linked. The chorus could be easily changed for another without losing songs integrity, which is mechanical.

It should be noted that lyrical and dramatic aspects are not used at all, notwithstanding the fact that the song is about broken love, loneliness etc. All these possible elements of musical language are subsumed by functional rhythmic dominance.

The lack of harmonic counter-balance between chorus and other parts is achieved by placing the first note of chorus on the strong beat  so it looks like as it is a mere continuation of the song. This  results in the abandoning of the sense of development in music. The instruments used in the song also play quite functional role. It is basically electric guitar which is used. However, it is difficult to hear it because of intrusive digital beat at the background, guitars function may be described as repeating certain melodic figures (no lengthy than 3 notes) after they were sang by the soloists.

No diversification of guitar use, such as possible guitar solos is applied, because it would break the integrity of rhythmic beat, which dominates the song. If compared to classic rock or heavy metal, such utilization of guitar is quite retrograde and banal. We have basically chosen such example of standardization, because it goes without saying that classic rock music, however, has many flaws can not be even compared with modern examples of popular music total deterioration. Moreover, we think that Adornos concept is not always applicable to such styles of rock as art rock, where standardization is avoided. To return to the described song, one should mention that standardization is reinforced by rather simple lyrics used in the song.
The use of lyrics  is motivated by primitive rhythmic structure of the song, which precludes from dividing long sentences in different melodic lines, while maintaining integrity. That is why short phrases are used mechanically linked with other merely on the ground of rhyme, not integral meaning I believed in you  i remember how you used to say have no fear ull be ok when ya told me everything ya want is possible and we could have it all I believed in you must have been a fool all my dreams were with you....

The chorus is even more simplified with using OK and its synonyms as a basic sense component of lyrics. Standardization of text reaches incredible limits here, bordering with absurdity i said its ok i can promise you its alright you aint keeping me up all night  no more but ur not here but its ok i can promise you its alright you aint keeping me up all night no more but ur not here but its ok.

To sum it up, the analysis of popular song called Its OK showed that Adornos concept of standardization and pseudo-individualization are quite applicable to the analysis of modern popular music. Its basic characteristic today is that it mixes different styles such as Rhythm and Blues, Reggie, Rock to create standardized patterns, where mechanical electronic samples and banal lyrics are used.

From the formal point of view, such music as we have analyzed, lacks integral meaning, dramatics, logical coherences and meaning, which traditionally characterized art. The latter implies that such music is the result of commercialized production and has nothing to do with genuine art, focusing on making sense of divided reality. Genuine art is individual and coherent in all aspects form, harmony, melody, lyrics. Each part is inextricably linked to the whole  delinked from the whole it would lose its meaning and the whole construction would be broken.

However, such problems do not concern modern popular music, which is built on mechanical juxtaposition of parts, each of which may be easily changed. Our analysis of Atomic Kitten song showed that it lack harmonic diversity, literary meaning, development and thematic aspects. Functional arrangements comprised of rhythmic beat and guitar accompaniment dominate the song with far-ranging consequences for its musical quality.

As human beings, we were all given great gifts of intelligence, of wisdom, of courageousness, and even of outwitting others. But it was up to us how these would be utilized, some opted to make the best of it and have become scientists and inventors, professors and physicians. But others have a deeper passion for pursuing greatness, and it is through helping others that they have found this.

The three chosen films, The Constant Gardener, The Last King of Scotland, and Babel, had shown maltreatment, abuse, and oppression of those that are different from the ones who control the political, economic, and social powers of the world. In The Constant Gardener, we are given a birds eye view of how the Africans are being utilized for drug trials that are obviously unknown to them. In The Last King of Scotland, the Ugandan president Idi Amin abuses his power to commit homicide and kill those that are not siding with him. In Babel, we witness how coincidences that put young Moroccan children in peril have been punished in unjust ways. The people in the refugee camps are mistreated and abused they are not being treated like humans and are instead being left to die. In the same way that all humans cannot be treated this way, all of us deserve a life that we can be proud of and we can live with, these people deserve this too. If the circumstances were different and if we were in their shoes and we were the ones suffering from poverty and oppression, maltreatment and abuse, then would we not want the other to exert some effort to come to our aid, to rescue us from what we are experiencing. Surely, the United Nations would come to our aid, but sometimes, even their help cannot suffice. Just like how the wars were fought before and each country came to help each other, then maybe if we were all aware of how dreadful and appalling their situation are, then we would not need these films to encourage us to do something about it and instead, actively participate for their cause.

Each film shows how some people who are in power, which have the guns and the military by their side, abuse this power and use it for their own personal gains. I learned that sometimes, human compassion is overthrown by loyalty to people who can give financial complacency and safety from being caught in issues like this. For example, in The  Constant Gardener, human rights activist Tessa Quayle have stumbled upon the discovery that million dollar drugs are being tested on Africans, and even with their consent for the wrong information, they were not told of the deaths that arise from these drugs. The British are protecting each other because each party gains so much from this illegal drug testing. And this is why I learned that some people would do anything for money and power. It was very courageous of Tessa to pursue her leads with regards to the drug testing, even though she knows that all this might be futile. In the movie The Last King of Scotland, torture and oppression was seen through the eyes of Scottish physician Nicholas Garrigan. At first he did not want to see this and had chosen to be blinded by it, but when he witnesses and slowly realizes that it is happening to him and all those around him. Idi Amins cruelty was even paralled to Hitlers genocide (Dorfman).  But in spite of this, I learned that there are people like the Quayles, the doctors volunteering in Uganda who would have the best intentions, and they would want nothing but justice and peace brought to all people.

Whose map is Britain using when it completely ignores the UN and decides to invade Iraq asserted by Tessa Quayle in The Constant Gardener (Burcher). I believe that each filmmakers intent was to open the eyes of the public to the realities happening all around the world. Some may not be completely aware of these while other might be sheltered by what their government and the money hoarding companies are telling them. When it comes to power and money, people would do anything to get their piece regardless of the consequences and the lives that they take while doing so. I also deem that these filmmakers want the people who witness these dreadful conditions to be active and not passive, participate in whatever cause they believe in. Maybe find their inner Quayle, Garrigan, or Jones and believe in the goodness that mankind has left. Moreover, I also think that they would want to expose some of the symbolism that they think warrants exposure to public. In some ways, the filmmakers are becoming the activists themselves because they want to relay the message of their intention to those who will watch their movies.

I believe that the filmmakers were able to relay their messages to the public. Their intentions of becoming mediums of exposing hidden drug trials, the oppression of the African people, how they are being mistreated, how color affects peoples judgment and their actions towards one another. We have a glimpse of how the internal affairs works in these situations and maybe the filmmakers want us to see that sometimes, these events dont just happen in films, they too happen in real life. Maybe the filmmakers want us to determine for ourselves if people who have the worst intentions deserve all the grandeur that they have and the power bestowed upon them with that title. Maybe the filmmakers wanted us to learn how to act, how to survive in case we are put in the same situation cited in the films. Maybe they are teaching us to be clever, to be proactive, and to want to achieve betterment through helping others and becoming advocates of what we believe in.

When Tessas husband stopped being the constant gardener that he is and tried to find out what really happened to his wife and took matters in his own hands, I pitied him. I pitied him because his own wife did not want to involve him with her work he was kept in dark because maybe his wife believed that her husband would not be able to handle it. But also I admired his courage, because while others may not pursue what their wife has done, he was brave enough to do this not only for his own peace of mind but for his wife as well. As for Nicholas Garrigan, his attempts at an adventure in Uganda made him a great man, a great doctor as well because his cause, while at first may be personal, he learned to interact with his environment and had come to realize his good cause. However, we can see that he would prefer still the sheltered life and lived under the lavish roof of Ugandas president. It showed his character and his weak points, but when he realized that he needed to do something about the abuse of power that the president was imposing on his subjects, he was able to show his courage and gain justice for the people that he has hurt and has caused trouble for. For the film Babel, Mr. Jones was able to forgive and drop the charges for the nanny who took their kids across the border, even though the nanny might have gotten his children killed. He has shown compassionate for the life of the one who took care of his kids and put their lives above hers.

Films like these have always been a medium on how to express the simplest to the most complex messages that these filmmakers want to impart to their watchers. It shows the multitude of characters people around the world have especially when in the face of power, money against compassionate and vindication. It is very rare to witness the heroic acts of the aforementioned protagonists like Tessa Quayle, but it is in these people that we find strength and inspiration to be the change that we would want to see in the world.

Acclaimed as the first true film, the Great Train Robbery 1902 is a tale of a train robbery  a clerk is and left tied up by hour men. They threaten the operator, take the money, and shoot a passenger. A girl witnesses the incident and informs the Sheriff of the whereabouts of the bandits.

Unlike the Melies films which at that time were still a set of theatrical tableaus created as modifying tricks, the film may be considered as the first dramatic work conceived for film. Edwin Porter derived the theme from the offshoot of Western novels  train robbery, gunfight, and seesaw chase. After the gunfight with the guards, the robbers blow the safe apart and steal the money. Now, a girl finds the hostaged fireman and frees him. The fireman then chases the robbers and evidenly kills them. This thematic sensation will become the basis of modern Western films in the next 70 years.

The technique was new to the audiences of Porters time. Porter uses mostly close-up and medium shots to move the audience, making them feel part of the action. Although the edits are choppy, the acting is quite theatrical and conducive with traditional performance. Indeed, the movie has four themes, divided into 12 scenic units.

Almost all scenes in the movie are photographed in full to give the audience unbroken story points. Shooting on location poses a difficulty for Porter. Apparently, the scenes are more inspired by established photography techniques than formal stage scenes. Editing improves since the American Fireman. Porter is able to create a more cinematic, lively, and parallel story. Succeeding films follow this format.

The traditional, aristocratic audience accept the film without a sense of doubt. Indeed, the film was a sensation that all over the nation even empty stores became theaters to show it. The film is the new fulfillment of an art form. The movie industry, is at last moving in a fast pace. The motion picture is, indeed, the new spirit of the age.

Suppose that the movie is recreated thirty years after its conception in 1902, the audience can expect three things. First, the thematic arrangement of the movie will be similar from the 1903 release. Second, editing will improve dramatically. Choppy scenes will give way to clear, impartial scenic imaging (like in the film Gone With the Wind). And lastly, imaging and sound techniques are expected to improve. This will add sensation to the cinematic power of persuasion or in this case of dramatism. The case is the same if the movie is recreated today, although its overarching theme would be outdated.

Combining photographic scenes is undoubtedly a very difficult task in those days. This task must be done in lieu of the thematic message of the film, as well as the arrangements of scenes. Indeed, viewing the film from a historical perspectivem, the film is the first of its kind  an edited, imaged arranged, and thematically organized film. Porter is the first filmmaker to realize the dual aspect of imaging-theme arrangement into a clear juxtaposition of cinematic ordering.