Porter's sequential continuity editing links several shots to form a narrative of firemen responding to a house fire. They leave the station with their horse drawn pumper, arrive on the ...
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A gardener is watering his flowers, when a mischievous boy sneaks up behind his back, and puts a foot on the water hose. The gardener is surprised, and looks into the nozzle to find out why... See full summary »
A man opens the big gates to the Lumière factory. Through the gateway and a smaller doorway beside it, workers are streaming out, turning either left or right. Most of them are women in ... See full summary »
In a medium close-up shot of the first kiss ever recorded on screen, two fervent lovers cuddle and talk passionately at hair's breadth, just before the love-smitten gentleman decides to give his chosen one an innocent peck.
France, at the end of the sixteenth century. Henry III decided to eliminate his rival, the Duke of Guise, and, therefore, calls him in the castle of Blois. The mistress of the duke, warned ... See full summary »
Charles Le Bargy
Charles Le Bargy,
Porter's sequential continuity editing links several shots to form a narrative of firemen responding to a house fire. They leave the station with their horse drawn pumper, arrive on the scene, and effect the safe rescue of a woman from the burning house. But wait, she tells them of her child yet asleep in the burning bedroom . . .Written by
Thomas McWilliams <firstname.lastname@example.org>
There are actually two versions of this film. One version (the re-edit) was shown to the public as a demonstration of the earliest use of editing. It was later discovered that somebody re-edited this film in the 1930s or 1940s based on the real footage that had been salvaged. In the original version of the film, the interior point of view is shown first and completed. Then the exact same action repeating itself is shown again from the exterior. See more »
Depicts a fireman's thrilling and dangerous calling and emphasizes the perils he encounters when human life is at stake.
At Edison's Company, he experimented with longer films, and was responsible for directing the first American documentary or realistic narrative film, The Life of an American Fireman (1903). Though it's among the earliest story films (but by no means the first as often alleged), The six-minute narrative film combined re-enacted scenes and documentary footage, and was dramatically edited with inter-cutting between the exterior and interior of a burning house. Edison was actually uncomfortable with Porter's editing techniques, including his use of close-ups to tell an entertaining story. For action, excitement, & suspense, Life of an American Fireman rates awfully high, improving on all that went before, borrowing from what came before wherever it was already thrilling.
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