Fotos
Enredo
Avaliação em destaque
Panoramically speaking
One should beware of trying to impose one's notion on others of what a word means, especially when one is referring to other periods of history.
A panorama: A panorama (formed from the Greek for "all" and "sight"), is simply any wide-angle view or representation of a physical space, whether in painting, drawing, photography, film, seismic images or a three-dimensional model. The word was originally coined in the 18th century by the Irish painter Robert Barker to describe his panoramic paintings of Edinburgh and London. The motion-picture term panning is derived from panorama. (Wikipedia)
In cinema-history the word is coined in 1896, to describe views that were taken from moving vehicles such as trains and boats (although it could also be trolley-cars, lifts, balloons etc.), what is now usually called a "travelling shot" (although not all "travelling" are necessarily panoramas). The first panorama known to have been so shot was by Edison cameramen in July (from a train) but, although a rave review appeared in the papers (presumably a plant), the films taken at this time did not come out properly and had to be re-filmed (without panorama). Georges Méliès in France filmed a panorama of Le Havre(from a boat) in August 1896 but the film is sadly lost. The first panorama (from a trolley-car) to have been actually screen seems to have been taken by the Mutoscope operators and screened in September.
The Lumières' star cinematographer, Alexandre Promio, was in the US at this time, shooting films for his own company to screen there but would doubtless have known of the Mutoscope film. What is certain is that, immediately on his return to France, in October 1896, he made his way to Venice in Italy, where, with the assistance of the Lumières' chief engineer (but without the knowledge of Louis Lumière himself), he filmed a famous panorama of Venice from a gondola and this is generally credited (incorrectly) as "the first travelling shot" in cinema history. Promio was very anxious about the reaction of Lumière to his film but in fact the boss was delighted and urged all Lumière operators to make such films. During the period 1896-1900, the panorama became therefore something of a trademark both of Promio (who shot them wherever he went) and of the Lumière company in general.
US companies, obsessed with using travelling shots to make what were known as "ghost rides" (where you follow the trajectory of the train but see virtually nothing of the surrounding countryside) were rather slow to adopt the panorama. Everything changed after the Paris Exposition of 1900 when all the companies present (including the Lumières, Méliès and Edison) vied with other to produce panoramic views, including what were known as "circular panoramas" which did indeed aim to take the viewer all the way round to the point where they had started.
Between 1901 and 1907, the Edison catalogue is absolutely packed with such panoramas, shot both at home and abroad. The real "panorama" specialist (the American Promio as it were) was the cinematographer A. C. Abadie (known as "Primo") but the particular set of New York panoramas to which this film belongs seem to have been filmed by Edwin S. Porter. This fact is recorded on the IMDb database but, due to a frustrating oversight in the system - no cast details available for films that have no known director, writer or actors, when, Oh when, will this be corrected - cannot be seen unless one goes to the separate entry on Porter.
A panorama: A panorama (formed from the Greek for "all" and "sight"), is simply any wide-angle view or representation of a physical space, whether in painting, drawing, photography, film, seismic images or a three-dimensional model. The word was originally coined in the 18th century by the Irish painter Robert Barker to describe his panoramic paintings of Edinburgh and London. The motion-picture term panning is derived from panorama. (Wikipedia)
In cinema-history the word is coined in 1896, to describe views that were taken from moving vehicles such as trains and boats (although it could also be trolley-cars, lifts, balloons etc.), what is now usually called a "travelling shot" (although not all "travelling" are necessarily panoramas). The first panorama known to have been so shot was by Edison cameramen in July (from a train) but, although a rave review appeared in the papers (presumably a plant), the films taken at this time did not come out properly and had to be re-filmed (without panorama). Georges Méliès in France filmed a panorama of Le Havre(from a boat) in August 1896 but the film is sadly lost. The first panorama (from a trolley-car) to have been actually screen seems to have been taken by the Mutoscope operators and screened in September.
The Lumières' star cinematographer, Alexandre Promio, was in the US at this time, shooting films for his own company to screen there but would doubtless have known of the Mutoscope film. What is certain is that, immediately on his return to France, in October 1896, he made his way to Venice in Italy, where, with the assistance of the Lumières' chief engineer (but without the knowledge of Louis Lumière himself), he filmed a famous panorama of Venice from a gondola and this is generally credited (incorrectly) as "the first travelling shot" in cinema history. Promio was very anxious about the reaction of Lumière to his film but in fact the boss was delighted and urged all Lumière operators to make such films. During the period 1896-1900, the panorama became therefore something of a trademark both of Promio (who shot them wherever he went) and of the Lumière company in general.
US companies, obsessed with using travelling shots to make what were known as "ghost rides" (where you follow the trajectory of the train but see virtually nothing of the surrounding countryside) were rather slow to adopt the panorama. Everything changed after the Paris Exposition of 1900 when all the companies present (including the Lumières, Méliès and Edison) vied with other to produce panoramic views, including what were known as "circular panoramas" which did indeed aim to take the viewer all the way round to the point where they had started.
Between 1901 and 1907, the Edison catalogue is absolutely packed with such panoramas, shot both at home and abroad. The real "panorama" specialist (the American Promio as it were) was the cinematographer A. C. Abadie (known as "Primo") but the particular set of New York panoramas to which this film belongs seem to have been filmed by Edwin S. Porter. This fact is recorded on the IMDb database but, due to a frustrating oversight in the system - no cast details available for films that have no known director, writer or actors, when, Oh when, will this be corrected - cannot be seen unless one goes to the separate entry on Porter.
útil•00
- kekseksa
- 9 de set. de 2015
Principais escolhas
Faça login para avaliar e ver a lista de recomendações personalizadas
Detalhes
- Data de lançamento
- País de origem
- Idioma
- Locações de filme
- Roosevelt Island, Nova Iorque, Nova Iorque, EUA(Blackwell's Island c. 1903. Blackwell Family were the former owners of the island.)
- Empresa de produção
- Consulte mais créditos da empresa na IMDbPro
- Tempo de duração2 minutos
- Cor
- Mixagem de som
- Proporção
- 1.33 : 1
Contribua para esta página
Sugerir uma alteração ou adicionar conteúdo ausente