| Fire! | |
|---|---|
 Still from Fire! | |
| Directed by | James Williamson |
| Produced by | James Williamson |
| Cinematography | James Williamson |
Production company | Williamson Kinematograph Company |
Release date |
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Running time | 4 minutes 47 seconds |
| Country | United Kingdom |
| Language | Silent |
Fire! is a 1901 British short silent drama film, directed by James Williamson, showing the occupants of a house in Hove being rescued by the local fire service.
This five tableaux film, according to Michael Brooke of Screenonline, "was one of the very first films to make use of multiple shots edited together to create a chronological sequence propelling a coherent narrative along. Williamson also creates suspense by showing the audience the extent of the fire in the first shot, which heightens the sense of urgency as the fire crew (who lack this privileged information) leave the station and rush to put it out." It was released along with Stop Thief! (1901), "indicating the direction Williamson would take over the next few years, as he refined this new film grammar to tell stories of unprecedented narrative and emotional sophistication." "Brooke also states that it was "a major influence on a pioneering American film, Edwin S. Porter's Life of an American Fireman (1903), which borrowed Williamson's narrative model and developed it further by introducing close-ups." [1]
The director made the film at a derelict house called Ivy Lodge in Hove, where he had previously shot Attack on a China Mission (1900).
Film editing is both a creative and a technical part of the post-production process of filmmaking. The term is derived from the traditional process of working with film which increasingly involves the use of digital technology.
The history of film as an artistic medium chronicles the development of a visual art form created using film technologies that began in the late 19th century.
A close-up or closeup in filmmaking, television production, still photography, and the comic strip medium is a type of shot that tightly frames a person or object. Close-ups are one of the standard shots used regularly with medium and long shots. Close-ups display the most detail, but they do not include the broader scene. Moving toward or away from a close-up is a common type of zooming. A close up is taken from head to neck, giving the viewer a detailed view of the subject's face.
James A. Williamson was a Scottish photographer and a key member of the loose association of early film pioneers dubbed the Brighton School by French film historian Georges Sadoul. He is best known for The Big Swallow (1901), a trick film with innovative use of extreme close-up, as well as Fire! and Stop Thief!, dramas with continuity established across multiple shots.
Grandma's Reading Glass is a 1900 British short silent drama film, directed by George Albert Smith, featuring a young Willy who borrows a huge magnifying glass to focus on various objects, which was shot to demonstrate the new technique of close-up. The film, according to Michael Brooke of BFI Screenonline, "was one of the first films to cut between medium shot and point-of-view close-up. It was destroyed in a fire at Warwick Trading Company's studio facility in 1912.
As Seen Through a Telescope is a 1900 British short silent comedy film, directed by George Albert Smith, featuring an elderly gentleman getting a glimpse of a woman's ankle through a telescope. The three-shot comedy, according to Michael Brooke of BFI Screenonline, "uses a similar technique to that which G.A. Smith pioneered in Grandma's Reading Glass (1900)," and although, "the editing is unsophisticated, the film does at least show a very early example of how to make use of point-of-view close-ups in the context of a coherent narrative ." "Smith's experiments with editing," Brooke concludes, "were ahead of most contemporary film-makers, and in retrospect it can clearly be seen that he was laying the foundations of film grammar as we now understand it."
The Kiss in the Tunnel, also known as A Kiss in the Tunnel, is a 1899 film British short silent comedy film, produced and directed by George Albert Smith, showing a couple sharing a brief kiss as their train passes through a tunnel, which is said to mark the beginnings of narrative editing. The film is the first to feature Laura Bayley, Smith's wife.
Mary Jane's Mishap; or, Don't Fool with the Paraffin is a 1903 British short silent comedy film, directed by George Albert Smith, depicting disaster following when housemaid Mary Jane uses paraffin to light the kitchen stove. The trick film, according to Michael Brooke of BFI Screenonline, "is an example of Smith's interest in cinematic effects - including, here, the use of superimposition to suggest ghosts," which, "is notable for its then sophisticated mix of wide establishing shots and medium close-ups," and, "also contains two wipes to denote a change of scene."
The Sick Kitten is a 1903 British short silent comedy film, directed by George Albert Smith, featuring two young children tending to a sick kitten.
Rescued by Rover is a 1905 British short silent drama film, directed by Lewin Fitzhamon, about a dog who leads its master to his kidnapped baby, which was the first to feature the Hepworth's family dog Blair in a starring role; following the release, the dog became a household name and he is considered to be the first dog film star. The film, which according to Michael Brooke of BFI Screenonline, "marks a key stage in the medium's development from an amusing novelty to the seventh art," and, "possibly the only point in film history when British cinema unquestionably led the world," was an advance in filming techniques, editing, production and story telling.
The Big Swallow is a 1901 British short silent comedy film, directed by James Williamson, featuring a man, irritated by the presence of a photographer, who solves his dilemma by swallowing him and his camera whole. The three-shot trick film is, according to Michael Brooke of BFI Screenonline, "one of the most important early British films in that it was one of the first to deliberately exploit the contrast between the eye of the camera and of the audience watching the final film".
Flying the Foam and Some Fancy Diving is a 1906 British short silent comedy film, directed by James Williamson, featuring a man diving from Brighton Pier while mounted on a bicycle, in both forward and reverse motion. This trick film, according to Michael Brooke of BFI Screenonline, "adds additional layers of entertainment, firstly by showing the stunt from multiple angles and then by showing it in reverse motion so that Reddish appears to be performing the impossible feat of riding his bicycle vertically out of the sea". It is believed to be an extended version of Professor Reddish Performing his Celebrated Bicycle Dive from Brighton West Pier (1902), supplemented by more conventional footage of pier divers at a later date.
Our New Errand Boy is a 1905 British short silent comedy film, directed by James Williamson, about a new errand boy, engaged by a grocer who soon regrets the appointment. This "relatively unambitious" chase comedy, according to Michael Brooke of BFI Screenonline, "is one of a number of Williamson films featuring a mischievous child, played by the director's son Tom." "Although essentially a series of sketches," this film, according to David Fisher, "demonstrates the extent to which Williamson had developed film technique For a start, the film has a title frame, which includes the logo of the Williamson Cinematograph Company," and, "the chase section anticipates the American comedies of the next decade."
Attack on a China Mission is a 1900 British short silent drama film, directed by James Williamson, showing some sailors coming to the rescue of the wife of a missionary killed by Boxers. The four-shot film, according to Michael Brooke of BFI Screenonline, was innovative in content and technique. It incorporated a reverse-angle cut and at least two dozen performers, whereas most dramatic films of the era consisted of single-figure casts and very few shots. Film historian John Barnes claims Attack on a China Mission had "the most fully developed narrative" of any English film up to that time."
Stop Thief! is a 1901 British short silent drama film, directed by James Williamson, showing a tramp getting his comeuppance after stealing some meat from a butcher and his dogs. "One of the first true 'chase' films made not just in Britain but anywhere else", according to Michael Brooke of BFI Screenonline. It was released along with Fire! (1901), "indicating the direction Williamson would take over the next few years, as he refined this new film grammar to tell stories of unprecedented narrative and emotional sophistication."
Let Me Dream Again is a 1900 British short silent drama film, directed by George Albert Smith, featuring a man dreaming about an attractive young woman and then waking up next to his wife. The film stars Smith's real wife, Laura Bayley, as the woman of his fantasies. Bayley would later appear in Smith's 1906 film Mary Jane's Mishap. The film, according to Michael Brooke of BFI Screenonline, "is an excellent example of an early two-shot film, and is particularly interesting for the way it attempts a primitive dissolve by letting the first shot slip out of focus before cutting to the second shot, which starts off out of focus and gradually sharpens." This appears to be the first use of a dissolve transition to signify a movement of a dreaming state to one of reality.
The Magic Sword; or, A Medieval Mystery is a 1901 British short silent fantasy film, directed by Walter R. Booth, featuring a mediaeval knight battling to save a damsel from an ogre and a witch. The film, "is impressively elaborate, with single shots containing multiple trick effects achieved through complex double exposures and superimpositions," and according to Michael Brooke of BFI Screenonline, "was so startling that it moved the legendary stage illusionist J.N. Maskelyne to describe The Magic Sword as the finest trick film made up to then."
Phantom rides or panoramas were an early genre of film popular in Britain and the US at the end of the 19th century. Pre-dating true narrative, the films simply show the progress of a vehicle moving forwards, usually shot by strapping a cameraman to the front. The term phantom ride was applied because the position of the camera meant that only the track and scenery could be seen and the movement appeared to be coming from an invisible force. Though many early films showed local tracks the demand for new footage led to more exotic locations being filmed. This brought a new dimension to the genre, showing foreign lands to those who would otherwise never see them. The genre is also significant, despite its short-lived popularity, due to the role it played in the development of the tracking shot, longer films and film editing, as well as its re-emergence in 4D film and simulation.
Early Fashions on Brighton Pier is a 19th-century British silent actuality film, generally considered to be shot by Scottish film pioneer James Williamson. Previously, the film had been credited to George Albert Smith. The more recent attribution to Williamson is based mainly on the identification of two of Williamson's sons in the pier crowd. It is categorised in the Screen Archive South East as On the West Pier.
Dream and Reality is a 1901 French silent short film directed by Ferdinand Zecca and distributed in France by Pathé Frères. The film depicts a man flirting with a pretty young woman suddenly waking up in bed next to his ugly wife.
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