Phantom ride

Last updated

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, [1] [2] as well as its re-emergence in 4D film and simulation.

Contents

History

Most films before phantom rides used static cameras with all the action happening within the scene. This new style of film-making popularised the idea of motion created by the movement of the camera. American Mutoscope's The Haverstraw Tunnel (1897), featuring a train travelling along the West Shore Railroad in New York and then through the eponymous tunnel, and the Lumière brothers' Leaving Jerusalem by Railway (1897), featuring a train leaving Jerusalem, are considered the first examples of the phantom ride genre. The audience were wowed by the speed and unique perspectives that these films introduced, for the first time experiencing the view of travelling while seated in a small hall.

Screenings of The Haverstraw Tunnel (1897) in London in October of that year proved to be an instant success with a reviewer in The Era writing that, "A more exciting and sensational piece of realism has never been presented to an audience." Starting the following year, Mutoscope's British subsidiary filmed and released their own phantom rides, including Conway Castle - Panoramic View of Conway on the L. & N.W. Railway (1898) and Through Chee Tor Tunnel in Derbyshire - Midland Railway, as did rival companies such as the Warwick Trading Company. [1]

The phantom ride genre contributed to the emergence of longer film as distributors grouped their films together to form single journeys, such as the Warwick Trading Company's View from an Engine Front - Through Morthoe (1898) and View from an Engine Front - Ilfracombe Incline (1898) which were made available together as a single continuous length of film. Concurrent technological developments resulted in the Warwick Trading Company's 12-minute epic Dalmeny to Dunfermline, Scotland, via the Firth of Forth Bridge (1899), billed as "the longest, most picturesque and interesting Cinematograph film ever produced." [1]

George Albert Smith's The Kiss in the Tunnel (1899) was a single shot of a couple sharing a brief kiss as their train passes through a tunnel, that was produced to be spliced into existing phantom ride footage, such as Cecil Hepworth's View from an Engine Front - Train Leaving Tunnel (1899), to add interest to the genre. [3] [4] This insertion of a single shot into another film indicates, according to film historian Frank Gray, "a new understanding of continuity film editing," which, "would have a profound impact on the development of editing strategies and become a dominant practice." [1]

The concept of phantom rides was to dramatically change with the opening of Hale's Tours of the World in 1906. A predecessor to modern simulators and 4-D films, these shows involved more than just the projected film footage. The cinema itself was designed to physically mimic the experience of being in the carriage of a train, with piped sounds of train whistles and rushing steam adding to the visuals. The benching was even designed to shake to add realism to the feeling of movement along the track. Hale's Tours were successful enough for them to open four venues in London and several others across the UK. [2]

The rapid development of film-making techniques meant that the audience quickly moved onto other things and by 1910 they no longer accepted these single-shot visuals. Narrative in film progressed and phantom rides were demoted to being one scene out of several in more story-driven movies. [2]

See also

Related Research Articles

<span class="mw-page-title-main">Film editing</span> Creative and technical part of the post-production process of filmmaking

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 chronicles the development of a visual art form created using film technologies that began in the late 19th century. The advent of film as an artistic medium is not clearly defined. However, the commercial, public screening of ten of the Lumière brothers' short films in Paris on 28 December 1895 can be regarded as the breakthrough of projected cinematographic motion pictures. There had been earlier cinematographic results and screenings by others like the Skladanowsky brothers, who used their self-made Bioscop to display the first moving picture show to a paying audience on 1 November 1895 in Berlin, but they had neither the quality, financial backing, stamina, or the luck to find the momentum that propelled the cinématographe Lumière into worldwide success. Those earliest films were in black and white, under a minute long, without recorded sound and consisted of a single shot from a steady camera. The first decade of motion pictures saw film moving from a novelty to an established mass entertainment industry, with film production companies and studios established all over the world.

<span class="mw-page-title-main">Tracking shot</span>

In cinematography, a tracking shot is any shot where the camera follows backward, forward or moves alongside the subject being recorded. Often the camera is mounted on a camera dolly which rides on rails similar to a railroad track; in this case, the shot is referred to as a dolly shot. A handheld steadycam or gimbal may also be used for smaller scale productions. The camera is then pushed along the track while the scene is being filmed, or moved manually when using a handheld rig. The effect can be used to create a sense of movement, to follow a character or object, or a sense of immersion to draw the viewer into the action.

<i>The Great Train Robbery</i> (1903 film) 1903 American western film by Edwin S. Porter

The Great Train Robbery is a 1903 American silent film made by Edwin S. Porter for the Edison Manufacturing Company. It follows a gang of outlaws who hold up and rob a steam locomotive at a station in the American West, flee across mountainous terrain, and are finally defeated by a posse of locals. The short film draws on many sources, including a robust existing tradition of Western films, recent European innovations in film technique, the play of the same name by Scott Marble, the popularity of train-themed films, and possibly real-life incidents involving outlaws such as Butch Cassidy.

<span class="mw-page-title-main">Cinematography</span> Art of motion picture photography

Cinematography is the art of motion picture photography.

The following is an overview of the events of 1897 in film, including a list of films released and notable births.

A jump cut is a cut in film editing in which a single continuous sequential shot of a subject is broken into two parts, with a piece of footage being removed in order to render the effect of jumping forward in time. Camera positions of the subject in the remaining pieces of footage of the sequence should vary only slightly in order to achieve the effect. It is a manipulation of temporal space using the duration of a single shot, and fracturing the duration to move the audience ahead. This kind of cut abruptly communicates the passing of time as opposed to the more seamless dissolve heavily used in films predating Jean-Luc Godard's Breathless, which made extensive use of jump cuts and popularized the technique during the 1960s. For this reason, jump cuts are considered a violation of classical continuity editing, which aims to give the appearance of continuous time and space in the story-world by de-emphasizing editing, but are sometimes nonetheless used for creative purposes. Jump cuts tend to draw attention to the constructed nature of the film. More than one jump cut is sometimes used in a single sequence.

<i>Tesis</i> 1996 Spanish horror thriller film by Alejandro Amenábar

Tesis is a 1996 Spanish crime horror thriller film. It is the feature debut of director Alejandro Amenábar and was written by Amenabar and Mateo Gil. The film was made while he was studying at the Complutense University in Madrid. The film won seven 1996 Goya Awards including the award for Best Film, Best Original Screenplay and Best Director. It stars Ana Torrent, Fele Martínez and Eduardo Noriega.

<i>LArrivée dun train en gare de La Ciotat</i> 1895 film by Auguste and Louis Lumière

L'arrivée d'un train en gare de La Ciotat is an 1895 French short documentary film directed and produced by Auguste and Louis Lumière. Contrary to myth, it was not shown at the Lumières' first public film screening on 28 December 1895 in Paris, France: the programme of ten films shown that day makes no mention of it. Its first public showing took place in January 1896. It is indexed as Lumière No. 653.

<span class="mw-page-title-main">Camera dolly</span> Wheeled cart or similar device used in filmmaking and television production

A camera dolly is a wheeled cart or similar device used in filmmaking and television production to create smooth horizontal camera movements. The camera is mounted to the dolly and the camera operator and focus puller or camera assistant usually ride on the dolly to push the dolly back and forth. The camera dolly is generally used to produce images which involve moving the camera toward or away from a subject while a take is being recorded, a technique known as a "dolly shot". The dolly grip is the dedicated technician trained to operate the dolly by manually pushing it back and forth.

<span class="mw-page-title-main">George Albert Smith (filmmaker)</span> British filmmaker (1864–1959)

George Albert Smith was an English stage hypnotist, psychic, magic lantern lecturer, Fellow of the Royal Astronomical Society, inventor 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 his controversial work with Edmund Gurney at the Society for Psychical Research, his short films from 1897 to 1903, which pioneered film editing and close-ups, and his development of the first successful colour film process, Kinemacolor.

<span class="mw-page-title-main">Actuality film</span> Non-fiction film genre that uses footage of real events

Actuality film is a non-fiction film genre that, like documentary film, uses footage of real events, places, and things. Unlike documentaries, actuality films are not structured into a larger narrative or coherent whole. In practice, actuality films preceded the emergence of the documentary. During the era of early cinema, actualities—usually lasting no more than a minute or two and usually assembled together into a program by an exhibitor—were just as popular and prominent as their fictional counterparts. The line between "fact" and "fiction" was not as sharply drawn in early cinema as it would be after documentaries came to serve as the predominant non-fiction filmmaking form. Actuality is a film genre that remains strongly related to still photography.

<span class="mw-page-title-main">Bamforth & Co Ltd</span> Film and illustration company

Bamforth & Co Ltd was a publishing, film and illustration company based in Holmfirth, West Yorkshire, England.

<span class="mw-page-title-main">William Haggar</span>

William Haggar was a British pioneer of the cinema industry. Beginning his career as a travelling entertainer, Haggar, whose large family formed his theatre company, later bought a Bioscope show and earned his money in the fairgrounds of south Wales. In 1902 he began making his own short fictional films, making him one of the earliest directors in Britain. His films were shown worldwide and his short Desperate Poaching Affray is believed to have influenced early narrative drama in American film, especially in chase genre. As a director Haggar is recognised for his use of editing and the depth of staging in his melodramas and crime films.

<i>Sherlock Holmes Baffled</i> 1900 film by Arthur Marvin

Sherlock Holmes Baffled is an American short silent film created in 1900 with cinematography by Arthur Marvin. It is the earliest known film to feature Arthur Conan Doyle's detective character Sherlock Holmes, albeit in a form unlike that of later screen incarnations. In the film, a thief who can appear and disappear at will steals a sack of items from Sherlock Holmes. At each point, Holmes's attempts to thwart the intruder end in failure.

<i>The Kiss in the Tunnel</i> 1899 film by George Albert Smith

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.

<i>The Coronation of Edward VII</i> 1902 film

The Coronation of Edward VII, also released as Reproduction, Coronation Ceremonies, King Edward VII and as Coronation of King Edward, is a 1902 short silent film directed by Georges Méliès and produced by Charles Urban. The film is a staged simulation of the coronation of King Edward VII and Queen Alexandra, produced in advance of the actual coronation for release on the same day.

<i>A Railway Collision</i> 1900 British film

A Railway Collision is a 1900 British short silent drama film, directed by Walter R. Booth and produced by Robert W. Paul. It was one of a number of sensationalist "trick films" made at Paul's Animatograph Works, his studio in Muswell Hill in north London, and represents one of only a very small number of surviving films by Paul.

The Haverstraw Tunnel is an early black and white silent film released in 1897 by the American Mutoscope Company. It is considered to be one of the first examples of a phantom ride and features a train travelling along the West Shore Railroad in Rockland County, New York and then through the eponymous tunnel.

Walter Pfeffer Dando was a British stage engineer and early film director. Among his developments and patents were those for a device allowing theatre actors to "fly" about the stage and improvements to the technology for tableaux vivants. Dando also served as an official photographer to the Zoological Society of London.

References

  1. 1 2 3 4 Gray, Frank (2009), "The Kiss in the Tunnel (1899), G.A. Smith and the Rise of the Edited Film in England", in Grieveson, Lee; Kramer, Peter (eds.), The Silent Cinema Reader, Routledge (published 2004), ISBN   978-0415252843
  2. 1 2 3 Hayes, Christian. Phantom Rides, BFI Screen Online. Retrieved 30 August 2011.
  3. Brooke, Michael. "The Kiss in the Tunnel". BFI Screenonline Database. Retrieved 24 April 2011.
  4. Fisher, David. "The Kiss in the Tunnel". Brightonfilm.com. Archived from the original on 22 March 2012. Retrieved 24 April 2011.