Name: ルミエール兄弟クラッシュ・コース 映画史 #3 (The Lumiere Brothers: Crash Course Film History #3)
Uploaded: 2021-01-14T06:53:00.000Z
Duration: 9 min 31 s
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Hi. I'm the internet's Craig. This is Crash Course Film History.

様態の副詞

Based on what you’ve probably heard, or read, or… what I told you last time, you’re

probably under the impression that the development of modern film technology is all

thanks to famous inventor Thomas Edison, and his less-than-famous employee, William Dickson.

You're wrong. I can't believe how wrong you are.

Together, these guys developed two of the

first commercially-viable film technologies: the kinetograph – basically a camera – and

the kinetoscope – a single-viewer exhibition device that you use to watch kinetograph films.

As was often the case with Edison, a lot of the credit that’s given to him also belongs to a great many other people.

While Edison and Dickson were setting out to make moving pictures in New Jersey, lots

of other inventors were tinkering with film technology across the world.

In Lyon, France, a pair of brothers saw the kinetograph and kinetoscope – and said,

Within two years, they invented a lightweight, all-in-one motion picture device that made

They figured out a way to use the camera mechanism to play back the developed roll of film, projecting

Films could be projected on an entire wall or screen, letting audiences of people experience films, together... It'll never work.

By sheer coincidence – or maybe fate – their surname means “light.”

Say hello to the Lumière Brothers and the first projected films.

Auguste and Louis Lumière were born in the 1860s in eastern France.

In 1870, their father moved the family to Lyon and opened a small factory that made

The family business, like all my businesses, teetered on the edge of bankruptcy, until the brothers took over.

They devised machines to help automate the plant, and invented a new and improved photo plate.

By the time they started experimenting with film technology, the Lumière Brothers had

lots of experience in business, engineering, manufacturing, and photography.

They were intrigued by Edison’s motion picture devices, but quickly saw the flaws: the camera

was hard to move, and only one person could watch a film at a time.

So they went back to the basics, and made a better camera.

Remember the intermittent stop-and-go mechanism – how motion picture cameras need to stop

the film long enough to expose one frame to light, before moving the roll to the next frame?

Well, the Lumière Brothers developed a device around the stop-and-go mechanisms used in

They weren’t the only ones tinkering with this engineering problem, though.

Inventors were working independently all over Europe and the United States, putting the

pieces together that will one day become cinema.

By 1897, the German optician-turned-film pioneer Oskar Messter perfected his

design for the stop-and-go mechanism, called the Maltese Cross – named after the medal

It’s also called the Geneva Drive, because it was first invented in Geneva, Switzerland

Messter’s device has really stood the test of time: we still use a version of it in most

But, back to the Lumières and their motion picture camera. Transition PUNCH!

Their whole contraption was a compact, portable box.

It was light enough for one person to carry.

The camera was operated by a hand crank, so it didn’t rely on an electric power source.

It used the same 35 millimeter film as Edison’s kinetograph, but it could also develop the

film that it shot – no more sending film off to a lab and waiting for the mail.

But, that's not all, once the film had been developed, the Lumière device could

be reconfigured into a projection machine.

So many things in one. It's so... aw it's just good.

They could run the developed film back through the intermittent stop-and-go mechanism, and,

with a bright light source, the images would project onto a wall or a screen.

You could carry it with you out into the world, capture footage, develop the film, and then

project it, any time, anywhere, any way you wanted.

Don't do it vertical though... commentors hate that.

Compared to the kinetograph and kinetoscope, it was kind of like the technological leap

from an old school flip phone to a smartphone.

The Lumière Brothers wanted to call their invention the “cinématographe,” which means

Like Edison, the Lumière Brothers were savvy businessmen, and secured international patents

Doing Edison one better, they saw a lot of potential in having large, public film screenings.

Before the public unveiling of their cinématographe, they held a series of private parties where

they projected films for groups of distinguished guests, stoking interest and excitement.

And then in Paris, on December 28th, 1895, at the Salon Indien in the basement of the

Grand Café, Auguste and Louis Lumière screened a series of ten short films and changed the

Now, I should mention that this wasn’t technically the first public screening of a motion picture.

That honor, as far as we know, goes to Woodville Latham, an American chemist and kinetoscope

owner, who projected a film of a boxing match in New York in May, 1895.

What set the Lumière Brothers apart was that they played up the intrigue of their device

and gained publicity, plus their superior image quality and the sheer number of films

This is the movie business, after all, and hype almost always wins.

So the credit for first successful public screening typically goes to Auguste and Louis Lumière.

Sorry, Latham. Better luck next time. Maybe go back to chemistry.

Among the films the Lumière Brothers screened that night was “The Train Arrives at La Ciotat Station.”

In the film, a train – you guessed it – arrives at a station. Kinda spoiled it with the title.

In a single, uninterrupted shot, it comes toward the camera, stops, and the passengers disembark.

Legend has it that when the first audience saw this movie projected on the wall, it was

so unfamiliar and realistic that they ran screaming from the theater, fearing for their lives.

In recent years, historians have thrown cold water on this story for a couple reasons.

First, seeing images projected onto walls wouldn’t have been a new experience for

Some version of the magic lantern projection device had been used for education and entertainment

since the 17th century, employing a light source and a lens to project images or paintings

Not to mention, most of the Lumière audience would probably have been aware of kinetoscope films.

So chances are no one actually thought a train was about to drive through the wall

More likely, the audience might have shrieked in delight at the size and clarity of the

字幕リスト動画再生

ルミエール兄弟クラッシュ・コース映画史 #3 (The Lumiere Brothers: Crash Course Film History #3)

illusion

experience

audience

experiment

ルミエール兄弟クラッシュ・コース 映画史 #3 (The Lumiere Brothers: Crash Course Film History #3)

illusion

experience

audience

experiment

ルミエール兄弟クラッシュ・コース映画史 #3 (The Lumiere Brothers: Crash Course Film History #3)