Cinematograph
A cinematograph is a motion picture film camera, which serves as a film projector and printer. It was invented in the 1890s in Lyon by Auguste and Louis Lumière; the device was first invented and patented as the "Cinématographe Léon Bouly" by French inventor Léon Bouly on February 12, 1892. Bouly coined the term "cinematograph," from the Greek for "writing in movement." Due to a lack of money, Bouly was unable to develop his ideas properly and maintain his patent fees, so he sold his rights to the device and its name to the Lumière brothers. In 1895, they applied the name to a device, their own creation; the Lumière brothers made their first film, Workers Leaving the Lumière Factory, that same year. The film was publicly screened at L'Eden, the world's first and oldest cinéma, located in La Ciotat in southeastern France, on September 28, 1895; the first commercial, public screening of cinematographic films happened on 28 December 1895 at Salon Indien du Grand Café in Paris and was organised by the Lumière brothers.
This history-making presentation featured ten short films, including their first film, Workers Leaving the Lumiere Factory. Each of these early films is 17 meters long, when hand cranked through a projector, runs 50 seconds; the Cinématographe was exhibited at the Paris Exposition of 1900. At the Exposition, films made by the Lumière Brothers were projected onto a large screen measuring 16 by 21 meters. Several versions of cinématographes were developed, including ones by the inventor Robert Royou Beard, the electrical engineer Cecil Wray, the optician Alfred Wrench, Georges Demenÿ and, of course, the Lumière brothers. Louis Lumière worked with his brother Auguste to create a motion-picture camera superior to Thomas Edison's kinetograph, which did not have a projector; the Lumières endeavored to correct the flaws they perceived in the kinetograph and the kinetoscope, to develop a machine with both sharper images and better illumination. The Cinématographe weighed only 16 lbs. which allowed for ease of transportation and placement.
As well, the Cinématographe was manually operated by a hand-crank, as opposed to Edison's electrically powered camera, not portable. Furthermore, while only one person at a time could use Edison's kinetoscope for viewing—through an eyepiece, peep show style—the Cinématographe could project an image onto a screen so a large audience of people could view images simultaneously; the Cinématographe produced a sharper projected image than had been seen before due to its design, in which a kind of fork held frames behind the lens in place using the perforations in the sides of the film strip. In 1897, the Lumières further added to their invention by using a glass flask of water as the condenser to concentrate the light onto the film frame and to absorb heat; the flask acted as a safety feature, as the light would no longer focus on the flammable film if the glass were to break due to overheating or accident. After the success of the Lumières's initial public screening in 1895, the Cinématographe became a popular attraction for people all over the world.
The Lumière brothers took their machine as far as China and India and it was enjoyed by people of all classes and social standings. The Cinématographe was used to show films in nickelodeons, where the poorest classes could pay the entry fee, it was exhibited at fairs and used as entertainment in vaudeville houses in both Europe and the United States. While vaudeville is associated with the working and middle classes, the machine found its way into more sophisticated venues, where it appealed to the artistic tastes of high society. Bioscop Biograph Electrotachyscope Film Image Kinetoscope List of film formats Panoptikon Pleograph Praxinoscope Vitascope Zoopraxiscope Adventures in Cybersound "Cinematograph". Encyclopedia Americana. 1920. "Cinematograph". Encyclopædia Britannica. 6. 1911. Pp. 374–375
London
London is the capital and largest city of both England and the United Kingdom. Standing on the River Thames in the south-east of England, at the head of its 50-mile estuary leading to the North Sea, London has been a major settlement for two millennia. Londinium was founded by the Romans; the City of London, London's ancient core − an area of just 1.12 square miles and colloquially known as the Square Mile − retains boundaries that follow its medieval limits. The City of Westminster is an Inner London borough holding city status. Greater London is governed by the Mayor of the London Assembly. London is considered to be one of the world's most important global cities and has been termed the world's most powerful, most desirable, most influential, most visited, most expensive, sustainable, most investment friendly, most popular for work, the most vegetarian friendly city in the world. London exerts a considerable impact upon the arts, education, fashion, healthcare, professional services and development, tourism and transportation.
London ranks 26 out of 300 major cities for economic performance. It is one of the largest financial centres and has either the fifth or sixth largest metropolitan area GDP, it is the most-visited city as measured by international arrivals and has the busiest city airport system as measured by passenger traffic. It is the leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. London's universities form the largest concentration of higher education institutes in Europe. In 2012, London became the first city to have hosted three modern Summer Olympic Games. London has a diverse range of people and cultures, more than 300 languages are spoken in the region, its estimated mid-2016 municipal population was 8,787,892, the most populous of any city in the European Union and accounting for 13.4% of the UK population. London's urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census.
The population within the London commuter belt is the most populous in the EU with 14,040,163 inhabitants in 2016. London was the world's most populous city from c. 1831 to 1925. London contains four World Heritage Sites: the Tower of London. Other landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Paul's Cathedral, Tower Bridge, Trafalgar Square and The Shard. London has numerous museums, galleries and sporting events; these include the British Museum, National Gallery, Natural History Museum, Tate Modern, British Library and West End theatres. The London Underground is the oldest underground railway network in the world. "London" is an ancient name, attested in the first century AD in the Latinised form Londinium. Over the years, the name has attracted many mythicising explanations; the earliest attested appears in Geoffrey of Monmouth's Historia Regum Britanniae, written around 1136. This had it that the name originated from a supposed King Lud, who had taken over the city and named it Kaerlud.
Modern scientific analyses of the name must account for the origins of the different forms found in early sources Latin, Old English, Welsh, with reference to the known developments over time of sounds in those different languages. It is agreed; this was adapted into Latin as Londinium and borrowed into Old English, the ancestor-language of English. The toponymy of the Common Brythonic form is much debated. A prominent explanation was Richard Coates's 1998 argument that the name derived from pre-Celtic Old European *lowonida, meaning "river too wide to ford". Coates suggested that this was a name given to the part of the River Thames which flows through London. However, most work has accepted a Celtic origin for the name, recent studies have favoured an explanation along the lines of a Celtic derivative of a proto-Indo-European root *lendh-, combined with the Celtic suffix *-injo- or *-onjo-. Peter Schrijver has suggested, on these grounds, that the name meant'place that floods'; until 1889, the name "London" applied to the City of London, but since it has referred to the County of London and Greater London.
"London" is sometimes written informally as "LDN". In 1993, the remains of a Bronze Age bridge were found on the south foreshore, upstream of Vauxhall Bridge; this bridge either reached a now lost island in it. Two of those timbers were radiocarbon dated to between 1750 BC and 1285 BC. In 2010 the foundations of a large timber structure, dated to between 4800 BC and 4500 BC, were found on the Thames's south foreshore, downstream of Vauxhall Bridge; the function of the mesolithic structure is not known. Both structures are on the south bank. Although there is evidence of scattered Brythonic settlements in the area, the first major settlement was founded by the Romans about four years after the invasion
Montreal
Montreal is the most populous municipality in the Canadian province of Quebec and the second-most populous municipality in Canada. Called Ville-Marie, or "City of Mary", it is named after Mount Royal, the triple-peaked hill in the heart of the city; the city is centred on the Island of Montreal, which took its name from the same source as the city, a few much smaller peripheral islands, the largest of, Île Bizard. It has a distinct four-season continental climate with cold, snowy winters. In 2016, the city had a population of 1,704,694, with a population of 1,942,044 in the urban agglomeration, including all of the other municipalities on the Island of Montreal; the broader metropolitan area had a population of 4,098,927. French is the city's official language and is the language spoken at home by 49.8% of the population of the city, followed by English at 22.8% and 18.3% other languages. In the larger Montreal Census Metropolitan Area, 65.8% of the population speaks French at home, compared to 15.3% who speak English.
The agglomeration Montreal is one of the most bilingual cities in Quebec and Canada, with over 59% of the population able to speak both English and French. Montreal is the second-largest French-speaking city in the world, after Paris, it is situated 258 kilometres south-west of Quebec City. The commercial capital of Canada, Montreal was surpassed in population and in economic strength by Toronto in the 1970s, it remains an important centre of commerce, transport, pharmaceuticals, design, art, tourism, fashion, gaming and world affairs. Montreal has the second-highest number of consulates in North America, serves as the location of the headquarters of the International Civil Aviation Organization, was named a UNESCO City of Design in 2006. In 2017, Montreal was ranked the 12th most liveable city in the world by the Economist Intelligence Unit in its annual Global Liveability Ranking, the best city in the world to be a university student in the QS World University Rankings. Montreal has hosted multiple international conferences and events, including the 1967 International and Universal Exposition and the 1976 Summer Olympics.
It is the only Canadian city to have held the Summer Olympics. In 2018, Montreal was ranked as an Alpha− world city; as of 2016 the city hosts the Canadian Grand Prix of Formula One, the Montreal International Jazz Festival and the Just for Laughs festival. In the Mohawk language, the island is called Tiohtià:ke Tsi, it is a name referring to the Lachine Rapids to the island's Ka-wé-no-te. It means "a place where nations and rivers unite and divide". In the Ojibwe language, the land is called Mooniyaang which means "the first stopping place" and is part of the seven fires prophecy; the city was first named Ville Marie by European settlers from La Flèche, or "City of Mary", named for the Virgin Mary. Its current name comes from the triple-peaked hill in the heart of the city. According to one theory, the name derives from mont Réal,. A possibility by the Government of Canada on its web site concerning Canadian place names, is that the name was adopted as it is written nowadays because an early map of 1556 used the Italian name of the mountain, Monte Real.
Archaeological evidence demonstrates that First Nations native people occupied the island of Montreal as early as 4,000 years ago. By the year AD 1000, they had started to cultivate maize. Within a few hundred years, they had built fortified villages; the Saint Lawrence Iroquoians, an ethnically and culturally distinct group from the Iroquois nations of the Haudenosaunee based in present-day New York, established the village of Hochelaga at the foot of Mount Royal two centuries before the French arrived. Archeologists have found evidence of their habitation there and at other locations in the valley since at least the 14th century; the French explorer Jacques Cartier visited Hochelaga on October 2, 1535, estimated the population of the native people at Hochelaga to be "over a thousand people". Evidence of earlier occupation of the island, such as those uncovered in 1642 during the construction of Fort Ville-Marie, have been removed. Seventy years the French explorer Samuel de Champlain reported that the St Lawrence Iroquoians and their settlements had disappeared altogether from the St Lawrence valley.
This is believed to be due to epidemics of European diseases, or intertribal wars. In 1611 Champlain established a fur trading post on the Island of Montreal, on a site named La Place Royale. At the confluence of Petite Riviere and St. Lawrence River, it is where present-day Pointe-à-Callière stands. On his 1616 map, Samuel de Champlain named the island Lille de Villemenon, in honour of the sieur de Villemenon, a French dignitary, seeking the viceroyship of New France. In 1639 Jérôme Le Royer de La Dauversière obtained the Seigneurial title to the Island of Montreal in the name of the Notre Dame Society of Montreal to establish a Roman Catholic mission to evangelize natives. Dauversiere hired Paul Chomedey de Maisonneuve 30, to lead a group of colonists to build a mission on his new seigneury; the colonists left France in 1641 for Quebec, arrived on the island the following year. On May 17, 1642, Ville-Marie was founded on the southern shore of Montreal is
Guillotière Cemetery
Guillotière Cemetery is the name of two adjacent but associated cemeteries in Lyon, France. The two cemeteries are distinguished according to when they were built: the new cemetery was built in 1854 and the old cemetery in 1822, they are situated in the La Guillotière neighborhood of the city, in the 7th and 8th arrondissements, just south of Parc Sergent Blandan. They were built to address the shortage of burial spaces in the city; the old cemetery is just north of the new cemetery, the two are separated by Avenue Berthelot and the railroad tracks connecting Perrache and Part-Dieu railway stations. The new cemetery is the largest in Lyon at 18 hectares. Before the end of the 17th century only small church cemeteries existed in Lyon. In 1695 a cemetery named "Cimitière de la Madeleine" was built to accommodate the dead from Hôtel-Dieu de Lyon. In 1807 Cimetière de Loyasse was built on Fourvière hill; these new cemeteries still did not provide enough space for the growing city, Guillotière Cemetery was meant to alleviate the growing need for more burial spaces.
The development of Guillotière Cemetery had first been proposed on 1 March 1795 to be built at "Clos Macors", in the commune of La Guillotière, but the cemetery didn't open until 1822. When La Guillotière amalgamated with Lyon in 1852, it became the main cemetery in the city of Lyon. Despite the additional land, by 1854 the space again proved to be insufficient so the new cemetery was constructed to provide additional space for burials; the cemetery sustained significant damage when it was mistakenly bombed by the American military during the Second World War on 26 May 1944. There is still visible damage on some of the graves at the south end of the new cemetery near rue Pierre Delore; the new cemetery is the largest in the city at 18 hectares. As of 1990, the two cemeteries together contained around 40,000 tombs. A square of child graves that includes 80 mini crypts was constructed in 2015 with support from the Hospices Civils de Lyon and the city of Lyon; this construction was to create space after a similar square built in 2009 reached its capacity.
The 2015 construction encompasses an area of 450 square metres and cost around €25,000. The two cemeteries are separated by Avenue Berthelot and the railroad tracks connecting Perrache and Part-Dieu railway stations. Several notable people are buried at the cemetery, including: Painter Louis-Hector Allemand, died 13 September 1886 Automobile manufacturer Marius Berliet, died 17 April 1949 Restaurateur and philanthropist Clotilde Bizolon, died 3 March 1940 Pilot Élisabeth Boselli, died 25 November 2005 Author Alphonse Bouvier, died 16 November 1931 Politician Jules Brunard, died 25 July 1910 Politician Jean Cagne, died 14 October 1958 Architect Laurent de Dignoscyo, died 14 November 1876 Checkers player René Fankhauser, died 30 March 1985 Soldier Marius-Paul Faurax, died 19 September 1892 Actor Georges Grey, died 2 April 1954 Professor and Nobel Prize in Chemistry winner Victor Grignard, died 13 December 1935 Politician Victor Lagrange, died 16 August 1894 Cinématographe inventors Auguste and Louis Lumière, died 10 April 1954 and 6 June 1948 Pilot and founding director of Air France Henri Lumière, died 4 October 1971 Henri Malartre Automobile Museum founder Henri Malartre Television host Jacques Martin, died 2007 General officer Benoît Meunier, died 4 January 1845 Radio and television host Max Meynier, died 23 May 2006 French ophthalmologist Ferdinand Monoyer, died 11 July 1912 Inventor Jean-Claude Pompeïen-Piraud, died 24 January 1907 Circus family Rancy Sculptor François Félix Roubaud, died 13 December 1876 Free French Air Forces pilot Antoine Rousselot, died 22 May 1999 Sculptor Jean Verschneider, died 1943 Self-proclaimed prophet Eugène Vintras, died 7 December 1875 List of cemeteries in France Official website of the new cemetery Official website of the old cemetery Official website of the crematorium
Second French Empire
The Second French Empire the French Empire, was the regime of Napoleon III from 1852 to 1870, between the Second Republic and the Third Republic, in France. Many historians disparaged the Second Empire as a precursor of fascism. By the late 20th century some were celebrating it as leading example of a modernizing regime. Historians have given the Empire negative evaluations on its foreign-policy, somewhat more positive evaluations of domestic policies after Napoleon liberalized his rule after 1858, he promoted French business, exports. The greatest achievements came in material improvements, in the form of a grand railway network that facilitated commerce and tied the nation together and centered it on Paris, it had the effect of stimulating economic growth, bringing prosperity to most regions of the country. The Second Empire is given high credit for the rebuilding of Paris with broad boulevards, striking public buildings, attractive residential districts for upscale Parisians. In international policy, Napoleon III tried to emulate his uncle, engaging in numerous imperial ventures around the world as well as several wars in Europe.
Using harsh methods, he built up the French Empire in North Africa and in Southeast Asia. Napoleon III sought to modernize the Mexican economy and bring it into the French orbit, but this ended in a fiasco, he badly mishandled the threat from Prussia, by the end of his reign, Napoleon III found himself without allies in the face of overwhelming German force. On 2 December 1851, Louis-Napoléon Bonaparte, elected President of the Republic, staged a coup d'état by dissolving the National Assembly without having the constitutional right to do so, he thus became sole ruler of France, re-established universal suffrage abolished by the Assembly. His decisions were popularly endorsed by a referendum that month that attracted an implausible 92 percent support. At that same referendum, a new constitution was approved. Formally enacted in January 1852, the new document made Louis-Napoléon president for 10 years, with no restrictions on reelection, it concentrated all governing power in his hands. However, Louis-Napoléon was not content with being an authoritarian president.
As soon as he signed the new document into law, he set about restoring the empire. In response to inspired requests for the return of the empire, the Senate scheduled a second referendum in November, which passed with 97 percent support; as with the December 1851 referendum, most of the "yes" votes were manufactured out of thin air. The empire was formally re-established on 2 December 1852, the Prince-President became "Napoléon III, Emperor of the French"; the constitution had concentrated so much power in his hands that the only substantive changes were to replace the word "president" with the word "emperor" and to make the post hereditary. The popular referendum became a distinct sign of Bonapartism, which Charles de Gaulle would use. With dictatorial powers, Napoleon III made building a good railway system a high priority, he consolidated three dozen incomplete lines into six major companies using Paris as a hub. Paris grew in terms of population, finance, commercial activity, tourism. Working with Georges-Eugène Haussmann, Napoleon III spent lavishly to rebuild the city into a world-class showpiece.
The financial soundness for all six companies was solidified by government guarantees. Although France had started late, by 1870 it had an excellent railway system, supported as well by good roads and ports. Napoleon, in order to restore the prestige of the Empire before the newly awakened hostility of public opinion, tried to gain the support from the Left that he had lost from the Right. After the return from Italy, the general amnesty of August 16, 1859 had marked the evolution of the absolutist or authoritarian empire towards the liberal, parliamentary empire, to last for ten years; the idea of Italian unification – based on the exclusion of the temporal power of the popes – outraged French Catholics, the leading supporters of the Empire. A keen Catholic opposition sprang up, voiced in Louis Veuillot's paper the Univers, was not silenced by the Syrian expedition in favour of the Catholic Maronite side of the Druze–Maronite conflict. Ultramontane Catholicism, emphasizing the necessity for close links to the Pope at the Vatican played a pivotal role in the democratization of culture.
The pamphlet campaign led by Mgr Gaston de Ségur at the height of the Italian question in February 1860 made the most of the freedom of expression enjoyed by the Catholic Church in France. The goal was to mobilize Catholic opinion, encourage the government to be more favorable to the Pope. A major result of the ultramontane campaign was to trigger reforms to the cultural sphere, the granting of freedoms to their political enemies: the Republicans and freethinkers; the Second Empire favored Catholicism, the official state religion. However, it tolerated Protestants and Jews, there were no persecutions or pogroms; the state dealt with the small Protestant community of Calvinist and Lutheran churches, whose members included many prominent businessmen who supported the regime. The emperor's Decree Law of 26 March 1852 led to greater government interference in Protestant church affairs, thus reducing self-regulation. Catholic bureaucrats both were biased against it; the administration of their policies affected not only church-state relations but the internal lives of Protestant communities.
Napoleon III manipulated a range of politicized poli
Film
A film called a movie, motion picture, moving picture, or photoplay, is a series of still images that, when shown on a screen, create the illusion of moving images. This optical illusion causes the audience to perceive continuous motion between separate objects viewed in rapid succession; the process of filmmaking is both an industry. A film is created by photographing actual scenes with a motion-picture camera, by photographing drawings or miniature models using traditional animation techniques, by means of CGI and computer animation, or by a combination of some or all of these techniques, other visual effects; the word "cinema", short for cinematography, is used to refer to filmmaking and the film industry, to the art of filmmaking itself. The contemporary definition of cinema is the art of simulating experiences to communicate ideas, perceptions, beauty or atmosphere by the means of recorded or programmed moving images along with other sensory stimulations. Films were recorded onto plastic film through a photochemical process and shown through a movie projector onto a large screen.
Contemporary films are now fully digital through the entire process of production and exhibition, while films recorded in a photochemical form traditionally included an analogous optical soundtrack. Films are cultural artifacts created by specific cultures, they reflect those cultures. Film is considered to be an important art form, a source of popular entertainment, a powerful medium for educating—or indoctrinating—citizens; the visual basis of film gives it a universal power of communication. Some films have become popular worldwide attractions through the use of dubbing or subtitles to translate the dialog into other languages; the individual images that make up a film are called frames. In the projection of traditional celluloid films, a rotating shutter causes intervals of darkness as each frame, in turn, is moved into position to be projected, but the viewer does not notice the interruptions because of an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after its source disappears.
The perception of motion is due to a psychological effect called the phi phenomenon. The name "film" originates from the fact that photographic film has been the medium for recording and displaying motion pictures. Many other terms exist for an individual motion-picture, including picture, picture show, moving picture and flick; the most common term in the United States is movie. Common terms for the field in general include the big screen, the silver screen, the movies, cinema. In early years, the word sheet was sometimes used instead of screen. Preceding film in origin by thousands of years, early plays and dances had elements common to film: scripts, costumes, direction, audiences and scores. Much terminology used in film theory and criticism apply, such as mise en scène. Owing to the lack of any technology for doing so, the moving images and sounds could not be recorded for replaying as with film; the magic lantern created by Christiaan Huygens in the 1650s, could be used to project animation, achieved by various types of mechanical slides.
Two glass slides, one with the stationary part of the picture and the other with the part, to move, would be placed one on top of the other and projected together the moving slide would be hand-operated, either directly or by means of a lever or other mechanism. Chromotrope slides, which produced eye-dazzling displays of continuously cycling abstract geometrical patterns and colors, were operated by means of a small crank and pulley wheel that rotated a glass disc. In the mid-19th century, inventions such as Joseph Plateau's phenakistoscope and the zoetrope demonstrated that a designed sequence of drawings, showing phases of the changing appearance of objects in motion, would appear to show the objects moving if they were displayed one after the other at a sufficiently rapid rate; these devices relied on the phenomenon of persistence of vision to make the display appear continuous though the observer's view was blocked as each drawing rotated into the location where its predecessor had just been glimpsed.
Each sequence was limited to a small number of drawings twelve, so it could only show endlessly repeating cyclical motions. By the late 1880s, the last major device of this type, the praxinoscope, had been elaborated into a form that employed a long coiled band containing hundreds of images painted on glass and used the elements of a magic lantern to project them onto a screen; the use of sequences of photographs in such devices was limited to a few experiments with subjects photographed in a series of poses because the available emulsions were not sensitive enough to allow the short exposures needed to photograph subjects that were moving. The sensitivity was improved and in the late 1870s, Eadweard Muybridge created the first animated image sequences photographed in real-time. A row of cameras was used, each, in turn, capturing one image on a photographic glass plate, so the total number of images in each sequence was limited by the number of cameras, about two dozen at most. Muybridge used his system to analyze the movements of a wi
L'Arrivée d'un train en gare de La Ciotat
L'arrivée d'un train en gare de La Ciotat is an 1895 French short black-and-white silent 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. This 50-second silent film shows the entry of a train pulled by a steam locomotive into the gare de La Ciotat, the train station of the French coastal town of La Ciotat. Like most of the early Lumière films, L'arrivée d'un train en gare de La Ciotat consists of a single, unedited view illustrating an aspect of everyday life. There is no apparent intentional camera movement, the film consists of one continuous real-time shot; this 50-second movie was filmed in Bouches-du-Rhône, France. It was filmed by means of the Cinématographe, an all-in-one camera, which serves as a printer and film projector; as with all early Lumière movies, this film was made in a 35 mm format with an aspect ratio of 1.33:1.
The film is associated with an urban legend well known in the world of cinema. The story goes that when the film was first shown, the audience was so overwhelmed by the moving image of a life-sized train coming directly at them that people screamed and ran to the back of the room. Hellmuth Karasek in the German magazine Der Spiegel wrote that the film "had a lasting impact. However, some have doubted the veracity of this incident such as film scholar and historian Martin Loiperdinger in his essay, "Lumiere's Arrival of the Train: Cinema's Founding Myth". Others such as theorist Benjamin H. Bratton have speculated that the alleged reaction may have been caused by the projection being mistaken for a camera obscura by the audience which at the time would have been the only other technique to produce a naturalistic moving image. Whether or not it happened, the film undoubtedly astonished people unaccustomed to the illusion created by moving images; this film is interesting because it contains the first example of several common cinematic techniques: camera angle, long shot, medium shot, close-up, forced perspective.
It is evident from their films, taken as a whole, that the Lumière brothers knew what the effect of their choice of camera placement would be. They placed the camera on the platform to produce a dramatic increase in the size of the arriving train; the train arrives from a distant point and bears down on the viewer crossing the lower edge of the screen. A significant aspect of the film is that it illustrates the use of the long shot to establish the setting of the film, followed by a medium shot, a close-up; as the camera is static for the entire film, the effect of these various "shots" is achieved by the movement of the subject alone. Nonetheless, it is these different types of shots are illustrated here, film makers moved their cameras to achieve these shots. What most film histories leave out is that the Lumière Brothers were trying to achieve a 3D image prior to this first-ever public exhibition of motion pictures. Louis Lumière re-shot L'Arrivée d’un Train with a stereoscopic film camera and exhibited it at a 1934 meeting of the French Academy of Science.
Given the contradictory accounts that plague early cinema and pre-cinema accounts, it's plausible that early cinema historians conflated the audience reactions at these separate screenings of L'Arrivée d’un Train. The intense audience reaction fits better with the latter exhibition, when the train was coming out of the screen at the audience, but due to the fact that the 3D film never took off commercially as the conventional 2D version did, including such details would not make for a compelling myth. The short has been featured in a number of film collections including Landmarks of Early Film volume 1. A screening of the film was depicted in the 2011 film Hugo; the scene of the train pulling in was placed at #100 on Channel 4's two-part documentary The 100 Greatest Scary Moments. In March 2017, the film was encoded into DNA by Dina Zielinski. L'Arrivée d'un train en gare de La Ciotat on IMDb L'Arrivée d'un train en gare de La Ciotat is available for free download at the Internet Archive The Lumiere Institute, France L'Arrivée d'un train en gare de La Ciotat: an interpretation at the Cinemaven blog
