
	Where results make sense

Topic: Edwin S Porter

Related Topics

The Great Train Robbery (1903 movie)

The Great Train Robbery

Georges Melies

Thomas Edison

Citizen Kane

History of cinema

Nosferatu

1901 in film

1901

Movie studio

December 5

From the Earth to the Moon (HBO)

In the News (Fri 9 Jan 09)

John Travolta

Kevin Pietersen

Costa Rica

Larry Flynt

Brad Pitt

Jennifer Garner

Boston College

Steve Ballmer

Rod Blagojevich

Phil Schiller

	EarlyCinema.com
		Porter was also one of the first directors to shoot at night in his 'Pan-American Exposition by Night'.
		Porter’s skill with editing and methods of projection were used to great effect in some of his earliest films.
		Porter was convinced, from the audience reaction that he had discovered a new way of telling stories and developed his ideas the following year with the release of 'The Great Train Robbery', perhaps the most influential film of that decade.
	www.earlycinema.com /pioneers/porter_bio.html (477 words)

	Edison: The Invention of the Movies
		Edwin S. Porter, in his role as studio head and production chief, worked with a number of different collaborators in 1904, including G. Anderson and Will S. Rising.
		Porter and McCutcheon worked together for the next two years, but indications are that it may not have been an entirely happy collaboration.
		Porter combined this original material with footage of S.S. Coptic Running Against the Storm, taken by James White on his Pacific voyage in 1898, and Pilot Leaving Prinzessen Victoria Luise at Sandy Hook, taken by White in late 1902.
	www.kino.com /edison/d2.html (3411 words)

	The Films of Edwin S. Porter
		Porter's The Great Train Robbery (1903) is often thought of as a film that launched the Western genre.
		Partly this is Porter's expertise in depth staging.
		Porter's point of view is with the robbers, just as Feuillade's often is. These scenes are often quite disquieting, showing conventional life suddenly and unexpectedly disrupted by criminals.
	members.aol.com /MG4273/porter.htm (722 words)

	Edwin Stanton Porter - Wikipedia, the free encyclopedia
		Edwin Stanton Porter (April 21, 1870 - April 30, 1941) was an influential early film pioneer.
		He is often credited with discovering that the basic unit of structure in film was the shot rather than the scene (the basic unit on the stage), paving the way for D.W. Griffith's advances in editing and screen storytelling.
		Porter, in an attempt to resist the new industrial system born out of the popularity of nickleodeons, left Edison in 1909 to form his own production company which he eventually sold in 1912.
	en.wikipedia.org /wiki/Edwin_S._Porter (290 words)

	Edison: The Invention of the Movies
		Porter's filmmaking talent is most evident in "a mechanical trick scene." As a reviewer for Variety remarked, "A young man and his sweet heart are shown in an altercation over the telephone.
		Both are seen in small circles at the upper corners of the field of vision, the rest of the sheet being occupied by housetops.
		To address these problems, Porter's job was made more limited: he stopped directing in January 1909 but retained his position as studio head; underneath him were created three production units, each headed by a single director.
	www.kino.com /edison/d3.html (2889 words)

	BFI \| Sight & Sound \| The Innovators 1900-1910: Time After Time
		As cameraman, Porter was responsible for all the filmic elements: not only cinematography but developing the negative and editing, which at first was little more than "trimming" the individual shot which constituted the film as a whole.
		As No'l Burch described him, Porter was a two-headed Janus who looked backwards (editing the film as if he was still an exhibitor) and forwards (taking advantage of centralised creative control to plot continuity of action across shots in a way that created a coherent fictional world).
		Porter was designated studio head and oversaw both units even as he remained head of one.
	www.bfi.org.uk /sightandsound/feature/145 (2453 words)

	Edwin S. Porter and the Kinetoscope
		Porter’s prowess as a mechanic also came into play and he peppered his films with primitive special effects such as double exposures, miniatures and split-screens.
		But Porter had an intuitive feel for what a moving picture ought to be and it was only a matter of time until his films began to improve.
		Edwin S. Porter quit directing in 1916 and went back to the work he loved the best -- tinkering with his beloved machinery.
	wywy.essortment.com /edwinsporter_rqte.htm (1024 words)

	Who's Who of Victorian Cinema
		The most significant creative figure in the earliest years of American filmmaking, Edwin S. Porter was born on 21 April 1870 in Connellsville, Philadelphia.
		Porter left in 1900 to resume his career as a travelling showman, but when a fire destroyed his small projector business, Porter joined the Edison Manufacturing Company full time.
		Porter was always more of a technician than an artist, enjoying best those films that involved camera trickery (such as The Dream of a Rarebit Fiend of 1906) and finding most contentment experimenting with projectors and other film equipment.
	www.victorian-cinema.net /porter.htm (557 words)

	Movie Info for Before the Nickelodeon: The Early Cinema of Edwin S. Porter on MSN Movies
		At the beginning of this documentary on early cinematographer Edwin S. Porter (1869-1941), director Charles Musser gives some background on the "nickelodeons" or theaters that charged a nickel as an entrance fee, and their early (presumably cheaper) predecessors.
		Edwin S. Porter was active between 1886-1915 and he is still well-known for his 1903 Great Train Robbery, the world's first narrative film, all of 12 minutes long.
		In the 1930s when that film was recut with methods developed by Porter's most well-known immediate successor, David Wark Griffith, the "Fireman" film was shown with alternating interior-exterior views, from the start of the rescue to the end.
	entertainment.msn.com /movies/movie.aspx?m=62088 (306 words)

	BFI \| Books & DVDs \| DVD & Video \| Before the Nickelodeon (Site not responding. Last check: 2007-10-20)
		Edwin S Porter (1870-1941), director, cinematographer and cameraman was America's pre-eminent filmmaker before dramatic artistry in film construction became a necessity.
		For Porter and his kind it was a technician's approach, putting together the pieces of what would succeed as narrative cinema, in the same way as the inventors of cinema's technology had learned how to put motion pictures before an audience.
		As narrator Blanche Sweet (one of D W Griffith's Biograph starlets) acknowledges, to study Porter's fortunes is to witness the emergence of the American cinema industry and
	www.bfi.org.uk /booksvideo/video/details/nickelodeon (319 words)

	Edwin S.Porter: Pure Genius
		Edwin Stanton Porter was born in 1870 in Pennsylvania.
		Porter realized he had discovered the potential of this new fad.
		If Mount Rushmore displayed the forefathers of dramatic film, Edwin S Porter's face would be the first to be sculptured.
	filmdramas.suite101.com /article.cfm/edwin_sporter (456 words)

	Hangout - New Jersey Movie History
		Porter, considered the "father of American story film," shot the ten-minute, 14-scene movie in various New Jersey locations including Paterson.
		Porter was the first director to use close-ups and edit film to create suspense.
		Porter and a group of local actors headed for the wilds of New Jersey to shoot the film.
	www.state.nj.us /hangout_nj/200206_movies_p3.html (345 words)

	The First Fifty Years of American Cinema
		Directed by Edwin S. Porter, the film is considered by many to be groundbreaking for its editing and storyline.
		One of the first of these pioneers was Edwin S. Porter, who is widely credited with shifting editing from between scenes to within one scene.
		For instance, in his 1903 film The Life of an American Fireman, Porter cut between the interior and exterior of a burning house to increase the tension and tell the simultaneous story of the fireman and the people trapped inside.
	www.fathom.com /course/21701779/session2.html (1369 words)

	Edwin S. Porter - Films as Director:
		Porter acknowledged an influence in his filmmaking from Georges Méliès, the French filmmaker whose "trick films" were extremely popular in the United States.
		Porter's first film of major importance was The Life of an American Fireman, made in 1902 or early 1903.
		Again Porter edited his film using cross-cutting to show events that were supposedly occurring at the same time: the bandits begin their escape while the posse organizes a pursuit.
	www.filmreference.com /Directors-Pe-Ri/Porter-Edwin-S.html (1272 words)

	medias with a Story
		Edwin S. Porter is known as the first director to use modern film techniques to tell a story.
		The "The Great Train Robbery", Porter tells the story of a train robbery and the capture of the bandits.
		Porter created suspense by switching form scenes of the fleeing robbers to scenes of the mob trying to catch them.
	library.thinkquest.org /C0130169/his4.htm (833 words)

	MRC FilmFinder-Full Record: American primitive : Edwin S. Porter revisited
		Edwin S. Porter's film is generally regarded as the birthplace of narrative cinema and of the quintessential American genre, the western [see below however] The story of a daring train robbery, the escape and subsequent chase and capture of the bad guys created a sensation in 1903.
		The narration of this obscure Porter film makes its claim as the first narrative film and the birth of the Western.
		The inter-titles are simple narrative - The Woodsman, The Eagle, The descent [to the nest where the hero and the huge bird do battle] and the finale - All's well that ends well.
	www.lib.unc.edu /house/mrc/films/full.php?film_id=5835 (322 words)

	Amazon.ca: Great Train Robbery (1903): DVD: Edwin S. Porter,Morgan Jones,Tom London,Gilbert M. Anderson,A.C. ... (Site not responding. Last check: 2007-10-20)
		There is some doubt as to whether all of The Great Train Robbery's many innovations were actually the first of their kind, but there's no question that Edwin S. Porter's seminal 1903 Western was the first definitive evidence of the power of film editing in the service of a story.
		Porter, influenced by the cruder, tableaux-based narrative films of French film pioneer Georges Mlis, created a sensation by coupling a strong story (in this case based on a true event) with expressive editing techniques.
		Tumbleweeds is the 1939 reissue and has W S HART speaking of his love of the west.
	www.amazon.ca /Great-Train-Robbery-Edwin-Porter/dp/B0000WN1JA (466 words)

	Before the Nickelodeon: The Early Cinema of Edwin S Porter Film Review - Time Out Film
		Edwin S Porter's contribution to the history of the movies is enormous.
		At a time when most film-makers were content with crude one-take shorts of straightforward dramatic design, Porter was already experimenting with editing his stories to include different points of view and various trick special effects which he may have learned from Méliès.
		Musser's enchanting piece of movie archaeology traces the life of this key figure, with plenty of clips from his greatest hits, a commentary from Blanche Sweet (the Griffith star), and just the right note of amused genuflection to a master.
	www.timeout.com /film/67543.html (228 words)

	The Clark - Noted Filmmaker Introduces Two of His Own Documentaries on May 18 as Part of the Free Fellows Film Series
		Since little is known of Porter's personal life, the emphasis is on his technique and contributions to the art of the cinema.
		This film also serves as a documentary on the origins of the American cinema; Porter's work is showcased in the context of the whole American cinema of his day, from Mutoscope parlors to the advent of the projected image.
		He is a preeminent scholar of early American cinema, and the author of the prize-winning books The Emergence of Cinema: The American Screen to 1907 and Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company.
	www.clarkart.edu /make_a_visit/press_releases/content.cfm?ID=582 (467 words)

	UCLA Film & Television Archive - Education - Publications
		Historian Charles Musser focusses on Edwin S. Porter, most often remembered as the producer of The Great Train Robbery, and the situates his achievements within the vibrant context of turn-of-the-century popular culture and the commercial strategies of the Edison Manufacturing Company-the leading American film-producing entity from 1894 to 1908.
		However, Musser avoids a narrowly auteurist approach and places Porter's own nonlinear storytelling system within the evolution of the motion picture world after the nickelodeon theaters.
		With this book, Porter will take his rightful place among the American filmmakers who dominated their period and forever changed the way we think of the cinema.
	www.cinema.ucla.edu /education/publications.html (647 words)

	Silent Era : Books : Before the Nickelodeon by Charles Musser
		Charles Musser is the authority on the earliest years of the silent era, and each book he produces is extremely well-researched and highly detailed.
		This book focuses on pioneering filmmaker Edwin S. Porter, a top director in his day, and his years at the Edison Manufacturing Company.
		Porter is often overlooked as a motion picture innovator, and Musser’s study attempts to find Porter a proper place in film history.
	www.silentera.com /books/musser-beforeBK.html (202 words)

	Edison/Porter 1903 Film
		Working for Thomas Edison, Edwin S. Porter was the first American "director," the pioneer who discovered how to use Edison's invention to tell stories and entertain audiences.
		Porter shot the film inside the Edison Company's studio in New Jersey.
		The catalog that the Edison company prepared to help sell the film to exhibitors provides descriptions that help 21st century viewers "see" what is going on in each of the following scenes as those original viewers did, and so we've included the catalogue text alongside each clip.
	jefferson.village.virginia.edu /utc/onstage/films/mv03hp.html (376 words)

	Images - Silent Westerns
		Produced at the Edison Manufacturing Company and written, directed, photographed, and edited by the studio’s production-head Edwin S. Porter, the film is today regarded as a landmark in early film narrative.
		Employing editing techniques never before used, Porter created a film that proved influential on all subsequent dramatic films and set the ball rolling for what would prove to be America’s most enduring and potent of film genres.
		For Porter it was to mark his apotheosis as a filmmaker and overshadow another thirteen years of filmmaking.
	www.imagesjournal.com /issue06/infocus/silentwesterns2.htm (483 words)

	The Great Train Robbery: History In The Making
		Dramatic film as it is known today all started when this Edwin S.Porter classic showed its potential.
		Had Porter not made this one reeler who knows what would have happened to the little marquee frivolity of film.
		He set the standards and gave birth to the magic of dramatic film that to this day continues to mean so much to us.
	filmdramas.suite101.com /article.cfm/the_great_train_robbery (373 words)

	Yale > Film Studies Program > Faculty
		His The Emergence of Cinema: The American Screen to 1907 (1990) received the Jay Leyda Prize in Cinema Studies, the Theater Library Association Award for best book on Film, TV and Radio, the Katherine Singer Kovacs Prize for outstanding book in Media Studies and other awards.
		His other books include Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company (1991), High-Class Moving Pictures: Lyman H. Howe and the Forgotten Era of Traveling Exhibition, 1880-1920 (with Carol Nelson, 1991), and Edison Motion Pictures, 1890-1900: An Annotated Filmography (1997).
		As a documentary filmmaker, he produced and directed the prize-winning An American Potter (1976) and Before the Nickelodeon: The Early Cinema of Edwin S. Porter (1982).
	www.yale.edu /filmstudiesprogram/faculty/musser.html (172 words)

	AMCTV.com SHOW - The Great Train Robbery
		This picture, directed and scripted by Edwin S. Porter, introduced the first cinematic cowboy star, Bronco Billy Anderson.
		Anderson plays several roles in this action-packed depiction of outlaws ambushing a steam train.
		A breakthrough achievement in motion picture history, remarkable for being the first film narrative and the first of a genre (the first film Western), as well as its technical advancements, including its use of close-ups and Porter's camera movements (what we now refer to as "panning").
	www.amctv.com /show/detail?CID=1355-1-CST (78 words)

	The “actualities” films told a story that was more true to life (Site not responding. Last check: 2007-10-20)
		Although Edwin S. Porter was a director who gave films a more complicated narrative structure, I “actualities” films depicted very simple stories, for just about anyone to comprehend.
		I think both types of these movies are need in society.
		Actualities films are needed to relive events, and also directors such as Edwin S. Porter are also needed to help people really think about the movie and make it a little complicated.
	mason.gmu.edu /~ahessam1/nf.htm (240 words)

	Unseen Cinema • The Devil's Plaything
		Edwin S. Porter and other early filmmakers used bizarre sets, fantastic costumes, and magic lantern tricks to illuminate their fantasy films.
		American parody supplied Douglas Fairbanks with enough unusual material to produce the truly surreal When the Clouds Roll By (1919).
		The emphasis shifted when amateurs J.S. Watson, Jr., Joseph Cornell, and Orson Welles crafted a unique variety of American surrealism on film unfettered by European concerns.
	www.unseen-cinema.com /disc2.html (299 words)

	Publisher description for Library of Congress control number 90011045
		Publisher description for Before the nickelodeon : Edwin S. Porter and the Edison Manufacturing Company / Charles Musser.
		Focusing on Edwin S. Porter, most often remembered as the producer of The Great Train Robbery, Musser situates Porter's achievements within the vibrant context of turn-of-the-century popular culture and the commercial pragmatics of the Edison Manufacturing Company--the leading American film-producing entity from 1894 to 1908.
		Library of Congress subject headings for this publication: Porter, Edwin S, Criticism and interpretation, Thomas A, Edison, Inc, Silent films United States History and criticism, Motion pictures United States History
	www.loc.gov /catdir/description/ucal041/90011045.html (142 words)

Try your search on: Qwika (all wikis)