Difference between revisions of "Nickelodeon"

From Dead Media Archive
Jump to: navigation, search
Line 1: Line 1:
 
[[Image:Outside.jpg|thumb|right|The outside of a nickelodeon.]]
 
[[Image:Outside.jpg|thumb|right|The outside of a nickelodeon.]]
  
During the early 20th century, short films transformed into longer story films with the help of the nickelodeon theatre. The nickelodeon and longer films in general, helped to enhance the movie experience, involving a more emotional attachment to them. They were also helpful in connecting members of immigrant community, specifically in New York.
+
The Nickelodeon theatre was an early motion-picture theatre named after the fact that admission generally cost one nickel. Developed during the early 20th century, Nickelodeons provided spaces for longer, story films to be shown in lieu of the short films that were popular during that time. As a result, longer films became increasingly popular. This transition enhanced the movie-going experience because the longer a film's duration, the more emotionally involved an audience can become. Though originally associated with working-class audiences, the appeal of Nickelodeons extended into the upper classes as the years progressed. Nickelodeons also proved helpful in connecting members of immigrant communities, specifically in New York.
  
 
==The Rise of the Nickelodeon==
 
==The Rise of the Nickelodeon==
Line 45: Line 45:
 
----
 
----
 
==References==
 
==References==
 
  
 
Allen, Robert C. "Motion Picture Exhibition in Manhattan 1906-1912: Beyond the Nickelodeon." Cinema Journal (1979): 2-15.
 
Allen, Robert C. "Motion Picture Exhibition in Manhattan 1906-1912: Beyond the Nickelodeon." Cinema Journal (1979): 2-15.
Line 54: Line 53:
  
 
Grieveson, Lee and Peter Kramer. The Silent Cinema Reader. New York: Routledge, 2004.
 
Grieveson, Lee and Peter Kramer. The Silent Cinema Reader. New York: Routledge, 2004.
 +
 +
"history of the motion picture." Encyclopædia Britannica. 2010. Encyclopædia Britannica Online. 25 Sep. 2010
 +
    <http://www.britannica.com/EBchecked/topic/394161/history-of-the-motion-picture>
  
 
Manchel, Frank. When Movies Began to Speak. Englewood Cliffs: Prentice-Hall, 1969.
 
Manchel, Frank. When Movies Began to Speak. Englewood Cliffs: Prentice-Hall, 1969.

Revision as of 16:15, 25 September 2010

Error creating thumbnail: Unable to save thumbnail to destination
The outside of a nickelodeon.

The Nickelodeon theatre was an early motion-picture theatre named after the fact that admission generally cost one nickel. Developed during the early 20th century, Nickelodeons provided spaces for longer, story films to be shown in lieu of the short films that were popular during that time. As a result, longer films became increasingly popular. This transition enhanced the movie-going experience because the longer a film's duration, the more emotionally involved an audience can become. Though originally associated with working-class audiences, the appeal of Nickelodeons extended into the upper classes as the years progressed. Nickelodeons also proved helpful in connecting members of immigrant communities, specifically in New York.

The Rise of the Nickelodeon

The first Nickelodeon was opened in Pittsburgh in 1905 by John P. Harris and Harry Davis. Within the year a boom of nickelodeons opened in various other places including Manhattan and began the “motion picture” age and the movie theatre. Americans flocked toward nickelodeons. The medium was looked at as a story-telling device for “naïve costumers whose emotions were easily stimulated and whose pocketbooks were congenial to the 5-cent price (Crowther).” The nickelodeon required no common language to understand, and immigrants to the country during the boom of both American immigration and the theatre were attracted to it. “Scenic tours” were of popular interest as well. Theatres would play a roll of travel pictures and present them as if the audience were passing by the scene on a railroad car.

The Nickelodeon Theatre

Error creating thumbnail: Unable to save thumbnail to destination

Nickelodeons got there name by charging generally between a nickel and a dime to watch a silent film. The theatres were typically all the same design with a rectangular shape, 20 feet wide and 80 feet deep. A hand-cranked projector displayed the movie on a painted white square on the farthest wall. Permanent seating, if there was any, was on either side of the center aisle in either wooden benches or plywood chairs. The floor of the theatre was at a slope. At the front of the theatre, a small area enclosed the piano player who gave musical life to the silent film being presented. The entrance to the nickelodeon theatre was almost always an arch with a ticket booth at the front. Above the box office was often a small window for the projectionist to escape in case of a fire because of the highly flammable nitrate film being dealt with. The presence of the theatre as a whole was often a grandiose feeling. Some were designed in a gothic style (Morrison).

Longer Films & Storytelling

Prior to the nickelodeon, films were made up of single shots, showing either short fiction or non-fiction scenes. French films by the Pathé Freres Company were the first to experiment with longer story films and once they opened up offices in New York City in 1903, American film producers took note. Edison Manufacturing Company for example was among the many. Nickelodeons then began to show these films, such as Edison’s The Great Train Robbery.

Error creating thumbnail: Unable to save thumbnail to destination
Poster for the Great Train Robbery, which was the first movie played by Harris & Davis at their nick.

Technically speaking, producers were more in favor of longer films because it allowed them to raise prices when selling film to exhibitors. It also opened up the opportunity in general to deepen the meaning of film and get more in depth with their subjects. This helped involve the audience more with the films, “drawing spectators into the story and engaging them in the unfolding events, thus combining a form of entertainment which powerfully combined attractions with the pleasure of narrative (Grieveson 78).”

New York City and the Nick

In the early 20th century, the Lower East Side of Manhattan was a large immigrant area. It was here that the majority of the nickelodeons in New York were located, strewn along the Bowery (Allen 4). Because, of the universal aspect of silent film and the area in New York of which they boomed, it can be said that the nickelodeon provided a sense of community within the immigrant population. A sense of togetherness is always felt when people watch a movie together, similar emotions are experienced. For a group of people who are new to a country, gathering in groups of around a hundred, regardless of recognizable faces to all focus and enjoy one thing could have aided in feeling more comfortable in their new situations. Theatres were also opened in Little Italy (located on the Upper East Side) and Jewish Harlem.



The Death of Silent Film

Thomas Edison and Film

Error creating thumbnail: Unable to save thumbnail to destination
Fred Ott's Sneeze.

Thomas Edison can be seen as an influential aspect to both silent and sound film. In 1893, he opened a “motion picture studio,” in the most literal sense of the phrase, in the back of his laboratory in New Jersey. There he produced Fred Ott’s Sneeze, a few seconds of footage with a stream of pictures depicting his worker, Fred Ott (Cohen 33). After the development of the phonograph, Edison wanted to merge both sound and film. He thought that combining both motion picture and sound “would provide delightful entertainment for millions of people (Manchel 2).” William Dickson, also an inventor, paired with Edison to work on the conjunction. It was Dickson who created one of the first sound films using Edison’s phonograph. He presented it to Edison in his laboratory in New Jersey, asking him to use listening tubes from a phonograph and watching a small screen. The screen showed Dickson tipping his hat and waving to Edison, while the phonograph played a greeting wishing Edison good morning and expressing Dickson’s hope that he would enjoy the “kinetophone.” In 1913 after two decades of work on the combination of sound and film, Edison gave a public display of one of his features. The movie was met with disdain and was rejected by the audience. After two more years Edison gave up his efforts.

A New Approach

The problem with Edison’s sound films was due partially to the phonograph itself. Because the recording quality of the machines was poor, actors had to stand extremely close to the phonograph in order for any sound to be recorded at all. This limited things greatly. Either the microphones had to be shown in the shot or the audio had to be recorded separately and then synchronized to the picture. The second approach was taken but failed still. Sound quality in the theatres was still poor and synchronization was difficult.

Other attempts at sound film were taken still. Actors sometimes hid behind screens to recite lines, sound machines created special effects sounds but, neither these nor Edison’s efforts were successful. Finally, with the invention of Lee De Forest’s audio amplifier, sound films were on their way. De Forest had invented a vacuum tube that converted sound into rhythmic light. However, it wasn’t until the end of World War I that the effort to convert the light back into sound was made. In 1925, Western Electric Company, who had taken over the execution of De Forest’s idea, teamed up with Warner Brothers to work on sound film (Manchel 4).



References

Allen, Robert C. "Motion Picture Exhibition in Manhattan 1906-1912: Beyond the Nickelodeon." Cinema Journal (1979): 2-15.

Cohen, Paula Marantz. Silent Film & the Triumph of the American Myth. New York: Oxford University Press, 2001.

Crowther, Bosley. When Movies Were Young. New York: New York Times, 1955.

Grieveson, Lee and Peter Kramer. The Silent Cinema Reader. New York: Routledge, 2004.

"history of the motion picture." Encyclopædia Britannica. 2010. Encyclopædia Britannica Online. 25 Sep. 2010

    <http://www.britannica.com/EBchecked/topic/394161/history-of-the-motion-picture>

Manchel, Frank. When Movies Began to Speak. Englewood Cliffs: Prentice-Hall, 1969.

Morrison, Craig. "From Nickelodeon to Picture Palace and Back." Design Quarterly (1974): 6-17.