The Projector Fall 2003 Edition
Volume 4, Issue 1
Cinema began with Quentin Tarantino.
What's that? You don't agree? You think that Tarantino's style is more an extension of previous cinematic techniques rather than completely a new one? Well, it seems today that many young people feel that contemporary film-makers have completely invented their own cinema, but instead the reality is that they have built this cinema on the shoulders of directors of the past. So if Tarantino didn't invent cinema, who did? Or perhaps a better question might be: how did cinema get to where it is today?
In the early days of film, directors in all parts of the world were creating the structures and styles of cinema as they went along. This issue of The Projector aims to examine some of these visionaries and how they played a part in shaping the styles and techniques common in modern cinema. Each paper focuses on a particular director and the ways that one or more of their films affected the ways movies could be made.
The first two essays focus on different films of the German director Fritz Lang. The former, written by Sarah Okapal, examines the philosophy behind the style and presentation of Lang's Metropolis. Next Kari Hazlett discusses how Lang helped to ease the transition between silent and sound cinema with his film M. From there we move to America where Stephen Boston discusses the way D.W. Griffith took two steps forward and one step back with Birth of a Nation. Jon Wagner takes us to France where he looks at the ideas and methods that shaped Henri-Georges Clouzot's Wages of Fear. Our final stop is in Russia where I look at the studies on cinematic structure done by visionary director Sergei Eisenstein.
Special thanks goes out to all who contributed to this issue of The Projector, their help is greatly appreciated. Enjoy the trip,
Sarah Okapal Metropolis: A Filmic Masterpiece