By Professo Chanan
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Extra resources for The Dream That Kicks: The Prehistory and Early Years of Cinema in Britain
15). In the enacted scene, however, random movement becomes a form of noise, interrupting the flow or distracting attention away from the intended actions of the film. Thus, as soon as the action in front of the camera was ‘made up’, as soon as the profilmic scene became a profilmic event specially set up for the camera to film, the frame begins to bear down on the scene, trying to organize it into an intelligible point of view. This was usually done by centring the composition within the frame, thus re-enforcing the form of the tableau, but even simple actions easily burst the tableau asunder.
In 1851 he established himself in London in order to exploit the brand new submarine cable link between Dover and Calais. Reuter worked hard to gain the custom of the newspapers—and with the expansion of the British press in the 1850s following the repeal of stamp duties, he succeeded—but they were not his principal clients. On the contrary, his business, as it expanded to cover the globe, mainly served private commercial users, and right up to the First World War the supply of news to newspapers alone failed to produce a profit.
As a description of the mise-en-scène of early one-shot sketches, comic and melodramatic, this is accurate enough, at least if you accept that when the action spills out of the frame, as it often does, this is usually because of the camera operator’s lack of experience and finesse in handling the camera and instructing the performers how to move. What happens, however, when the scene is not an acted one, but actuality? According to Burch it is then unburdened by narrative content, and accordingly has no closure.