Extract of sample Segundo de Chomon and His Ciinema
As the study stresses on one side the cinema is documenting reality, the reality of the train coming to the platform. On the other hand the same cinema is making the unreal look real, by making the viewer believe that the train coming towards him is real. These two qualities of Cinema led to the division of it into documentaries and feature films or fantasy films .It was the French magician Georges Melies who first explored the possibility of fantasy created through cinema He was the one to use what we now call the special effects in cinema. He discovered the cinematic special effect called the stop trick, in which objects disappear from the screen. He is the one to use the photographic effect called the multiple exposure, and also time lapse photography. He achieved all this with in a year after the Lumiere show, that’s in 1896. With his inventiveness, humor and the visual power Melies could create magic on the screen, so that he was called the “Cine magician”. According to Robert Philip Kolker, “Lumiere and Melies are posited as progenitors of two separate modes of cinematic expression, the one photographing things existing in the world, the other creating fantasies in the studio.” Years later Teruel Segundo de Chomon y Ruiz took forwards this fantasy and magic of cinema initiated by Georges Melies, both of them in France. Chomon’s Les Kiriki: Acrobats Japanois is a two minutes thirty seconds film that shows the Melies’s effect on him. This film was made one hundred and two years ago in 1907.It shows a group of dances who look like Japanese acrobats. Their samurai hair style is absurd and not correctly matching the samurai style at all.
This paper discusses that to understand Segundo de Chomon and his cinema one has to go back to the origin of the cinema as well as the Cinema that became an art close to magic. The cinematic art developed from man’s incorrigible wish to record the movement and the moving objects…
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We should always remember the 100 men that lost
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