L'arrivée d'un train à La Ciotat (1896)

Calificación de los usuarios:

7.4/10   

Directors:

Auguste Lumière
Louis Lumière

Fecha de Lanzamiento:

1897 (Turkey)

Género:

Corto | Documental

Plot:

Another of the Lumiere Brothers' one-shot films, this time showing a steam train arriving at a station...

Plot Keywords:

Train | Railway Station

Comentarios de los usuarios:

One of the Most Enduring Images Of Cinema's Earliest Years

También conocida como:

Arrival of a Train at La Ciotat (USA)
L'arrivée du train en gare de La Ciotat (France)
The Arrival of the Mail Train

Duración:

1 min

País:

France

Color:

Negro y Blanco

Relación de Aspecto:

1.31 : 1

Sonido:

Silent

Locaciones de Filmación:

La Ciotat, Bouches-du-Rhône, France

Compañía:

Lumière

Trivialidades:

Film historians agree that the first public exhibition of motion pictures occurred on 28th December 1895 when Auguste Lumière and Louis Lumière (the Lumière Brothers) exhibited a selection of ten of their single-reel films to a paying audience at a Parisian café. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.

Conexiones de Película:

Referenced in "Gilmore Girls: The Fundamental Things Apply (#4.5)" (2003)

One of the Most Enduring Images Of Cinema's Earliest Years

This footage of the "Arrival of a Train" is one of the most enduring images of the earliest years of cinema. The often-repeated accounts of the startled reactions to this movie from early audiences, along with the ways that such reactions were commemorated in other early movies such as "The Countryman and the Cinematograph", have made it one of the best-known of the earliest movies, and beyond that, the film in itself accomplishes its own aim very well.

The Lumières discovered very quickly how effective motion towards the camera could be, and that idea is certainly used to good effect here. The diagonal direction of the motion, necessitated by the material being filmed, gives it a distinctive character. Compared with the train, the crowd reactions here are a bit less interesting than they are in some of the other Lumière features that include crowds who know they are being filmed. A couple of them do acknowledge the camera as they go about their business.

Yet even today, the train grabs the viewer's notice, so that the crowd and other details get much less attention. That in itself shows how effectively this enduring classic was able to carry out an interesting idea.