What path did Méliès blaze

Georges Méliès Today is the 148th anniversary of the birth of Georges Melies of France, one of the pioneers of world cinema and the founder of the modern cinema (b. Dec. 8, 1861, Paris; d. Jan. 21, 1938, Paris). He was originally a comedian, theater director, magician, photographer, and later worked in film. He was the first film director in the world, and he contributed greatly to the craft of cinema! He created fast-motion, slow-motion, stop-and-go re-shoots, overprints, fades, fades, and other stunt photography. He turned film technique into film art. He introduced the element of drama and created theatrical films. The hundreds of films he made were all in the form of cinematic expression with a theatrical structure, and most of the films were written, directed, photographed and edited by himself. Méliès' masterpiece is Joan of Arc. He used various stunts in film editing, such as fading in (as in the stage opening), fading out (as in the stage closing), etc., and pioneered the editing of films with graphic techniques, which changed film editing from technology to art. This world filmmaker from his teenage years in Paris, a theater as a manager, while personally performing juggling, and later a long period of time to make puppets and puppetry, is a famous professional magician at that time. 1896, when he came into contact with the Lumière brothers of the "film moving mirror" after the occurrence of a strong interest, and thus He bought a movie projector and set up his first studio. The studio was "a combination of photo studio and theater stage." In this suite, the camera was placed at one end, and at the other end was the stage for the performance. The camera was positioned at the very back of the stage, and Méliès, from the "point of view of the orchestra conductor", made more than 430 films, and became known as the creator of "theatrical cinema". Méliès' contribution to the world of cinema is twofold: first, he created a true theatrical film. Before Méliès, some filmmakers had already made successful attempts to make "dramatic films". For example, Edison's "Otter Sneezes" already contained dramatic elements. Later, Lumière's "The Passion of the Christ" depicts the experience of Christ's life, and finds a more complete dramatic pattern, which is the first time in the history of cinema with a length of 250 meters and 13 sequences to state a long story of the film, but it is far from Méliès's "dramatic film" so complete and exquisite. For the first time, Méliès systematically used the scripts, actors, costumes, make-up, sets, machines, and the division of scenery and curtains in the theater to make films, and these techniques are still widely used in contemporary cinema. Méliès began to make films in 1896, and first took a period of imitating his predecessors. Soon this young man who was good at exploring and courageous in reforming created his own unique means of art - the use of the infinite possibilities of the movie to narrate fascinating stories: "Journey to the Moon" made in 1902 is a fantasy film that shows extraordinary imagination, and it is also one of his best-known works. A Journey to the Moon, made in 1902, is a fantasy film that demonstrates extraordinary imagination and is a masterpiece that represents the culmination of his cinematic art. Méliès was also the outstanding director who brought a novel to the screen for the first time in the history of cinema. In his adaptation, the talented director added a lot of appealing humor, breathtaking adventures and some fantastical elements to promote human thinking, recreating a wonderfully moving story: "A group of astronomers dressed in astrologer's clothes decide to go on an expedition to the moon. They arrive at a complex and peculiar machine factory and, with the help of a group of beautiful female seamen, bring in a large cannonball. The scientists sat in the cannonball, as if in a spaceship, and it was launched to the moon, where fairies warmly received the scientists and guided them through the silent and mysterious lunar landscape with great interest. At night, the scientists enjoyed the mystical dances of the fairies, who represented the gods of the Big Dipper, Venus, Mars ...... and other constellations. Gradually the scientists entered a dream world, went into a cave to escape the cold, and encountered giant mushrooms, spiders, multi-legged monsters and moon gods. After all the perils, the scientists finally escape the cave, locate the cannonball, fly away from the moon, and fall back down to the earth's ocean, where, after some undersea swimming, they return safely to the place of their departure, where a timeless and strange statue is being built in their honor." This film, which was truly assembled with footage, could only be shown for 15 minutes though. It has left a monumental legacy in the history of cinema because of its outstanding achievement, which marked the heyday of Méliès's filmmaking.　　Secondly, he created many stunt photography techniques. Stunt photography was first discovered by the Lumière brothers. One time, they showed a movie about "tearing down walls". Because the film did not pour well, as a result, the screen instantly appeared an unexpected scene, only to see in the gray dust, that a piece of brick scattered on the ground, magically soaring up, rebuilt a complete wall. A movie of "tearing down the wall" becomes a movie of "building up the wall", the picture is so funny and ridiculous! The audience watched with great interest. When the movie was shown again in the correct way, the audience found it uninteresting. This accidental mistake has become the later cameramen widely used "reverse shooting" technology (actually is the reverse playback technology). Later, someone shot a diving movie, which made the diver magically drilled out of the pool and flew to the diving platform, to the delight of the audience. Movie shooting in the "stop and shoot" is Méliès in the shooting scene discovered by chance. 1898, one day, Méliès in Paris Opera Square to shoot the bustling street scenes. When a public **** carriage passed in front of his lens, the hand-cranked camera malfunctioned, the film was hung up, and the camera was still rotating, at that time Méliès was unaware. At this time the street traffic did not stop because of the camera malfunction, a hearse just happened to come to the original position of the public **** carriage, when the camera malfunction eliminated continue to shoot, naturally appeared a very coincidental and peculiar picture - the public **** carriage suddenly turned into a hearse. This unexpected harvest, caused by good learning and willing to drill Méliès deep thought, he thought: public **** carriage can become a hearse, then thatched cottage can not also become a palace? Men can become women, cats can become dogs, the moon can become stars ...... After hundreds of experiments, the modified camera