Influences
An influential arena for the great split screen movies of the 1960s were two world's fairs - the 1964 New York World's Fair, where Ray and Charles Eames had a 17-screen film they created for IBM's "Think" Pavilion (it included sections with race car driving) and the 3-division film To Be Alive, by Francis Thompson, which won the Academy Award that year for Best Short. John Frankenheimer made Grand Prix after his visit to the 1964 New York World's Fair. The success of these pavilions further influenced the 1967 Universal exhibition in Montreal, commonly referred to as Expo 67, where multi-screen highlights included In the Labyrinth, hailed by Time magazine as a "stunning visual display," their review concluding: "such visual delights as Labyrinth ... suggest that cinema—the most typical of 20th century arts—has just begun to explore its boundaries and possibilities," as well as A Place to Stand, which displayed Christopher Chapman's pioneering "multi-dynamic image technique" of shifting multiple images. Directors Norman Jewison and Richard Fleischer conceived their ambitious split-screen films of 1968 after visiting Expo '67.
It's also common to use this technique to simultaneously portray both participants in a telephone conversation, a long-standing convention which dates back to early silents, as in Lois Weber's triangular frames in her 1913 Suspense, and culminating in Pillow Talk, where Doris Day and Rock Hudson share a party line. So linked to this convention are the Doris Day/Rock Hudson movies that Down With Love, the only slightly tongue-in-cheek homage, used split screen in several phone calls, explicitly parodying this use. In the 1971 Emmy Award winning TV movie "Brian's Song" which portrays the story of former Chicago Bears running backs Brian Piccolo and Hall of Famer Gale Sayers, it’s the night after Piccolo's second surgery and Piccolo (James Caan) is talking to Sayers (Billy Dee Williams) on the phone. There is a diagonal split screen from upper left corner to lower right corner (Piccolo on the right side and Sayers on the left). The BBC series Coupling made extensive use of split screen as one of several techniques that are unconventional for TV series, often to a humorous effect. One episode, 'Split', was even named after the use of the effect. The acclaimed Fox TV series 24 used split-screen extensively to depict the many simultaneous events, enhancing the show's real-time element as well as connecting its multiple storylines. The director of the pilot, Stephen Hopkins, was greatly influenced by The Boston Strangler's use of multiple screens to create tension.
An unusual and revolutionary use of split screen as an extension to the cinematic vocabulary was invented by film director Roger Avary in The Rules of Attraction (2002) where two separate halves of a split screen are folded together into one seamless shot through the use of motion control photography. The much acclaimed shot was examined and detailed in Bravo Television's Anatomy of a Scene.
Read more about this topic: Split Screen (filmmaking)
Famous quotes containing the word influences:
“I don’t believe in villains or heroes, only in right or wrong ways that individuals are taken, not by choice, but by necessity or by certain still uncomprehended influences in themselves, their circumstances and their antecedents.”
—Tennessee Williams (1914–1983)
“Leadership does not always wear the harness of compromise. Once and again one of those great influences which we call a Cause arises in the midst of a nation. Men of strenuous minds and high ideals come forward.... The attacks they sustain are more cruel than the collision of arms.... Friends desert and despise them.... They stand alone and oftentimes are made bitter by their isolation.... They are doing nothing less than defy public opinion, and shall they convert it by blows. Yes.”
—Woodrow Wilson (1856–1924)
“The tourist who moves about to see and hear and open himself to all the influences of the places which condense centuries of human greatness is only a man in search of excellence.”
—Max Lerner (b. 1902)