From the 1890s to 1910s, films took more of a narrative form as the tendency of storytelling began. More and more narrative films were produced such as Sur Les Rails by Leonce Perret. Also, filmmakers began developing cinematographic skills as well as enhancing visual effects. In Suspense, directed by Louis Weber, three events that happen at the same time were arranged in a pyramid shape so as to show all three of them happening in a unique shot. In terms of aesthetic, parts of films were dyed to show different times of the day like in Fantômas, by Louis Feuillade in 1913 and Pathé Freres who even employed workers to hand-stencil colours on films such as Le Faune (1908).

However, early cinema continues to bring up challenges for those who analyse it nowadays. The amount of work behind the screen is not always obvious to us who are so used to unlimited special effects generated by computer programs and always more advanced technology. Moreover, our interest might not be easily aroused due to the lack of narrative. Indeed, most of the early films between 1895 to 1900, like the Lumiere brother’s Arrival of a train (1895) shows off filming techniques rather than simple storytelling. This comes along with an absence of camera movement. The shots were long and static thereby creating a theatrical aspect of the scene. The black and white images, in our opinion, limited the exploitation of mise-en-scene and motifs.

Understanding the techniques that gave birth to our modern cinema is therefore fascinating. The work that was done at this time period has helped us purchase and develop new cinematographic skills and ideas. For example, the little scenarios of that time like Rescued by Rover have paved the way to greater plots. This handed the torch of filmmaking to the writers rather than to the hands of cinematographers showing off their camera effects.

What surprises us about the film industry in its origin between 1890 and 1910 is how it initially only appealed to the working class and not so much to the higher middle-class. Although films back in those days paled in comparison to the films of today, it should be worth noting that this was a revolutionary medium, regardless of the time, and we find it very surprising that this medium was recognised and adopted by the working class more than the community that had more money to spend on their own entertainment. A valid reason for this could be that they lived in a proud and traditional era, where people recognised their entertainment (Opera, Theatre, Ballroom Dancing) as the best form of entertainment on the market, which could have easily been true back in the days of not having any colour or effective editing to back up these early pieces of cinema.

In order to improve our studying of cinema history, it is necessary to think about the films within their social, economic, and political contexts. Though an early film may seem aged through modern eyes, it is important to remember that some of those small parts were then revolutionary. The light rustle of trees in the background, or the bright pink colour of a flower petal may seem like trivial details to us now, but back in their debut, these filmic features were revolutionary at the time. We must also take in mind the political background of a film, such as with Sjölström’s Ingeborg Holm (1913), depicting the political and social crises that each of their respective countries were going through at the time.  As historians, we must look back on these films and appreciate them with these contexts.