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It would have taken some time for the audience to read an intertitle of this length, but the anthropomorphic and entertaining juxtapositions make the text easy to read.

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The other intertitles are not quite as anthropomorphic as this one, but they are just as entertaining. Anthropomorphism ascribes to animals abilities and social conditions that are otherwise only applicable and relevant to human beings. In literature, this is evident in the animal fables of Aesop and La Fontaine.


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The most famous animal fables were written by Aesop, who lived years before Christ and who inspired La Fontaine — Many of these characteristics are very well known e. Britain, P. The copy I have seen has a length of 7 minutes, contains 20 scenes and 10 intertitles, and forms part of the series Hidden Wonders of Nature. He catches something, which he puts into a glass. The second shot depicts in p. The next shot shows the man in a laboratory, and in the following shot we see how he gets ready to look into a microscope.

In this, the fourth shot, the cinematographer uses p. In between most of the following shots, intertitles explain which of the small animals the viewer should pay attention to. They give us the name of the species in question but nothing more.

Cameras into the Wild : Palle Bogelund Petterson :

The last two shots depict the blood circulation of a tadpole and the sap circulation of some leaves of Saragossa grass. One shot lasts for 27 seconds and shows an elephant walking towards the camera, carrying two people on its back; another shot depicts two elephants walking from left to right. The latter shot has a length of 18 seconds. What remains are two shots of bears and a panoramic camera movement that follows an elephant eating in a lake. In the following shot he pours the content of the net into a glass, and we then see the animals — either under a microscope or in an aquarium.

The shots have been taken from the side of the aquarium or from above it. It is safe to say that the producer of Insect Pond Life had been unusually inspired by its English predecessor. This corresponds to two texts per minute, which is quite a lot.

The content of these texts was very informative, prosaic and factual. Many attempts were made, but they rarely lasted long. Anything that was possible was considered a valid opportunity. Things turned out differently, however. In consultation with the president, the Smithsonian Institution, which led the expedition, decided to hire another cameraman, and whatever Roosevelt had promised Selig fell through. Instead, Selig, who refused to miss out on what would obviously be a commercial success, made his own African expedition.

Selig avoided all mentioning of Roosevelt, but no doubt the audience was able to make the desired connection. Yet Guggisberg makes no use of source references, and I choose to believe that his observations are not well researched Guggisberg Already-existing shots of zebras and hippopotamuses were inserted. The lions were released onto a small Danish island in Roskilde Fjord, Elleore, and a hunting expedition set out after them.

Demand for Wildlife Films Films made between and with shots of wildlife and wilderness are still not very well represented in my compiled list. Pike and Cherry and Richard Kearton. Your captive lion in a zoological park does not do too much prowling about except in a small cage.

Selig and his merry men to cultivate the production of moving pictures of animal life [May 29, , ]. Olsen, the manufacturer in question There were others who included shots of real wild animals in a more acceptable and recognized manner — in the name of nature preservation. When people saw these pictures they were upset and came to understand the importance of helping suffering animals.

When Cherry was 14 years old his father died, which meant that Cherry had to work to help support his family. As soon as he had saved enough money, he bought a camera, and by his abilities as a photographer had reached such heights that his brother Richard Kearton — recognized his talent and foresaw great possibilities for himself and his younger sibling.

This was quite unusual, since books on wildlife in those days relied on drawings, not photographs.

It has not been possible to retrieve reliable source material about the content and style of these motion pictures — apart from the fact that some of the shots depicted the common white throat. You could follow every movement of the bird Kearton kept a climax. At the end we were shown a sparrow hawk feeding its young.

Machin in Africa

He made a living by writing books and articles about his adventures. Then he charged, right into the thick of them. My heart thumped painfully. And I believe I perspired. Nevertheless, I remained perfectly still and steadfastly returned his stare. I will not comment on the inherent truth of the above quotations, but the entertainment value is self-evident, and Kearton did write to earn a living. He obtained shots of, for example, a hornbill, but I have not been able to verify his statements through other sources.

It is certain, however, that in Kearton accompanied James L. All the shots are of a very high quality. They are long shots, and I think the cinematographer used a small telephoto lens with a maximum of four inches. There is no indication that the animals are being hunted — they show absolutely no awareness that they are being watched. Other indications of a connection to Kearton are the title, year and the animals being in Africa.

Roosevelt saw these shots during their meeting, but he was already familiar with the work of the Kearton brothers. I was so much impressed by it that I got Mr. Colonel C. Buffalo Jones was a year-old cowboy from Nebraska who accompanied two couples, the Means and the Lovelesses, on a hunting trip to Africa. Cherry Kearton was their cinematographer.

This East Africa expedition was very cumbersome and slow, and disturbed the wildlife. But lasso hunting provided ample opportunities for creating dramatic scenes — especially the rhinoceros hunting. From very early on, Cherry Kearton documented the wildlife of many impassable countries. The jungle was too dense and the view of the animals appalling. After 20 days in India, Kearton had given up on getting shots of tigers; but when he least expected it, he got the chance. A few miles outside a small village he discovered the traces of a tiger, and succeeded in tracking down the animal.

For a whole year they journeyed across the African continent from Kenya to the source of the Congo. Unfortunately, this did not happen.

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However, I have not been able to verify if this event took place during this expedition. In , Kearton returned to Africa with the sportsman and nature enthusiast F. This journey was to last for four years, and the two went through many hazardous experiences in the African wilderness. When he returned to England he discovered that he had caught both malaria and dysentery, but this did not put an end to his wanderlust or indeed his work. The 78 Cameras into the Wild resulting motion picture was named after the island, Dassan Kearton stayed several months on the island, where he studied the lives of these amazing animals.

The music composed for Dassan is happy, sad or dramatic by turns — and almost always evocative. We then see a map of the island and are told that 5 million adelie penguins live here. Kearton introduces himself and takes his hat off to the penguins. The sound of a bell informs us as to the number of rounds, and when one of the penguins tumbles down, it takes the count. Kearton did not limit himself to the typical, popular species. He also mentions a dwarf civet, which he claims is a rare species.

He spent four years securing a scene of a caterpillar entering the chrysalis stage. The wait did pay off and he got the shot, but the sequence only lasts some 40 seconds. Among other things, he discovered how he could avoid disturbing elephants. His hiding places were constructed with natural materials, and for each stage in the construction process, wet sand was strewn over it. The sand was crucial, as it removed the human scent, to which elephants are very sensitive. During his trip to Africa, Kearton was shooting scenes of a wild leopard eating the carcass of a hippopotamus.

Unfortunately, Kearton was less than brilliant when it came to darkrooms and chemical processes, and it so happened that the leopard shots were ruined. This was indeed a blunder, as the experienced Clark, who had been on quite a few safaris before and who had watched the leopard with Kearton, had never seen a leopard in an open landscape before.