"Arrival of a Train" x "Damsel in Distress"

The great differences in these short films are reflective of the evolution of the medium over time.

In the camera work of "Arrival of a Train," there is little in terms of shot composition or angle. The only subjects are the train and its passengers, shot at a somewhat nondescript angle. There is zero movement. It is a single-shot film, also known as a sequence shot. The cinematography of "Damsel in Distress" is much more significant. As with "Arrival of a Train," each shot is composed of its main subject; however, due to development in techniques there are varying shots. The brevity of each shot also adds to the film's suspense.

In "Arrival," there is no editing given that it is composed of a single, lengthy shot. Therefore, its editing can be classified as realism. "Damsel" is cut to continuity and cause-and-effect relationships are displayed, such as that between the damsel and the dog. As stated, each shot is cut quickly to add tension--an example of classical cutting. "Damsel's" editing is a part of classicism.

There is little narrative in "Arrival;" a train arrives at a station and some passengers exit while others board. The film is devoid of suspense, message, or (one could argue) a story. In "Damsel," the narrative is clear: a woman, trapped by a villain on a railroad track and with a train approaching, calls for her dog to summon help. Again, this clarity is due to advancements in filmmaking, specifically the capabilities for shot variety and editing.