How It Feels to Be Run Over

Plot

The film presents a first-person perspective from what appears to be a stationary camera positioned on a road, creating the illusion that the viewer is standing in the middle of the thoroughfare. Initially, a traditional horse-drawn carriage approaches from the distance and safely passes to one side of the camera's field of view, establishing a sense of normalcy and safety. Shortly thereafter, a motor automobile appears on the horizon, traveling at considerable speed directly toward the camera position, representing the new and potentially dangerous technology of the era. As the vehicle draws nearer, the occupants become visible and begin waving their arms frantically in apparent warning, creating mounting tension for the viewer. The film culminates with the automobile seemingly about to collide with the camera, cutting to black at the moment of impact, leaving the audience to imagine the consequences of being run over.

Historical Background

The year 1900 marked the height of the Victorian era in Britain and the dawn of the automobile age. Horse-drawn transport still dominated the roads, making motor vehicles a novelty that fascinated and frightened the public. The British film industry was in its infancy, with pioneers like Cecil Hepworth experimenting with the new medium's possibilities. This film emerged during a period of rapid technological change, with electricity, telephones, and automobiles transforming daily life. The Boer War was raging in South Africa, and Britain was at the zenith of its imperial power. Cinema itself was a revolutionary technology, with the first public film screenings having occurred only five years earlier in 1895. The film's themes of technological progress versus traditional ways resonated deeply with audiences experiencing the uncertainties and excitement of industrial modernization.

Making Of

The production of 'How It Feels to Be Run Over' exemplifies the innovative spirit of early British cinema. Cecil Hepworth, a pioneer of the British film industry, established his studio in Walton-on-Thames in 1899 and quickly began producing inventive short films. The concept of placing the camera in the path of an oncoming vehicle was both technically challenging and psychologically daring for its time. The filming required precise coordination between the driver of the automobile and the camera operator to create the illusion of impending collision while ensuring actual safety. The rural location was chosen both for practical reasons and to emphasize the contrast between traditional rural life (represented by the horse-drawn carriage) and modern industrial progress (represented by the automobile). The film's brevity was typical of the era, when films were often limited to one or two minutes due to technical constraints and audience expectations for short attractions.

Visual Style

The cinematography of 'How It Feels to Be Run Over' is remarkably sophisticated for its time, featuring a stationary low-angle shot that creates a powerful subjective perspective. The camera was positioned at approximately eye level for a person standing or sitting on the road, enhancing the illusion that the viewer is actually in danger. The use of depth of field is notable, with both the approaching vehicles and the surrounding landscape remaining in focus throughout the sequence. The natural lighting creates realistic shadows and highlights as the vehicles move through different positions relative to the sun. The framing is deliberate, with the road serving as a natural leading line that draws the viewer's attention toward the approaching danger. The single continuous take demonstrates technical confidence and planning, as any mistake would have required starting over entirely.

Innovations

The film's primary technical achievement lies in its innovative use of perspective to create a subjective viewing experience that was revolutionary for 1900. The successful execution of the shot required precise timing and coordination between the camera operator and the automobile driver to create the illusion of danger while ensuring actual safety. The film demonstrates early mastery of continuity editing through its single, uninterrupted take. The capture of motion, particularly the relatively fast movement of the automobile, showcases the improving technical capabilities of early film equipment. The film's effective use of depth and spatial relationships within a single shot shows sophisticated understanding of cinematic space. Additionally, the film represents an early example of genre filmmaking, using specific techniques to create horror and suspense rather than merely documenting reality as many early films did.

Music

Like all films of 1900, 'How It Feels to Be Run Over' was originally a silent production without synchronized sound. However, contemporary screenings would have been accompanied by live musical performance, typically a pianist or small orchestra in music halls and early cinemas. The musical accompaniment would have been improvised or selected from standard repertoire, likely becoming more dramatic and frantic as the automobile approached. Some venues may have employed sound effects artists to create the sounds of horses, carriage wheels, and the motor of the automobile. The absence of dialogue or intertitles means the film relies entirely on visual storytelling, making it a pure example of early cinematic language. Modern restorations and presentations sometimes add period-appropriate musical scores to enhance the viewing experience for contemporary audiences.

Memorable Scenes

• The final sequence where the automobile approaches directly toward the camera with passengers waving frantically, creating mounting tension that culminates in the apparent collision and abrupt cut to black

What Critics Said

Contemporary critical reception of 'How It Feels to Be Run Over' is difficult to document due to the limited film journalism of 1900, but trade publications of the era noted its effectiveness as a shock film. The film was praised for its clever use of perspective and its ability to create genuine suspense in such a short runtime. Modern film historians and critics recognize it as a pioneering work in horror cinema and an important example of early British filmmaking innovation. Critics have highlighted how the film's simple concept achieves maximum psychological impact through its subjective camera placement and timing. The film is frequently cited in scholarly works about early cinema as an example of how quickly filmmakers developed sophisticated techniques for creating emotional responses from audiences, despite the technical limitations of the era.

What Audiences Thought

Audiences in 1900 reportedly reacted with genuine shock and excitement to 'How It Feels to Be Run Over,' with some accounts suggesting viewers physically recoiled or screamed during the final sequence. The film became a popular attraction in music halls and early cinema venues, often promoted as a thrilling and sensational experience. The novelty of seeing an automobile in motion, combined with the terrifying perspective of being run over, made it a memorable part of early cinema programs. Contemporary accounts suggest that the film's effectiveness led to repeat viewings, as audiences wanted to experience the shock again or show it to friends. The film's impact was such that it helped establish the market for short, sensational films that would become a staple of early cinema programming throughout the first decade of the 20th century.

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