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[ cell door closes ] justice isn't served until crime victims are. announcer: the bare necessities of living healthy are easy. just eat right, be active, and have fun. yeah! go to mypyramid.gov to find out more. all right, scholars. all right, let's move on. let's begin. hey, what's the difference between a hot cup of coffee and a cold cup of coffee? temperature. we say temperature. what's that mean? something different at the atomic level, hot cup of coffee, cold cup of coffee. in the hot cup of coffee, there's more activity. the molecules are jiggling faster. they have more energy of motion. we got a name for energy of motion. what do we call it? - kinetic energy. - kinetic energy. there's more kinetic energy in the molecules in a hot cup of coffee than a-- you know that. that's what it means to say that something's hot, that it has more energy. we might say more thermal energy. more strictly speaking, we'll say more internal energy, more energy internal to the system. so there's much more internal energy in a hot cup of coffee than a cold cup of coffee. what's got more internal energy, a hot cup of coffee or an iceberg floating down at the antarctica? check your neighbor for an estimate. a humongous iceberg or a small hot cup of coffee: which has the more internal energy? all the energy combined-- what would it be, gang? yeah, the iceberg is frozen. how many say the hot cup of coffee still has more kinetic energy of all those molecules and those zillions and zillions-- come on, no, it's the other way around, gang. [laughter] it turns out there's more internal energy in the humongous icebergs simply because there are more molecules jiggling, you know? add up all the energy, you're gonna get a greater amount, okay? but when we talk about the energy per molecule, we're talking about an idea that begins with t. try it. temperature. temperature, yeah. temperature has to do with the-- per molecule, okay? so the--per molecule in a hot cup of coffee is a lot more than a heat per molecule in a hunk of ice. isn't that true? yeah. so we see there's a--difference between temperature and total amount of energy. temperature is an average, energy per molecule, kind of, yeah. we measure internal energy or any kind of energy in joules, or in heat units calories. calories and joules are same, same. what is it? 4.186 joules equals 1 calorie, something like that. but calories and joules are both a unit of energy. and temperature is measured in degrees. degrees--how hot something is has to do with number of degrees. and that's different all together. it turns out that number of degrees that the amount of temperature has to do with the kinetic energy of motion. well, usually, things when you heat them up, they expand. most things will expand when heated. liquids, gases, solids all expand. guess which expands more, a gas or a liquid for the same change in temperature? gas. well, it turns out the gas. i can take a balloon and hold it over a stove. you could see that thing grow. if i take a a gallon of water and hold it over a stove, you don't see it grow very much. it does. and how about solids, how do they expand compared to gases? not so much, but they expand nevertheless. so liquids expand because liquids expand when they're heated. you could make thermal meters. thermal meters. let me show you an example of one. you might do this in the lab part ofhe class. you might have a glass tube like this. and in that glass tube, you have some mercury or some alcohol, colored alcohol. you have it in here, say, like that, okay? and it might come up to this particular level. now, what you do as you put that thermal meter, which is a hunk of glass about this long with a reservoir at the bottom. you put that in a bath of ice cubes that are melting, melting ice. when you do that, the temperature of this becomes the same as the temperature of this because the slow moving ice molecules or slow moving water molecules over here impart only a little energy to here, or if this is hotter, by the way, it would send energy this way and heat up the water, you know? you can't have you thermometer too big. how about you get a thermometer this big and you're measuring this much water? come on, who's measuring what, right? in fact, you know, people say a thermometer measures its own temperature. and that's true because any two things put together will come to the same temperature. and that's what happens here. so at zero degrees, there'd be a certain elevation of the liquid in there. and you could take a little glass file and you could put a little mark there, if you're in the lab part of the course, and say that's the level that corresponds to this particular temperature of water. now take that ice out of there, and take the water and heat it up until its boiling. boiling water, okay? boiling water, what's the boiling water molecules do to that glass? bam, bam, bam, they're really hitting. they're hitting with a lot of kinetic energy. and they bang into the glass with a lot of kinetic energy. and what do the molecules on the glass do? they start banging too. what do they do to the neighbor? bang, bang, bang, it cascades right through. next chapter, we'll call that conduction, where the energy cascades with molecular impact, bang, bang, bang, right? and finally, what do you know about liquid in there? that stuff is being shaken too. and when it's shaken, what's that do? it climbs the tube. it climbs the tube. climbs, climb, climb, then it finally settles off and stops. and guess where you make a second scratch? one guess. there. no, not down here. not up here. guess, gang. right here. you put a scratch right in there, okay? now, you got-- and you can call this the temperature of boiling water. and we can call that 100. we can call this scratch down here zero. now, we got to make 100 scratches evenly spaced. so we get a hundred grades, a hundred grades. do you guys know what the prefix a hundred is? what's a hundredth of a dollar? it's a cent. no, not a penny. a what? a cent. a cent, okay? so we call this a centigrade thermometer. centigrade, because 100 equals centi, huh? so we got a hundredth grade, a centigrade thermometer. so we measure these things in centigrade degrees. see what i'm saying? so if you take this and put this in some other bath of water, and the level comes up to the same, you know it has the same temperature as the initial one. so that's a centigrade thermometer. now, in america, we don't always use the centigrade thermometer. americans are a little bit more innovative, a little bit more maybe off the wall sometimes. american type do this, repeat the same experiment. and what the american type does is the american type put us in here and gets a scratch there. and he doesn't have to call it zero. you call any number you want, really? so long as you make them all the same way. give me a number, a random. 32. all right, 32. you could call that 32, okay? i mean, what's so special about zero, yeah? now, you put this in the boiling water, in the 32, bang, bang, bang. now, you put it in boiling water, bang, bang, bang, we're really hitting, huh? or--climb up, scratch, if you want to put a hundred there. if you want to wimp out and put a hundred like everyone else does, go ahead. but let's suppose you say, "let's get off the beaten path." take any--give me a number, random, any number. 212. all right, 212. all right, 212. all right. now, what do we call that thermometer? an american thermometer, okay? [laughter] well, that-- and what we're saying is the boiling point of water is 212 degrees and the freezing point of water is 32 degrees, okay? now, here is the problem, gang. you got to cut up equal number-- you got scratches in there. how many scratches are you gonna have between 212 and 32? and you can't do it. anyone got a calculator? nobody? anyone do it, maybe pencil and paper? how many scratches between here and here? this requires an arithmetic operation. it requires taking 32 away from 212. the two is all right, but look at the three. you got to subtract the three from the one. you got to do some carrying. [laughter] oh, let me tell you, gang. i've done it before. it's 180, 180. so you got 180 scratches. does anyone know what the prefix 1/180th is? -- a fahren, that's right. engineer types know that. that's a fahren. so we call this a fahrengrade thermometer, okay? ever hear of a fahrengrade? no. we don't call it fahrengrade thermometer because we named th thermometer after the man who invented the scale. in honor of him, we name it for him. so it's not a fahrengrade. does anyone know the name of that guy? james j? thermometer. [laughter] james j. heit. mr. heit is the one that done that, so we call it a fahrenheit thermometer. do you believe in this? i'm just toying around with you guys over there, okay? but anyway, this is fahrenheit thermometer is measured in smaller degrees, in small degrees. you got 180 of those suckers in between freezing and melting, boiling point. in the celsius, you got 100-- it'll spread out more. so what's more accurate to the degree, fahrenheit or centigrade? fahrenheit. fahrenheit, you see, because in centigrade, you got to deal with more fractions. but fahrenheit has more spaces, finer tuning. so those are the two thermometers. then there's another that we'll take about when we get up to thermodynamics and that's called the kelvin scale. and the kelvin scale is named after some dude by the name of james j... - scale. - ...scale, you got it. you got it, all right. so we have those kinds of ways of measuring temperature, the average kinetic energy per molecule of things. here's a nice distinction between temperature and internal energy, or, loosely speaking, heat content. this used to bother me when i was a kid. you know those 4th of july sparklers? you light them and they-- [makes noise] --and all those white hot sparks going out. and do you know whathe temperature of those sparks are? -- more than 1,000 degrees celsius, more than 1,000 degrees. is that hot or cold? - hot. - cold. "h," no, no, no, begin with a "h." [laughs] hot, okay. those are hot sparks, gang, over 1,000 degrees celsius. ever see little kids with those little sparks at home, like, hey, look at sparkler, honey, that's gonna dance sparks bouncing off the kid's eyeballs and his cheeks and everything. and the kid-- does the kid scream? the kid's okay. and i said, "wait a minute. "the temperature of those sparks is white hot temperature, enormously high temperature, how come the kid ain't hurt?" and it has to do with the definition of temperature, proportional to energy per molecule. every molecule got a humongous amount of energy, but how many molecules in that little spark? not so many. so what's the total energy of that spark? not so much. below the kid's threshold of feeling. so although the temperature is hot, the heat content, the internal energy of the spark is very low. later on, we'll do a similar thing. i'm gonna rub a balloon against my head, and i'm gonna tell you guys, this balloon got, like, thousands of volts. but we'll learn there that voltage is sort of like electrical pressures. it's energy per charge. not many charges, so not much total energy. with the sparkler, not many molecules, so not much total energy burning the face. so temperature and heat content or internal energy, two different things. and by the way, we got a definition for heat that departs from the commonplace definition you have on the outside. and that is we say that heat is the energy that flows from one object to another by virtue of a temperature difference. so heat is always energy in transit. strictly speaking, when the physic talks about heat, the physic is talking about energy in transit. total amount of energy, physic are talking about internal energy. and the energy per molecule, the physic are talking about an idea that begin with a-- check your neighbor. it begins with a "t," gang. try it. - temperature. - temperature, temperature. it's the difference between temperature which is measured in degrees and heat which is measured in calories or joules. got such thing? different things heat up different rates. you're at home, you get your stove. if it's an electric stove, red hot. you take a frying pan, take a frying pan, put it on the stove, turn around, come back, put your hand on the frying pan. oh, you burn yourself. tattoo city, honey. you have burned yourself. take that same frying pan, this time, pour a little water in it. now, put the water-filled frying pan on the stove, tu around, the telephone ring. [makes noise] "what's it--no, no, "i don't want any aluminum siding on my house. thank you anyway." boom. you come back later, a few minutes later, put your hand on the water, huh, - it's okay? - it's okay. it's okay? if you can do that, you can do that, it's okay. now, i got a question for you, which do you suppose has more internal energy? which has absorbed more heat, the frying pan empty or the frying pan with the water in it? think. i'm not asking which has got the higher temperatu. i'm asking a different question. i'm saying, which has absorbed the most heat? and your neighbor says... -- what's the answer, gang? the water. the water has absorbed more heat. but you know what? it's not as hot. the temperature is not so high. so some substances will absorb an awful lot of heat for only a small change in temperature. iron, put a little heat energy in it, whoop, the temperature soars. but water take a lot of heat energy to make the temperature higher. that has to do with temperatur being the translational, back-and-forth motion of the molecules. when you heat up iron, the little electrons in there start zapping back and forth, back and forth, make the molecules move back and rth. translational kinetic energy, that temperature goes up very quickly. but it turns out, when you heat up the water, that water is a funny little devil there. that water doesn't just shake back and forth. what the water does, it puckers in and out, in and out. and it gets into--look-- what's called, internal rotational states. and the hydrogen bonding makes them all fixed together so they won't shake so much, but they have the energy in a potential form. and so that doesn't drive the thermometer up very much at all. so you can put an awful lot of heat in water, and the temperature goes up a little bit. we say water stores an enormous capacity of heat for small temperature rises. we're talking about specific heat. physics will say, "hey, water got a high specific heat," means it'll take in a lot of heat for a small temperature change. that's why you use water in your radiator in your car. what do you want the water to do in your car? you want it to absorb that heat energy from your car, so it doesn't melt, right? and so a little bit of water will absorb a lot of heat energy. and the temperature doesn't go right and boil away on you either. it turns out the water will absorb a whole calorie of heat energy for every gram. it only goes one temperature-- to one-degree temperature change, one celsius degree. specific heat of water, one calorie per gram degrees in celsius. so water, a big specific heat compared to other things. you can reach in an oven and take out with your bare hands an aluminum dish. the tv dinners, you've done that. you can't hold on it r a long time, but you can take it out quickly and put it down, then your hands are okay. because it turns out, what? that aluminum dish has not absorbed as much energy for its high temperature change as something like water would. or when you're eating food, some foods you eat, you can eat very, very hot comfortably. there's not very much energy in there. in some foods, especially with the water, like the inside of pie filling, you eat it, and, ooh, you'll burn yourself, because that high temperature has an awful lot more energy in it than the--= than say something like the aluminum foil on a tv dinner, something like that. different things ha different specific heats. i know water has a high specic heat. i remember when i was a kid. when i was a kid, i grew up in the outskirts of boston. and in the wintertime, gang, it is cold. and upstairs, we had one radiator in the house, and that was in the bathroom. and the bedrooms are really, really cold. you had to get the heat from downstairs. it will come up by a process we'll call-- later call convection, okay? or we'll have to come a little bit from that radiato and migrate into the rooms. anyway, it was cold, and in cold nights, we had a way ogetting through. what my mother would do is, downstairs in the kitchen, she woulcook a great, big bucket of water. i mean, not a bucket but a great, big pan or what do you call it? pail, you know what i'm talking-- a container, container, okay, a coainer of water. it would take a long time to heat that water up, gang, a long time to heat that water up. and she'd take that water and she'd pour it into a jug. and that jug was what we call the hot water bottle. and that jug was like a clay jug, and she'd fill it really hot-- i mean, really, really high. and you put your feet on it, you' gonna burn. so we put a towel on there. and you go upstairs and you put it in your bed, you put it at the bottom, and you put your feet on it. and we had an old adage, that if your feet are warm, you're warm, okay? when your feet get cold at night, you're sleeping on--you can-- that's tough city, okay? but if you put your feet on that hot water bottle, it's okay. and in the middle of the night, it gets so-- it's not quite so warm, you reach down, you take the towel off, and you put your feet right on the bare, and you get all through the night. it's okay. i didn't know anything about physics then. but looking back, i could see water got an enormously high specific heat, meaning, an awful lot of calories in that jug of water. and those calories are delivered slowly and slowly through my feet. so it was kind of neat. so high specific heat for water. the high specific he of water has to do with different climates throughout the world. here, i've got a globe here. let's take a look at this. go over to england. here's england right here. go to england on a summertime. how's the weather in england on the summertime, okay onot okay? -- begin with a o. it's okay. it's tolerable. but, honey, england doesn't really get very much sunshine. because if you keep your finger on england and turn the globe-- [makes sound] i can't do that now. you're over here in labrador. what's the climate like in labrador in the hudson bay, okay or not okay? - cold. - well, it's relative. it depends what you call okay, okay? but, honey, it is. begin with a c end with a d. - cold. - it's cold. it's very, very cold, cold climate there. but you know what? it's the same latitude as england. so why? england is surrounded by what? begin with a w. - water. - water. and that water has a high specific heat. and that water is really heated up down here by the equator, isn't it? water is heated up down here all year round, right? and that water drifts north in what's called the gulf stream. i guess someone near the gulf must have named it, yeah? and that water drifts north. and how many will say, "oh, that water must cool off real quickly." no, no, no, that water don't cool out quickly. that water migrates right up through here and comes off here in the north atlantic and there it settles. and you know what? the water does cool down. conservation oenergy. to say the water cools down is to say something else gotta--wu. - warm up. - warm up, all right, yeah. see that, gang? so when the water cools, the energy got to go somewhere and so it goes to the air. and the winds at these latitudes are westerly, and the winds go this way and warms up all of england. but look at poor labrador over here or all these regions up here-- way up in here. that's up here. man, there's no water that's cooling off. now, i will submit on this side of the hudson bay. you should have a better climate, a warmer climate than on this side of the hudson bay because the winds are going this way. same thing in san francisco. san francisco has palm trees. the same latitude is san francisco. here's washington, d.c. honey, the best they can do are cherry trees, okay? [laughter] no palm trees. the only palm trees in washington, d.c. are in the hotel lobbies, okay? right? but we have palm trees in san francisco, and why is that? same latitude, same amount of sunshine per unit area, see? but it turns out, what? we got the gulf stream-- not the gulf stream-- we've got the ocean out here. now that ocean, if that ocean in the wintertime cools down a little bit, what's the air do? you wu. - warm up. - warm up, okay? and if it blows this way, what's it hit? begin with a cal f-o-r-n-i-- so california is a much warmer place in the winter than east coast communities of the same latitude. ain't that neat, okay? in fact, any place that's surrounded water has just about the same temperature all year round. how about the best place in the world, right here? [laughter] that's hawaii, huh? the hawaiian islands, okay? the hawaiian islands about the same temperature all year round, but not only the hawaiian islands. iceland way up here has about the same temperature all year round, yeah. surrounded by water, okay? when it tends to be cold, the cooling water would heat it up. when it tends to be hot, the warming water will cool it down. so water acts as a moderator. aren't you glad that water has a high specific heat? yum, yum, it had to do with the world we live in, yeah? something else about water, kind of neat too. water is the only substance-- the only commosutance that will expand when you change it from the liquid state to the solid state. did you guys know that? see, ice will float on top of water. why? during the freezing, the ice must have puffed out. the ice puffs out. and why does the ice puff out? you guys ever see snowflakes? leave it after school today, and go out and catch a snowflake. let them-- [laughter] --fall on your sleeves, okay? if you got a black sleeve-- you look at the snowflake really carefully, "hey, son of a gun, the snowflake got six sides. "hey, this one got six sides too. "hey, they all got six sides. i wonder why." your friend said, "well, there's probably no reason for that. it's just characteristic of snowflakes." and what do you say? "hey, there got to be a reason." and the reason for the six sidedness of the snowflakes has to do with the way the h2o molecules pack together in their least energy configuration. and as they're all packed together and they form hexagons you see that in the textbook? and this is on page 263. and they form these hexagon structures with an open space in the middle. so you know what that means? a snowflake takes up more room in the snowflake form than if you melt it and turn it back to wate you turn it back to water, the molecules will caved in and occupy that empty spot. it's like a brick building. a brick building occupies more space when it's in its constructed configuration than if you shake it so ha, you shake all the bricks and they cave in. the pile of bricks is less voluminous than the brick building was before it caved. same thing with ice, gang. so water forms an open structure in its crystalline form, and that's kind of nice. it makes ice less dense than water, and the ice will float. so you can go ice skating, gang. some people are kinda good at facts and figures. does anyone here know when it was that christopher columbus sailed for america? you probably don't be knowing that year. how many people happen to know the year from their history? can i have a show of hands? one, two, three, four, five, six, six, seven, eight scholars. okay. it happened to be 1492, gang. do anyone happen to know when the declaration of independence was signed in the united states? it's a pticular date. some people ha it engraved in their heads and some people say, "oh, i don't need to be knowing such thing." when was the declaration of independence signed? anyone know what year? have a show of hands. i wanna see you is. show of hands. well, we got almost half the scholastic class here. it turns out to be 1776. some of us are good for remembering figures and some of us aren't. let's try something different. the temperature at the bottom of lake superior, new year's eve, 1900, does anyone in here happen to know what the temperature at the bottom of that lake was at that time? one, two, three, four, five, six, even less people than knew when the declaration of independence was signed. and what h happened-- the temperature happened to be, gang? say agai - four degree celsius. - four degree celsius. you're right, four degrees centigrade, right. celsius, centigrade, same, same gang. that's right, right on. does anyone happen to know what the temperature at the bottom of lake tahoe? that's over a half kilometer deep. lake superior is almost half a kilomet deep. but lake tahoe in california, does anyone here happen to know the exact figure of the temperature of the bottom of that lake right now? one, two, three, all of the same hands. what's the answer, gang? four degrees. four degrees celsius, that's right, that's right, that's right. hey, outside the building here when i came in, there was a big puddle. does anyone happen to know what the temperature is at the bottom of that puddle outside right now? no, it ain't four degree celsius. [laughter] no, no, no, no. it's not. the temperature of the puddle is the same as the temperature of the air outside, okay? they're all the same, but how about a deep body of lake, gang? do you know why the ttom of those lakes are four degrees celsius all year round all the time? first of all, they're at latites where thers four-degree weather in the wintertime. so let me ask you a question. oh, you don't know about four degrees yet. four degrees. i got to tell you something about four-degree water. four-degree water is like dense or not dense? dense? - dense or dense dense? - dense dense. honey, four-degree water is the densest water you can get 'cause water has different densities at difrent temperatures. see, if you heat some water up, wouldn't the volume get more and more and more? you know that's true because if you put a pan of water on a stove and fill it brim-filled and then turn on the stove, what's the water gonna do, gang? beginning with o, f. - overflow. - overflow. the water is going to expand, see, okay? so the water, when it expands, it'll have more volume for the same weight, it will be what? less dense. so density depends on temperature. but it turns out ice got less density than boiling water. now, how come? because it forms all those open structures. i'm going to make a graph here and this graph is volume, volume of water versus temperature. i'm gonna consider some ice water-- not ice, not solid ice-- ice water. and that ice water has a particular volume like this. now there are two things gonna happen when i heat the ice water. number one is, when you heat anything, the molecules will start jiggling faster, faster, faster and take up more room. so there's sort of an expansion, okay? we'll just say, as the temperature goes up, the volume increases. that's true of most everything that you heat up. it'll grow bigger and bigger the faster the molecules shake, okay? but something else happens with the water that doesn't happen with other fluids, other liquids. and what happens is those open-- it turns out in that zero-degree water, you got a whole lot of those open crystals, it's like a microscopic slush. and that microscopic slush, when you start heating it, what does the slush do? [makes noise] it caves in. and when it caves in, does it take up more room or less room? less. less room. and so when you heat water, due to the microscopic slush that's in there starts caving in, the water starts to get down. and so you got two things going on, a cave-in as temperature increases, and an increase in volume as temperature increases. put them together, when you combine them, you get something like this. and right here, that's four degrees, four degrees above freezing hathe least volume. see that? and then above four degrees, it starts to go up. you still got some ice crystals crunching in there, but this part here has overtaken it and it goes like that. so you have this dip in the curve which turns out to be very interesting, very interesting. th dip in the curve has do with the fact that on these deep lakes like lake superior and lake tahoe, i don't care how cold the winter gets, gang, you're not gonna get any ice on those lakes. and let's see why. a shallow lake, yeah, but a deep lake, no. i've been up to lake tahoe and after that-- i've asked the people, "hey, how come you got no ice on the lake?" "oh, it's too deep. "go to lake donna down the road there, "you got plenty. you go ice skating there." you're not gonna skate in tahoe, gang. tahoe never freezes over. how come? 'cause it's too deep, which kind of begs the question, "well, how come too deep means it won't freeze?" so he says, "hey, i'm not a physics type. just keep moving, honey, okay?" but let's look in, we are physics types d we wanna see if there's a reason why that deep lake won't freeze. and it turns out it has to do with what we're talking about right now. let's take a look. here's the lake. okay, let me try this. here's the lake. now let's suppose that lake is 10 degrees above freezing, so it's not gonna-- what's the temperature which freezing takes place, gang? - zero. - zero. okay, so if i'm gonna freeze some water, i got to bring it from 10 down to zero, yeah? okay, let's suppose out here, this is the air, let's suppose it's 50 degrees below zero. i mean, cold. and that cold air blows over the top of the lake, how many people think that cold air blowing over the top of the lake is gonna make the temperature at the surface go up? show of hands. good. nobody. how many say, that cold air will probably make the surface temperature go down? show of hands. well, almost every--like-- hey, we got everybody? does everyone think that? have you got 50-degree-below-zero air blow over you, you're gonna get colder, not warmer? isn't that remarkable? [laugh] come on you, gang, there's nothing remarkable about that. but i'll show you a remarkable consequence of that. it turns to nine. we'll do it by incremental steps, nine degrees. the wind, eight, can you see that makes sense? where do we got to get to? zero, yeah? - zero. - okay. do anyone see something unusual here? let me ask you a question. if i take a rock and throw it in that lake, what's the rock gonna do? float. how many say, "oh, it will probably float"? [laugh] the rock is gonna sink, man. and why is the rock gonna sink? "well, that's characteristic of rocks, just to sink." come on, why does the rock sink? 'cause it's more dense than the water, right? how about this four-degree water? what's it gonna do, gang? beginning with an s, end with an ink. sink. sink. sink to the what? bottom. the bottom. here's your four-degree water down here. what takes its place? beginning with a t. - 10. - 10. by now, it's february, okay? get the idea? honey, we're gonna need a long winter to get to that lake. but now it's march. how much time do we have? we get--the thing, you get the idea. [laugh] what happened at four, honey? by now, it's may. people, it's may, we're running out of winter. you can't get a deep, deep lake to get all four degrees. before you can get any three-degree water, never mind zero. what are you gonna turn the whole lake to? four. and let's suppose we have like a big meteor hit or something and we get, like, no sunshine for about four or five years then we'd get something like this. you keep doing the same thing and pretty soon, after a couple of years of that, then it would all be four. honey, that's a lot of energy taken away by that cold wind. when you get the whole lake four degrees celsius, then and only then, that's the first three-degree water that lake has seen, gang. does it stay there or does it sink? it stays there because what's down below is more dense. the lighter, the less dense will float on top of the more dense. that makes sense? watch. now we got zero-degree water. those of you who are sitting close today will see something that those in the back of the room might not see. but watch very carefully to what happens to the water at the top. [makes noise] do you see that? did you guys see that? did you see the crystals form? again. [makes noise] see, it's a little thicker? did you see those crystals form at the top? [makes noise] do you see now why ice forms at the top of a body of water? ain't that neat? so now you start to get some ice and the ice floats on top of the other water. do you see why you have to have-- although that only happens with the shallow. you go up to lake tahoe and you take a saucer full of water, put it outside your motel room, come in and play checkers, half a game and go back there, boom, that water is solid ice. and you look out at the lake and it stays water all the time. now you'd be saying, "why?" the reason for those sort of things. how come then, like, glacier waters rapids, like some are-- is only about, like, four or five feet deep. say again, say again? how come some glacier waters like rapids is only about four or five deep. i know they're moving, but how come they don't freeze 'cause they're like ice, that's ice cold. how come moving water doesn't freeze? yeah, how come moving water doesn't freeze? well, sometimes moving water does freeze. you just usually see on the outside edges though, right by the land. you never see the whole thing freeze over. yeah. that seem like a pretty easy question to answer, doesn't it? wouldn't you expect your teacher to be able to be, "oh, the reason for that is blah, blah, blah." well, i don't think i can give you a good answer for that other than say that the crystals can't-- they're not a good answer. can we still be friends? [laugh] oh, that did it? okay. try another question. give me one that i said i can answer. okay. hey, let's talk about this expansion and this expansion under different temperatures and everything. we got something here that's kind of neat today. ted, could you give me a hand? talk about low temperatures. ted has brought over here some liquid nitrogen. this liquid nitrogen is about 190 degrees below zero celsius, really, really cold almost 80 degrees above the absolute zero temperature. now, can we have a volunteer to jam their hand in there for about five minutes? [laughter] okay, nobody gonna do that, right? okay, let's show how the-- let's take the-- let's show how the volume of something will change. here's an air-filled balloon, gang. okay, what's gonna happen to the volume when it gets cold? how many will say, "oh, it's gonna expand"? stand up. and what happens to the volume, gang? look at that. now, it's gonna start to warm up the air temperature. what happened to the volume? what happened to the volume when we bring it above air temperature? hang it a little closer, ted. -- yeah. [laughter] let's try the flower. there's a flower ted found out in the ground. it's kind of nice and limp, right? kind of limp, isn't it? okay. so what happens is you slow those molecules down. why did it fizzle like that? yeah, why did it fizzle like that? what's going on? oh, gang, did you see such a thing? look at that, gang. if you stuck your hand in there and hit it against the table, would it do the same thing? yes, yes, can we have a volunteer, please? [laughter] unfortunately, it would, yeah. another one? right. would a pen break? you wanna try it? yeah. okay, ted's got a little-- let's see if i can do this. i did this a long time ago. what was that? now, i got a friend of mine, his name is gerald walker who does something that i don't have the guts to do. gerald takes the stuff and drinks a little bit and blows out. i ain't gonna do that, gang. [laughter] ted is doing pretty good, yeah? guess who's got the courage of the two of us? come on, try one. here's where you get the bnta. what did you do? did you eat it? is it all right? did you put it in your mouth? what will you do is hold it. well, it isn't your tongue, put it over your teeth and then just blow over the top of it. i only drop, of course, i don't have any experience. i didn't say how you did that, ted. it will be-- you want me to-- oh, i have an extra one. do you want me to do it first? you do it first. let me look and see what you're doing. okay. you pick it up. yeah. [laughter] anyone hungry? i've got one more. we'll do this at the party, gang. it's a little cool, yeah. that's why you don't stick it on your tongue for a long time but, again, the same story with the white hot spark, it's not real cold for a long time. here you go. thank you, ted. whole way, man. whole way. [laughter] okay. yeah, i've--how death defying-- going to be here. we got a penny. what do you suppose happened to the size of that penny that we put in here, gang? if you had some calibers, you measured the diameter, what would happen to the diameter when it's cold, get larger or smaller? smaller. smaller. they'll shrink, right? is that water warm after a while it's been out in the air? oh, it's not water. this is liquid nitrogen. yeah, liquid nitrogen. oh, darn. does it warm up though after? oh, yeah, it's warmed up. it's boiling. it's boiling right now. that's what this stuff is. it's boiling right now. do you want to see if this gonna break, right? no. that's gonna be-- so that's a little real. now, do you want this back? we're gonna make our own. [laughter] copper is a very good conductor. does the-- so when we cool things, gang, they expand or they contract? question. isn't that plastic container? yeah. is it brittle? yes, it is very brittle, very brittle, yeah. see the frost in the outside? if you ever drop that, it will probably just crack. hey gang, i want to leave you with a question. when we cool things, they contract. right. when we heat things, they expand. if i heat this ring, get it really, really hot-- and i'm gonna do that next time. next time, i'm gonna put it under the blowtorch and i'm gonna get it really, really hot. would it become larger, smaller or stay the same? let's suppose we did this as a test. i took the ring and let's suppose the ring right now will pass through the-- let's suppose the ball will pass through the ring. if i heat the ball up, will it still pass through the ring? no. that's elementary. i would insult you if i told you to think about that for a long time, right? we know the ball is gonna get bigger. and if the ball gets bigger, it will never get through the hole if it just barely makes it now. isn't that true? here's the question i got for you. the next time we come in, i'm not gonna heat up the ball. i'm gonna heat up the ring. and when i heat up the ring, will the ball be able to get through if it just gets through now? will the hole become larger, smaller or stay the same size when i heat the ring? think about that 'cause we got that for homework. hey, you know what? you can do this as a test, experiment. take a ring off your finger, put it on the stove, get it hot. does the hole get bigger, smaller or stay-- and then jam it back in your finger and see. [laughter] no, no, not your finger, your kid sister's finger, all right? and see if the hole gets larger, smaller or stays the same and see if you can say hc for next time, gang, okay? homework? as a homework. catch you later, physics. [music] captioning performed by aegis rapidtext paul hewitt here, a few words. you know who we are and what we're about has a lot to do with the influences in our life, the people who have influenced us. and i, like everyone, have had many, many influences. and i just wanna cite, oh, very few, just three or four here. i know when i was in high school, there was a counselor, edward gibbs, high school counselor, and he advised me to not take any academic subjects because i wouldn't need to, because he was aware of my talent for art. i was the guy that would paint the posters for the dances, make the cartoons in the yearbook and that kind of thing. and so he said i wouldn't have to take academic courses, so i took his advice and i didn't. and so in high school, i took no physics, no science. i did mathematics for boys in the freshman year, and there was a general science course and i thought it was wonderful. but that's about it for that. and another one of my influences was kenny isaacs. kenny isaacs was a local boxing hero. and i was one of these kids that was getting beat up all the time by bullies. i wasn't much of a physical specimen. and kenny isaacs was-- he was the fighter of fighters. everyone admired that guy. i remember going to lynn and watching him fight sometimes. i was about maybe 14 years old, 13, 14, and saying, "wow, this guy is so gat." i wish i could be there in his corner, be sort of the kid that comes up with the water bucket, you know, and helps him. this is a gladiator, no one beat him up. but anyway, kenny isaacs was a big influence because, to make a long story short, three years later, keisaa was imy corner. and llow lived nextoor toe, eddie mccarthy, who was a professional fighter 135-pound, lightweight, ve good guy. and he took me under his wing. but then he went off to the korean war. just before he did that, he turned me over to a local boxing hero, kenny isaacs. and he told kenny, "kenny, take young paul here under your wing. he's my protege." kenny did that. and i was gonna retire as soon as i won the flyweight championship of north america, but i never got that far. i got up to the silver medal for the aau in new england at the age of 17. and that was about it. after that, in the follow-up fight, getting ready for the nationals, i got knocked out, the end of that career. another big influence ony li was burl grey, a si painter that i met back in the la fifties. burl was painting in miami and i was assigned to paint with him. no one else would paint with him because there was a rumor going around about him that he was, yeah, one of them. he was accused of being, and i found out for myself that old burl was an intellectual. and intellectus didn't cut it at the sign painting circuit. anyway, rl grey inuenced me a lot. he's the one that lit my fire to get into science. and many of the ideas i had about things were-- burl sort of demolished. he was a very philosophical type and he was a nontheist. and he, you know, convinced me that things were so much simpler if you took a more scientific view of the world and there's so much that we're taught to believe or that we come to believe that simply isn't true. and how does one determine what's true or not? do you find out when you're an old person ady to die that everything you've been doing is just junk? well, you know, we each need a knowledge filter, sort of, to tell the difference between what's true and what isn't true. and burl convinced me that the best knowledge filter ever invented is science. and so i got into science. i went to school. i went to college, lowell tech in massachusetts, after doing a year of prep school 'cause i didn't take the recommended courses in high school, i had to do this, you know, make up for deficiencies. so burl was a big influence of mine. and then i went through it and i got a physics degree. and while getting that physics degree, it was very, very difficult for me. but there was a book i read when i was in graduate school in the summertime. it was wonderful. it was a book called "basic physics" by ken ford. and ken ford became my mentor and another big influence on me. and ken ford's book, awesome. he told it like it is. ken ford is a giant himself. he doesn't have a nobel prize but his friends do. he's one of those type guys. he was the exec officer of the american institute of physics. i'm proud to say now, i'm very proud of him to have him for a personal friend. so he was a great influence on me. and now i find myself, my greatest satisfaction is to realize that i myself am an influence for other people. i'm sort of a kenny isaacs or a burl grey or a ken ford to manstudents. and this many is with a capital m, thanks to the efforts of my friend marshall alenstein who has put together these videotapes and these dvds that spread my lectures from the classom into thelassros of many people. and so, it'sonrful being that role model for other teachers and students. and whatever i can do to be burl grey to other people, to let them see that perhaps a very good foundation for, hey, what's going on in the world, certainly, is science. so let's hear it for physics. physics first, it's a wonderful way to look at the world. it makes sense out of what ordinarily might be just too cplex to understand. physics, i love it. i hope you do too. the big game in the world is the movies. it's the biggest game. it always has been the biggest game. television is the exact opposite. it's a postage stamp and it has to draw you in. there's no question that this is the age of images and it became that way because of television. and the movies, of course, have to deal with that. i think we're on the verge of a media revolution comparable to the arrival of television itself. annenberg media ♪ and: with additional funding from these foundations and individuals: and by: and the annual financial support of: hello, i'm john lithgow. welcome to "american cinema." in 1946, hollywood didn't think a tv screen only inches in size could ever compete with a theatre screen 30 feet wide. movies were king. television was a novelty developed by radio industry. barely 6,000 sets were in use across the entire country. by 1951, it was a new world and television was a part of it. movie theatres were closing in waves, 55 in new york alone. to make matters worse, hollywood was coming apart. anti-trust action dismantled the entire studio system. the monopoly of the movies was over. hollywood's reaction to tv was like one of its plot lines. at first denial, then feeling threatened, followed by fierce competition until embracing the adversary. yet it was television that produced a new generation of movie directors that told stories in new ways, with movies like "the manchurian candidate," "bonnie and clyde," and "mash." the studios didn't disappear; they adapted. and so did the movies. today, we are on the verge of another revolution, as a whole new range of digital technologies will change both the business and style of motion pictures. in this program, narrated by cliff robertson, we will see some surprises as tv collided with the movies in "film in the television age." ♪ just friends ♪ lovers no more ♪ just friends ♪ but not like before ♪ film... tv. one is reverential, the other is "i'm dominating." (charles champlin) the whole story of movies in the last 40 years is the competitive fight with television, the movies responding to what tv does do or doesn't do, can't do, and so on. i don't think it's been a struggle at all. i think there's been a complete symbiosis. i think they are mutually dependent. i think they are coming closer and closer together. i don't think it's a struggle at all. (robert altman) any film i've made has been seen by more people on tv than it ever has in cinema. but i don't think it makes any difference. eventually, every house will have a 6- to 8-foot screen and you sit 10 feet away from an 8-foot screen, you just as well be in the front at the ziegfield. (music playing) ladies and gentlemen, the break in our motion picture is made out of respect for the tv fans in our audience who are accustomed to constant interruptions in their programs for messages from sponsors. tv is a remarkable invention. where'd you go? oh, there you are. hi. (music playing) (narrator) in 1946, america's romance with the movies peaked. over half of our population, 90 million a week, were filling theatres. (charles champlin) moviegoing was a national habit. you went automatically because, theoretically, all films were, as we would now say, rated "g." there was nothing in any movie that was presumably disturbing to the least sophisticated member of the audience. some might bore part of the audience, but otherwise, we just went all the time. (narrator) though americans didn't know it their exclusive love affair with the movies was about to end. the same year that movie attendance peaked, the television networks began daily broadcasts from new york. the competition between motion pictures and television would transform expectations, revolutionize hollywood, and usher in a new generation of film directors trained in the television medium. i had a job lined up as an assistant to john ford. he had to go into the hospital and have cataract operations, and he told me that, "look, i don't know when i'm going to be functioning again. and, if i were you, as a young guy today, what i would try and do is to get into television." (arthur penn) it was so unknown as a medium, we were sort of inventing it as we went along. and that was both the thrill and the excitement and part of the danger of it, very considerable danger. (sidney lumet) try to imagine what the scale meant. a 17-inch piece of glass was a large television set. they were 12-inch glass pieces, what they used to call, "14 inches diagonally." the reduced dramatic material to that kind of size, as opposed to movies, which had a 40-foot image, it was absolutely a new form. (narrator) the early networks borrowed heavily from the new york theatre to create dramas, broadcast live across the nation. changing characters and stories from week to week, these fast-paced collaborations produced some of america's best-known writers, directors, and actors. (peter falk) live television did have the same tension as the theatre did in the sense that once started, you ul't stoit. you got the same butterflies, the same nervousness about it there used to be three cameras and the one with the red light was the one that was on. now there wasn't an actor alive that wasn't sneakin' looks to see which one was on. "am i on?" "and if i'm not, why not?" it had hideous technical difficulties. you were always having, when you were acting, to step over great big cables and boxes and run around fast to enter another thing, and it was live. so you did get sort of an idea that you could do anything. and it took a certain kind of nerve of steel to do live television because you never knew when the cameras were going to break down on the air, which happened really more frequently than not. it was madness in that you had so little time. (delbe myou'd finish the shw 10:00 on sunday night, come in the next morning, pick next week's script. staging and acting rehearsals monday, tuesday, wednesday. on thursday, the producer would arrive. and at that time i already had to have the shot list, the camera moves, the camera cabling. saturday we blked the shown camera. sunday we'd come in at noon, pick up the blocking, do a one run-through rehearsal, and you're on the air at 9:00. the show was done from beginning to end l-i-v-e. so the audience was able to cope with the mistakes, and the perspiration dripping off the actor's nose. it's kind of like an audience sitting in theatre, so it had a kind of excitement. not a bad crowd tonight. there was a girl in a black dress wearing beads. the only thing that was wrong, she's a little too tall for me. hey, there's a nice-lookin' short one for you down there. what we would get is a series of domestic dramas broadcast into american living rooms. and i think it's not an accident. it's as if one living room meets another living room. i don't wanna go to the waverly ballroom. they stand around, make me feel like i'm a bug. i got feelings, too, no, thank you. marty! (marty) i'm going to stay home and watch sid caesar. you goin' to die without a son! so then i... i will die without a son. marty, put on the blue suit. i'm a fat little man, a fat, ugly little man! (sidney lumet) you were coming to their homes. this is a new experience in the history of entertainment and i don't know whether we know its significance yet. (charles champlin) it was a time of terrifying transition. television was taking hold, the graph of television sets and uses climbing like this, and the graph of attendance was going like that. (music playing) (clicking of movie projector coming to a stop) hey, that was a good movie. yeah, seen it here before once. well, s'long, miss mosey. sorry you're closin' the show. nobody wants to come to shows no more. got baseball in the summer, television all the time. won't be much to do in town with the picture show closed. yeah. (charles champlin) hollywood was in a very peculiar period then. you had a curious hesitation of leadership in the industry, and i think they didn't quite know how to cope with tv. (upbeat music playing) (jonas rosenfield) when i was at 20th century fox, we developed the theme "movies are better than ever," we went around to promote that to the exhibitors, the industry and to the public. we had trailers on the screen telling them all the pictures that were coming and so on and so forth. it was an attempt to utilize publicity to fight what was a major technological change. (narrator) hollywood turned to gimmicks, each more and more outlandish. 3-d, smellovision, psychorama. (gene siskel) it was a carny show in effect. there was the impulse that we must offer sometng that they can't get at home, and one of the things would be to widen out. that was triggered by television. (announcer) ladies and gentlemen, this is cinerama. (screams in the background) (charles champlin) cinerama has 3 projectors, wonderful effects. i mean you really did get a 3-d effect on a 2-d screen, (screams in the background) but it was just too cumbersome and you had wavering lines where the images met and it was wonderful novelty, but it just wasn't going to do it. (sound effects as doors slide open) (narrator) although it failed to catch on, it led to new widescreen forms. this motion picture was photographed in the grandeur of cinemascope and gorgeous life-like color. (single musical note) gorgeous life-like color by deluxe! (music playing) (jonas rosenfield) imagine, in september of 1953, the impact of this huge image on the audiences which attended the showing of the first of the cinemascope pictures. studios were quick to realize that cinemascope offered one of the solutions to the fight against television and forever committed motion pictures to widescreens. (gene siskel) movies always offered a chance to go someplace you can't go. tv wasn't going to present something of that scale then. this kinof lavish spectacle was the kind of thing that was being attempted in response to tv in the 1950s. (jesus from cross) father, forgive them, for they know not what thedo. (lightning strikes) (sad music playing) (sidney lumet) it's overwhelming. i like the screen to just fill everything. television is the exact opposite. it's a postage stamp and it has to draw you in. this is where we'll kill 'em. you're kiddin'? i'm not kiddin'. hey, frankie, this is where live. you an' me in this house and baby next or. you an' me and baby makes three, 'eh? this is the place. i don't know when we'll do it, but it's gonna be here. nobody believed we worked in our own backyard ... (sidney lumet) kitchen sink drama is what we all specialized in. what it really meant was a small set, because our studio facilities and our budgets were tiny. but what it showed was that a television show is capable of having real depth and moving people enormously. i wouldn't ask you to drink with me. and i control it -- you can't control it. we're alcoholics. i'm not! yes, you are! you and i were a couple of bums on a sea of booze. only i got something to keep me from going under. i'm not gonna let go, if you want, grab hold, but there's only room for you an' me, no threesome! (john frankenheimer) we had great writers working in television, like paddy chayevsky, rod serling, j.p. miller. somebody asked me once, "well, why were you guys able to do all that good stuff on television then compared to what they do on television now?" i think the answer is then most people didn't have tv's. (narrator) by 1956, over two-thirds of american households had at least one television set. with this explosive growth came a change in program style. i know. television's a menace to the american family. people no longer eat together, think together, talk together. they just watch tv together. and you don't think that's right? gee, mom, i think pop's all wet. a tv family is a happy family. suddenly everybody became aware tv had produced a huge audience and with that came the guys in the grey suits. (arthur penn) and they began to say, "wait a minute. if we're sponsoring this, they can't say this" or "they can't say that." and that was the beginning of the exodus for all of us from serious live television. (narrator) the rise of network television gave moviemakers a new chance. with movie attendance at half the level of a decade before, hollywood saw a chance to counter its own decline by producing programs directly for this new medium. (todd gitlin) studios turned television into an assembly-line product. it did that by building a set, using it on 39 episodes a year. they had a regular cast. the division of labor was very precise. the turnaround time on episodes was very brief. now, of course, the studios had always done that. let's not romanticize the old studio set-up, but here the formulas were even more confining because week after week "the phil silvers show" or "ozzie and harriet" had to be recognizably the same. (announcer) "ozzie and harriet" starring the entire nelson family ozzie, harriet, david and rickie. hello. i'm mister ed. (narrator) these weekly television series, shot on film, marked the end othe era of live television. (sidney lumet) you've got filmed television. so the result is you've got the worst of both mediums. you don't have time and care that you can put into a movie and you don't have the thrill and adventure and completion of seeing the entire piece at once. (narrator) while much of hollywood turned to television, studio directors responded with more sumptuous cinema fare. (romantic music playing) (todd gitlin) well, the movies then tried to deliver what tv couldn't... big stars. big screen, big sound, big effects ... big. (narrator) grand epics and larger-than-life melodramas by directors like douglas sirk infused classic filmmaking with a lushness rarely seen before. (loud music with percussions playing) (loud music with percussions playing) (finale of music) i guess i can recognize pain a mile off, you know. all my brothers and sisters, they're always tellin' me what a good-hearted guy i am. you don't get to be good-hearted by accident. you gotta be kicked around long enough ... (narrator) at the other extreme, in '55, united artists released a film version of "marty." they're always tellin' me what a good-hearted guy i am. you don't get to be good-hearted by accident. you get kicked aroun' long enough and you get to be a real professor of pain. i know exactly how you feel. and i also want 'cha to know i'm vi a very good time with you right now and really enjoyin' myself. you see, you're not such a dog as you think you are. the ability of fture pictures to deal with the intimacy, like "marty" did have an impact on hollywood filmmaking, being the fact that it won the oscar. what do you feel like doin' tonight? i don't know, ang'. what do you feel like doin'? we ought to do somethin', it's saturday night. hollywood always needed new talent and i think that these men had begun to have reputations. frankenheimer, with all his working on "playhouse 90," and the emmys he was getting, was suddenly a hot property. i turned down a lot of movies. it was only until live television stopped being. (john frankenheimre) due to the invention of tape and changes in management it became necessary to go into film. (arthur penn) we weren't landed gentry. we weren't part of the hollywood establishment. we were these nuts from new york mostly, and kind of crazy because the live tv experience had made us a little fearless, a little unorthodox certainly. the big game in the world is the movies. it's the biggest game. it's always been the biggest. so when television director gets a chance to make a feature, they're going to go flat out. (jazz music playing) (gene siskel) they were determined to break with the patterns and genres. they would make revisionist detective stories, revisionist westerns. they thought they could do something fresh. (narrator) frankenheimer, cassavetes, lumet, penn and tv directors now began to make feature films. the intensity and innovation that characterized their work on television challenged conventional filmmaking, leading to the most important films of the next decade. you can imagine getting out to a place like hollywood, where everything is very tightly proscribed. a director does this. a first assistant does that. i didn't know, for instance, i was supposed to say "action." (woman moaning) (ahur penn) it's a combination of what i would cl the irreverence of television and technique of film. (wom (arthur penn) wouldn't it be wonderful if you put a camera on a little hydraulic lift in the middle of the floor and we panned it 360 degrees and then as she me forward toward the camera and fell, there was her face... poverty and naivete are very good ys of making some ieresting movies. (arthur penn) after the success of "e micle worker," i was able to say, "i want to make certain films, and they will be very low-budget films, but i don't want to have to explain the movie to you." and so that's what i did. (man) read it. (woman) but why is his shirt on inside-out? (man) open it, read it. (warren beatty) "dear lois... " (woman) mickey! (man) lois! (man) they're sending their reports to the secretaries now? give the beard a quiet brushing? (man) the what? who sent you here? (woman) why is his shirt on inside-out? (man) shut up with his shirt. get him outta here! but it, agn, was an idea of breaking the story orthodox getting into another kind of narrative form. it's a character study, it's a character study, and it ultimately is a character study, okay? and if you wait fosomething to be ultimately resold, it's not that kind of movie. and that's rreshing. it's also tremely frustrating for a mainstream audience. (things fallg and ringing sound) it was the first of that series the only one of that series, because they didn't want to honor the contract after that. they thought that was too crazy a film. and it probably was. (scary music playing) (narrator) like penn, john frankenheimer alternated between mainstream and more innovative features. in 1966 he directed "seconds." (john frankenheimer) "seconds" was a weird movie. there's quite a bit of editing in that first section to show emotion and tension. bop-bop-bop. that kind of thing to really jar the audience. kind of like slapping them in the face. (scary music playing) we always tried to stretch the medium. and we found ways to make things work. i mean, we didn't think, "my god, we can't do this." it was always the opposite, "how can we do this?" and we did it. (man in tv) i am a united states senator. i have a question so serious that the safety of our nation may well depend on your answer. (john frankenheimer) the tv image was actually done by a television camera shooting him at the same time we shot the film camera. television plays an important part in that movie. politicians use television. the media is powerful. television bores right into your very existence. he made television virtually a character. if you remember the film, which was a long time ago, we all see them again and again through cassettes and so on, everything as being watched on television was a crude form of television monitoring. (charles champlin) but so much of the action existed on television screens. everyone remarked about it, its technological ingenious. my dear girl, have you noticed that the human race is divided into two distinct and irreconcilable groups? those who walk into rooms and automatically turn tv's on and those who walk into rooms and automatically turn 'em off. ♪ living color ♪ panoramic sound ♪ rca victor, the color tv ♪ that capture the picture ♪ that capture the sound ♪ rca victor ♪ the color tv ♪ living color through ♪ an ever big screen ♪ (narrator) by 1960, 90% of american homes had television sets. the average person watched 5 hours of programming a day. ♪ living color ♪ panoramic sound my study of history has convinced me every strong, healthy society from the egyptians on, the mass had to be guided with a strong hand by a responsible elite. let us not forget that in tv we have the greatest instrument for mass persuasion in the history of the world. on the high end of the movie business, among the people who had had serious ambitions within movies like elia kazan, tv was seen as the menace, as the creature from the black lagoon, as the great dumb-out. (todd gitlin) and "face in the crowd" carries out that fantasy. ♪ oh, vitajex! ♪ vitajex ♪ what you do to me! ♪ vitajex ♪ what you do to me ♪ (announcer) keep your eye on that rating. ♪ vitajex puts a gleam ♪ in your eye ♪ (audience yelling in unison) (haskell wexler) the demand of television reaches through that glass tube and holds you there for the commercial. the demand of theatrical traditionally was different... darkened room, screen, asking for involvement, asking for the audience to discover things. (charles champlin) television had stolen the mass audience. movies were playing catch-up, but they were also freed from making movies that were all things to all people. from the beginning, movies were all rated "g." then that "g" audience was gone and the movies had the right to a kind of a freedom of expression. tv is radicalizing the viewer in america stylistically, (muffled voice on tv) telling the viewer that life is larger than a window frame. (muffled voice on tv) it's introducing a new possibility into film itself. (narrator) john cassavetes came of age as an actor in live television. as a filmmaker, he brought to the screen an edginess and improvisation he learned in the tv studio. hey, i got the money! i got the bread! yeah, i got the twenty. wait a minute... (charles champlin) in the early '60s movies began to show the influence of television itself. there was almost a proscenium feeling of being very close and not -- the film was no longer necessarily larger than life, but maybe the film was the same size as life. that was one of the things john cassavetes pioneered in, going against conventions, going against the norms, just saying that life is chaos, life is strange. life is full of ambiguities and maybe there's a way to get that on film as well as boy-meets-girl. we talked facts and figures until we went out of our mind. losses, gains, ratings, schmatings. you can lose your mind if you keep analyzing things. is that so? i think it's dishonest. it's honest, but it's a good piece itself. and so, we're a little nervous about hitting you with this. no, i have insomnia and i stay awake all night looking at pictures, worrying about pictures. i walk all over the place. let's see it, j.b. i'd rather hear him talk about it again. he'll talk about it later. j.b.? all right, otto. roll it! (gena rowlands) i said, "how do you know when the light is ght?" and john said, "you know the light is right when if you'ren the audience, you want to reach through to touch the face of the person that you're looking at." and i thought, you know, that's how immediate the characters in the audience, how intimate they were. and i don't know. for some reason, i always found that enormously touching. (narrator) john cassavetes collaborated with a close circle of friends, including his wife, gena rowlands, to explore a world of emotional chaos outside the standard hollywood fare. (gena rowlands) every time you break a rule in anything a certain number of people are going to be disturbed. and people were not used to being disturbed in the movies. john didn't write a logical, intellectual, well-crafted script from beginning to end, which everyone is always comfortable with. (gena rowlands) he'd write a very full script, but when he gave you the part, that was yours. now you! you let me finish! you're a man who doesn't say what you mean very well. what you meant was this was a wonderful evening and you enjoyed my house and you liked me, but, like you said, you're crude. he didn't give a damn how much you suffered, how frustrated you were, how bewildered you were, how confused you were. he didn't care. he was not gonna help you because sooner or later out of all that frustration and bewilderment and confusion, something would come out that would be close to you. (peter falk) and he didn't care how he got you off balance, but he would take away all your defenses. and i still don't know how, but he always did it. (man) i love you! joe! i'll lay down on a railroad track for you. if i've made a mistake, which i did, i'm sorry. but so what? what's the difference? i love you! now relax! come back to me! be nice to me! get outta here! i'll kill you! (ranting) nick, i need your help now. these would be films challenging the establishment in every single way, including established form, and this would creep into main studio productions. it put a premium on movies that would be doing something a little different from what they were getting on tv. i think they were just suffused with sitcoms and that stuff, and i think that there was a market, an audience that was more sophisticated. of the screen. (p.a. announcement) (robert altman) and i tend to be sloppy, not slick and clean. i think of films in terms of painting and i think in terms of murals, they carry lots of information. i may have the idea for the mural and i may kind of sketch in where to put the horses, or this or that, but then you start. the actors become the pigment that you put on there and so you put the paint up and it starts moving on its own i say, "wow, the red is gettin' over there next to the blue." and so i invent something else and finally i find that i'm following this phenomena around. i'm filming what they're doing rather than have them do what i want them to do. (narrator) robert altman's early days in episodic television helped him develop the quick reflexes he would use as a feature film director. his use of sound, action, and camera creates a spontaneity that frees his actors to react, as well as perform. (gene siskel) i think he's a real rebel, a real troublemaker, but he thinks that most films are calcified. what's his overlapping dialogue all about? he hears overlapping dialogue in life. he's making films about life. why do we -- he thinks there is something false in "i-talk-then-you-talk, you-talk-then-i-talk" that there's a stodginess, a phoniness in that that says, "you know what? the reason why you probably start talking when i stop is we've rehearsed this." (gene siskel) and he would believe that that could be communicated across a lens. this is a catholic chaplain. and here's captain forest. (overlapping dialogue) (robert altman) had i made the film in the way that the tv series was made in, the film would have failed. the audience saw in "mash" something they'd never seen, an attitude in texture, and so it was exciting for them. it expressed a political idea they were ready for in 1970. how altman does what he does is sometimes very mysterious because he does it so effortlessly. listen, i wanted -- could i ask -- would it be all right if i asked -- (charles champlin) i mean, it's like he's not so much filming a scene as spying on a scene. i know him. that's eliott gould. yeah, he's a really well-known actor. oh, yes, eliott gould, curly hair. yeah, he was married to barbra streisand. that girl that sang "people." i just shook his hand like he was somebody off the street. now, you go over there and bring him on over. yes, sir. (woman) oh, delbert! (robert altman) i don't trust documentary films very much, but i think you can use that technique of real people to make a fictional drama that reflects the truth. (singing in spanish) (robert altman) some people went down to see "nashville" the other night. they called me up at 11:00 at home. he said, "listen, why did that guy kill the singer? we're having an argument about it." "gee," i said, "i don't know." "come on, you can't say, 'i don't know.'" i said, "i certainly can. i don't know why he shot her. i'm just showing you that he did." (cheers and applause from the audience) (four gunshots) (man) i'm all right. (man) you get him. you get him. (robert altman) we had 4 assassins incarcerated and had for years. there's not one person alive, nor has there ever been, who can sit and really tell you why any of these people did the act they did. (gunshot) so my assassination was politically inspired, but it was not a political assassination, because i'm saying it doesn't make any difference. okay, everybody, sing! somebody, sing! (screams from the crowd) (narrator) in 1968, haskell wexler used the riots surrounding the democratic national convention in chicago as a backdrop for a feature film. "medium cool" employed real and fictional elements to explore the impact of tv on the 60's traumatic event. (screams and commotion from the crowd) the title "medium cool" is derived by marshall mcluhan, who spoke of television as being a "cool" medium. (haskell wexler) what was happening was happening in the street and there were other cameras shooting. i had a camera where my actress was involved in the situation. (crowd chanting) people in the streets recognize that their validity would not be certified unless it was on television. when it was on tv it existed, because if tv ignores you, if tv does not present you to the people, then it does not exist in our world of image control. (narrator) in 1976, sidney lumet and paddy chayevsky examined the colliding worlds of fiction and documentary tv. the result was the darkly comic film, "network." i would like at this moment to announce that i will be retiring from this program in two weeks' time because of poor ratings. since this show was the only thing i had going for me in my life, i have decided to kill myself. i'm going to blow my brains out on this show a week from today. (woman) ten seconds to commercial. (newscaster) so tune in next tuesday ... what we are is mosaicists. we take one little stone and we polish it and hope we get it the right color, and another little stone and polish it and 600 little stones, 800 little stones, i don't know how many -- whatever number of set-ups you've got in a movie and the number of times you use them. and it's not until you start pasting them up there together that you either have something or you don't have anything. (charles champlin) i've talked to a lot of people out of that live tv generation and there's no question that a kind of creative freedom that existed in television no longer did. and i think it was a protest about the medium that lumet and chayevsky loved had in a sense betrayed them. i want all of you to get up out of your chairs. i want you to get up right now and go to the window, open it, stick your head out and yell, "i'm mad as hell and i'm not going to take this anymore!" i want you to get up right now, get up and go to your windows, open them, stick your head out -- (sidney lumet) chayevsky, who was a magnificent writer, wasn't just talking about television as television; he was talking about the whole mechanization of society. they're yellin' in baton rouge. get up! get up! how about this! we struck the motherlode! (todd gitlin) the peter finch character in "network" understands tv's not just an instrument of political power, it's not just an instrument for selling; it's an instrument by which people's view of the world is consolidated. television is much deeper in the american soil, in the american sensibility than was thought before, in ways that are maybe much too complicated to understand. i'm mad as hell! i'm not gonna take it anymore! (todd gitlin) this is post-watergate when people are fed up, thinking everything is corrupt. and people have become aware that there's become a blur, there's developed a blur between entertainment and news. there's no cavalry to come and rescue you because the cavalry is also watching television. five-four-three-two-one. ladies and gentlemen, let's hear it! how do ya' feel? (group) we're mad as hell and we're not going to take it anymore! (announcer) ladies and gentlemen, "the network news hour" with sybil, the soothsayer. (sidney lumet) everybody kept saying, "what a brilliant satire," and paddy and i kept saying, "it's not satire. it's sheer reportage." it would be milder today because almost half the things predicted in "network" have come true. entertainment and news are the same thing now. finally tonight, as if things weren't confusing enough with a dozen candidates criss-crossing new hampshire trying to sell themselves to voters in tuesday's primary, now there's an added starter. as brit hume reports, it's a case of art imitating life. (brit hume) they have all been in new hampshire lately, bush and dukakis and dole and tanner ... tanner? that's actor michael murphy, who's presidential candidate jack tanner in a movie, airing on primary eve, on hbo. it's the story of a democratic congressman who jumps into the 1988 race after gary hart drops out. no movie has ever blended fiction and reality as much. (robert altman) we created a candidate and put him out on the road and so it says you're doing a documentary film following gary hart around; we were following mike murphy or jack tanner around. and we put a staff around him and we operated as if that's the way it was happening. no, i think it's going to be you and me in the final stretch if i can hang on that long. good luck see ya in november. (robert altman) we had a fictional character that we were passing off into a world of real people. where i seem to feel i get the best results is by finding what the arena is and then set up that event and let it happen. i'm trying to give the audice a sense that, "oh, this is really happening maybe." and i'm trying to just break that fourth wall out. so our techniques became the same way. our lighting reflected that. we didn't want any good movie lighting because you say, "well, how could they get that with hand-held videocams?" so suddenly we were -- the medium was the message. (haskell wexler) whenever there's a device which has a recordable image, we're seeing reality filtered through human consciousness. and it can be artful. it can be devious. it can be truthful. it can be lying. but it is not -- reality has literally disappeared from modern world. when i showed up at the restaurant to do the scene from "the player," burt and i were allegedly doing a breakfast interview. burt, larry levy. i hope you don't remember me. and if you do, no hard feelings. i worked for caster then. altman explained very roughly the plot was going on behind us and that the two principals would stop to say hi to burt. he asked what to say, i said, "i can't tell you." you're not a character; you're playing yourself. you have to represent yourself. here's the situation i've got. here's the arena. you behave any way you want." take care. who's that? an executive over at fox. until this breakfast, anyway. good morning, mr. mills. hi, susan. (charles champlin) as the villain of the piece stopped by ... hi, burt. griffin mills. hi, griffin. good to see you. (charles champlin) and burt turned to me, and unscripted said -- asshole. (charles champlin) but the minute he said it, i said, "that scene will stay." i trust my instincts. that's all i have to trust and hope that ever 4 or 5 years i intersect with an audience and we connect. and when we connect, it's terrific. i mean "the player" connected. we were at the right place at the right time. had we done it two years before or two years afterward, it would have been the biggest dud of all time. same with "mash." same with "nashville." (music playing) (narrator) today, with movie attendance at 20% of what it was in 1946, a movie's theatrical release is just its first step in an increasingly long journey through an entertainment world. a theatrical run is followed by a pay-per-view release, a cable release, a home video release, and eventually by broadcast on network or syndicated tv. the main effect of tv now on a movie seems paradoxical. some television is imitated in the movies. some television is evaded in the movies, but television is sort of the subtext. it's the unspoken alternative for all the movies. and all the movies take up a position in relation to tv. television is sort of the big force. it's the oxygen. it's always there. what's more interesting now is how technology refines tv. ♪ a whole new concept ♪ in tv society ♪ new shapes ♪ new sizes ♪ new convenience ♪ baby of the family ♪ (charles champlin) the irony is that what tv did to the movies, which is to fractionalize the motion picture audience, television's doing to itself. it's now fractionalizing itself thanks to its cable technology and cassettes. ♪ on big, rubber ♪ carpet wheels ♪ i think we're on the verge probably of a media revolution comparable to the arrival of television itself. ♪ it silently glides ♪ from room to room ♪ (haskell wexler) this is the age of images. it's that way because of tv. so television has given people an acuity of image retention that is incredible. and movies, of course, have to deal with that. what is slow in movies now was considered fast before. so just the pace of image multiplication has been enhanced because of television. you're going to have big home entertainment centers. there's no doubt about that. and who's to say you won't be making films directly for that? when you see it in close-up and you say, "oh, that's a video" or "that's film," there's quite a difference. i also think there might be something in video that's a little different from film, when the electricity's shut off there's nothing there. and when it's turned on, there's movement. so that stuff is moving. those little molecules are moving all the time. how do i know they aren't changing? i don't know what it is, but it's a different -- it's got a different basic philosophical feeling for me. (robert altman) i think eventually that film will disappear, strips of film. i think it will all be done electronically. and i can't edit that way because i'm old-fashioned. i mean i have to sit in there and run my film back and forth and move my soundtracks around and all that. but i don't think -- i think that'll be -- i think i'm doing something that will shortly be archaic. ♪ we loved ♪ we laughed, we cried ♪ and suddenly, love died ♪ the story ends ♪ and we're just friends ♪ j annenberg media ♪ and: with additional funding from these foundations and individuals: and by: and the annual financial support of: for information about this and other annenberg media programs call 1-800-learner and visit us at www.learner.org.