Location shooting in the context of "Sound stage"

The Great Train Robbery is a 1903 American silent Western action film made by Edwin S. Porter for the Edison Manufacturing Company. It follows a gang of outlaws who hold up and rob a steam train at a station in the American West, flee across mountainous terrain, and are finally defeated by a posse of locals. The short film draws on many sources, including a robust existing tradition of Western films, recent European innovations in film technique, the play of the same name by Scott Marble, the popularity of train-themed films, and possibly real-life incidents involving outlaws such as Butch Cassidy.

Porter supervised and photographed the film in New York and New Jersey in November 1903; the Edison studio began selling it to vaudeville houses and other venues in the following month. The cast included Justus D. Barnes and G. M. Anderson, who may have also helped with planning and staging. Porter's storytelling approach, though not particularly innovative or unusual for 1903, allowed him to include many popular techniques of the time, including scenes staged in wide shots, a matte effect, and an attempt to indicate simultaneous action across multiple scenes. Camera pans, location shooting, and moments of violent action helped give The Great Train Robbery a sense of rough-edged immediacy. A special close-up shot, which was unconnected to the story and could either begin or end the film depending on the projectionist's whim, showed Barnes, as the outlaw leader, firing his gun directly into the camera.

Holborn (/ˈhoʊbərn/ HOH-bə(r)n) is a London Underground station in Holborn, Central London. It is located at the junction of High Holborn and Kingsway. The station is served by the Central and Piccadilly lines, and is in London fare zone 1. On the Central line the station is between Tottenham Court Road and Chancery Lane stations, and on the Piccadilly line it is between Covent Garden and Russell Square stations. Close by are the British Museum, Lincoln's Inn Fields, Red Lion Square, Bloomsbury Square, London School of Economics and Sir John Soane's Museum.

Located at the junction of two earlier tube railway schemes, the station was opened in 1906 by the Great Northern, Piccadilly and Brompton Railway (GNP&BR). The station entrances and below ground circulation were largely reconstructed for the introduction of escalators and the opening of Central line platforms in 1933, making the station the only interchange between the lines. Before 1994, Holborn was the northern terminus of the short and little-frequented Piccadilly line branch to Aldwych and two platforms originally used for this service are disused. One of the disused platforms has been used for location filming when a London Underground station platform is needed.

John Martin Feeney (February 1, 1894 – August 31, 1973), better known as John Ford, was an American film director and producer. He is regarded as one of the most important and influential filmmakers during the Golden Age of Hollywood, and was one of the first American directors to be recognized as an auteur. In a career of more than 50 years, he directed over 130 films between 1917 and 1970 (although most of his silent films are now lost), and received a record four Academy Awards for Best Director for The Informer (1935), The Grapes of Wrath (1940), How Green Was My Valley (1941), and The Quiet Man (1952).

Ford is renowned for his Westerns, such as Stagecoach (1939), My Darling Clementine (1946), Fort Apache (1948), The Searchers (1956), and The Man Who Shot Liberty Valance (1962); though he worked in many other genres, including comedies, period dramas, and documentaries. He made frequent use of location shooting and wide shots, in which his characters were framed against a vast, harsh, and rugged natural terrain. He is credited with launching the careers of some of Hollywood's biggest stars during the 1930s, 1940s, and 1950s, including John Wayne, Henry Fonda, Maureen O'Hara and James Stewart.

Pather Panchali (Bengali pronunciation: [pɔtʰer pãtʃali] , transl. Song Of The Little Road) is a 1955 Indian drama film written and directed by Satyajit Ray in his directorial debut. It is an adaptation of Bibhutibhushan Bandyopadhyay's 1929 Bengali novel of the same name. The film stars Subir Banerjee, Kanu Banerjee, Karuna Banerjee, Uma Dasgupta, and Chunibala Devi in leading roles. As the first instalment of The Apu Trilogy, the film depicts the childhood hardships of the protagonist Apu and his elder sister Durga amid the harsh realities of rural poverty. The film is widely acclaimed as a classic of Indian cinema and is regarded as one of the greatest and most influential films in the history of cinema.

The film was shot mainly on location, had a limited budget, featured mostly amateur actors, and was made by an inexperienced crew. Lack of funds led to frequent interruptions in production, which took nearly three years, but the West Bengal government pulled Ray out of debt by buying the film for the equivalent of $60,000, which it turned into a profit of $700,000 by 1980. The sitar player Ravi Shankar composed the film's soundtrack and score using classical Indian ragas. Subrata Mitra was in charge of the cinematography while editing was handled by Dulal Dutta. Following its premiere on 3 May 1955 during an exhibition at New York's Museum of Modern Art, Pather Panchali was released in Calcutta the same year to an enthusiastic reception. A special screening was attended by the Chief Minister of West Bengal and the Prime Minister of India.

Italian Neorealism (Italian: Neorealismo), also known as the Golden Age of Italian Cinema, was a national film movement characterized by stories set amongst the poor and the working class. They are filmed on location, frequently with non-professional actors. They primarily address the difficult economic and moral conditions of post-World War II Italy, representing changes in the Italian psyche and conditions of everyday life, including poverty, oppression, injustice and desperation. Italian Neorealist filmmakers used their films to tell stories that explored the contemporary daily life and struggles of Italians in the post-war period. Italian neorealist films have become explanatory discourse for future generations to understand the history of Italy during a specific period through the storytelling of social life in the context, reflecting the documentary and communicative nature of the film. Some people believe that neorealistic films evolved from Soviet montage films. But in reality, compared to Soviet filmmakers describing the people's opposition to class struggle through their films, neorealist films aim to showcase individuals' resistance to reality in a social environment.