Film encompasses individual motion pictures, the field of film as an art Art is the process or product of deliberately arranging elements in a way that appeals to the senses or emotions. It encompasses a diverse range of human activities, creations, and modes of expression, including music and literature. The meaning of art is explored in a branch of philosophy known as aesthetics form, and the motion picture industry The film industry consists of the technological and commercial institutions of filmmaking: i.e. film production companies, film studios, cinematography, film production, screenwriting, pre-production, post production, film festivals, distribution; and actors, film directors and other film personnel. Films are produced by recording Recording is a process of capturing data or translating information to a format stored on a storage medium often referred to as a record images from the world with cameras A camera is a device that records images, either as a still photograph or as moving images known as videos or movies. The term comes from the camera obscura , an early mechanism of projecting images where an entire room functioned as a real-time imaging system; the modern camera evolved from the camera obscura, or by creating images using animation Animation is the rapid display of a sequence of images of 2-D or 3-D artwork or model positions in order to create an illusion of movement. It is an optical illusion of motion due to the phenomenon of persistence of vision, and can be created and demonstrated in a number of ways. The most common method of presenting animation is as a motion techniques or special effects The illusions used in the film, television, theater, or entertainment industries to simulate the imagined events in a story are traditionally called special effects.

Films are cultural artifacts A cultural artifact is a human-made object which gives information about the culture of its creator and users. The artifact may change over time in what it represents, how it appears and how and why it is used as the culture changes over time. Usage of this term encompasses the type of archaeological artifact which is recovered at archaeological created by specific cultures Culture is a term that has different meanings. For example, in 1952, Alfred Kroeber and Clyde Kluckhohn compiled a list of 164 definitions of "culture" in Culture: A Critical Review of Concepts and Definitions. However, the word "culture" is most commonly used in three basic senses:, which reflect those cultures, and, in turn, affect them. Film is considered to be an important art Art is the process or product of deliberately arranging elements in a way that appeals to the senses or emotions. It encompasses a diverse range of human activities, creations, and modes of expression, including music and literature. The meaning of art is explored in a branch of philosophy known as aesthetics form, a source of popular entertainment and a powerful method for educating Documentary film is a broad category of visual expression that is based on the attempt, in one fashion or another, to "document" reality. Although "documentary film" originally referred to movies shot on film stock, it has subsequently expanded to include video and digital productions that can be either direct-to-video or made — or indoctrinating Propaganda is communication aimed at influencing the attitude of a community toward some cause. As opposed to impartially providing information, propaganda in its most basic sense, often presents information primarily in order to influence its audience. Propaganda often presents facts selectively to encourage a particular synthesis, or gives — citizens. The visual elements of cinema gives motion pictures a universal power of communication. Some films have become popular worldwide attractions by using dubbing In filmmaking, dubbing or looping is the process of recording or replacing voices for a motion picture. The term most commonly refers to recorded voices that do not belong to the original actors and speak a different language from the one the actor originally spoke. "Dubbing" also describes the process of an actor's re-recording lines he or subtitles Subtitles are textual versions of the dialog in films and television programs, usually displayed at the bottom of the screen. They can either be a form of written translation of a dialog in a foreign language, or a written rendering of the dialog in the same language, with or without added information to help viewers who are deaf and hard-of- that translate Translation is the mapping of the meaning of a text and the subsequent production of an equivalent text, likewise called a "translation," that communicates the same message in another language. The text to be translated is called the source text, and the language that it is to be translated into is called the target language; the final the dialogue.

Traditional films are made up of a series of individual images called frames. When these images are shown rapidly in succession, a viewer has the illusion that motion is occurring. The viewer cannot see the flickering between frames A film frame, or just frame, is one of the many single photographic images in a motion picture. The individual frames are separated by frame lines. Normally, 24 frames are needed for one second of film. In ordinary filming, the frames are photographed automatically, one after the other, in a movie camera. In special effects or animation filming, due to an effect known as persistence of vision Persistence of vision is the phenomenon of the eye by which an afterimage is thought to persist for approximately one twenty-fifth of a second on the retina, supposedly to compensate for the blackout that would be experienced otherwise through blinking. The theory was invoked to explain how the perception of apparent motion in film created the, whereby the eye retains a visual image for a fraction of a second after the source has been removed. Viewers perceive motion due to a psychological effect called beta movement Beta movement is a perceptual illusion, described by Max Wertheimer in his 1912 Experimental Studies on the Seeing of Motion, whereby two or more still images are combined by the brain into surmised motion. This is often erroneously referred to as the phi phenomenon, which is a different, related illusion.

The origin of the name "film" comes from the fact that photographic film Photographic film is a sheet of plastic coated with an emulsion containing light-sensitive silver halide salts (bonded by gelatin) with variable crystal sizes that determine the sensitivity, contrast and resolution of the film. When the emulsion is sufficiently exposed to light (or other forms of electromagnetic radiation such as X-rays), it forms (also called film stock Modern motion picture film stock was first created thanks to the introduction of a transparent flexible film base material, celluloid, which was discovered and refined for photographic use thanks to the work of John Carbutt, Hannibal Goodwin, and George Eastman. Prior to this, most motion picture experiments were performed using paper roll film,) had historically been the primary medium A data storage device is a device for recording information (data). Recording can be done using virtually any form of energy, spanning from manual muscle power in handwriting, to acoustic vibrations in phonographic recording, to electromagnetic energy modulating magnetic tape and optical discs for recording and displaying motion pictures. Many other terms exist for an individual motion picture, including picture, picture show, photo-play, flick. A common name for film in the United States is movie, while the Europeans prefer cinema. Additional terms for the field in general include the big screen, the silver screen, the cinema and the movies.

History

Preceding film by thousands of years, plays and dances Dance is a sport and art form that generally refers to movement of the body, usually rhythmic and to music, used as a form of expression, social interaction or presented in a spiritual or performance setting had elements common to film: scripts, sets Set construction is a process by which a set designer works in collaboration with the director of the production to create the set for a theatrical, film or television production. The set designer produces a scale model, scale drawings paint elevations (a scale painting supplied to the scenic painter of each element requiring painting), and, costumes The term costume can refer to wardrobe and dress in general, or to the distinctive style of dress of a particular people, class, or period. Costume may also refer to the artistic arrangement of accessories in a picture, statue, poem, or play, appropriate to the time, place, or other circumstances represented or described, or to a particular style, production Filmmaking is the process of making a film, from an initial story idea or commission through scriptwriting, shooting, editing and finally distribution to an audience. Typically it involves a large number of people and can take anywhere between a few months to several years to complete. Filmmaking takes place all over the world in a huge range of, direction, actors The word actor refers to a person who acts regardless of sex, while actress refers specifically to a female person who acts; therefore a female can be both. The Oxford English Dictionary states that originally "'actor" was used for both sexes. The English word actress does not derive from the Latin actrix, probably not even by way of, audiences An audience is a group of people who participate in a show or encounter a work of art, literature , theatre, music or academics in any medium. Audience members participate in different ways in different kinds of art; some events invite overt audience participation and others allowing only modest clapping and criticism and reception, storyboards Storyboards are graphic organizers such as a series of illustrations or images displayed in sequence for the purpose of pre-visualizing a motion picture, animation, motion graphic or interactive media sequence, including website interactivity, and scores. Much terminology later used in film theory and criticism applied, such as mise en scene Mise-en-scène is an expression used in theatre and film to describe the design aspects of a production. It has been called film criticism's "grand undefined term," but that is not because of a lack of definitions. Rather, it's because the term has so many different meanings that there is little consensus about its definition (roughly, the entire visual picture at any one time). Moving visual and aural images were not recorded for replaying as in film.

The camera obscura The camera obscura is an optical device used, for example, in drawing or for entertainment. It is one of the inventions leading to photography. The principle can be demonstrated with a box with a hole in one side (the box may be room-sized, or hangar sized). Light from a scene passes through the hole and strikes a surface where it is reproduced, was pioneered by Alhazen Abū ʿAlī al-Ḥasan ibn al-Ḥasan ibn al-Haytham (Arabic: ابو علي، حسن بن حسن بن الهيثم, Persian: ابن هیثم, Latinized: Alhacen or Alhazen) (965 in Basra - c. 1039 in Cairo), was an Arab or Persian polymath. He made significant contributions to the principles of optics, as well as to anatomy, astronomy, engineering, in his Book of Optics The Book of Optics was a seven-volume treatise on optics, physics, mathematics, anatomy and psychology written by the Iraqi Muslim scientist, Ibn al-Haytham (in Europe, Latinized as Alhacen or Alhazen), from 1011 to 1021, when he was under house arrest in Cairo, Egypt (1021),^[1][2][3] and later near the year 1600, it was perfected by Giambattista della Porta Giambattista della Porta , also known as Giovanni Battista Della Porta, and John Baptist Porta was an Italian scholar, polymath and playwright who lived in Naples at the time of the Scientific Revolution and Reformation. Born in that city to the Italian noble Nardo Antonio della Porta, he was the third of four sons, second to survive childhood. Light is inverted through a small hole or lens from outside, and projected onto a surface or screen, creating a moving image, but it is not preserved in a recording.

In the 1860s, mechanisms for producing two-dimensional drawings in motion were demonstrated with devices such as the zoetrope A zoetrope is a device that produces an illusion of action from a rapid succession of static pictures. The term zoetrope is from the Greek words zoe, "life" and trope, "turn". It may be taken to mean "wheel of life" or "living wheel.", mutoscope The Mutoscope was an early motion picture device, patented by Herman Casler on November 21, 1894. Like Thomas Edison's Kinetoscope it did not project on a screen, and provided viewing to only one person at a time. Cheaper and simpler than the Kinetoscope, the system—marketed by the American Mutoscope Company —quickly dominated the coin-in-the- and praxinoscope The praxinoscope was an animation device, the successor to the zoetrope. It was invented in France in 1877 by Charles-Émile Reynaud. Like the zoetrope, it used a strip of pictures placed around the inner surface of a spinning cylinder. The praxinoscope improved on the zoetrope by replacing its narrow viewing slits with an inner circle of mirrors,. These machines were outgrowths of simple optical devices (such as magic lanterns The invention of photography enabled the inexpensive creation and reproduction of slides, and thereby greatly expanded the repertoire of available images. Slide shows would feature famous landmarks, foreign lands, and personages. Posed photographs were sold in series, telling uplifting stories and moral tales. Though there was a huge market for) and would display sequences of still pictures at sufficient speed for the images on the pictures to appear to be moving, a phenomenon called persistence of vision Persistence of vision is the phenomenon of the eye by which an afterimage is thought to persist for approximately one twenty-fifth of a second on the retina, supposedly to compensate for the blackout that would be experienced otherwise through blinking. The theory was invoked to explain how the perception of apparent motion in film created the. Naturally the images needed to be carefully designed to achieve the desired effect, and the underlying principle became the basis for the development of film animation Animation is the rapid display of a sequence of images of 2-D or 3-D artwork or model positions in order to create an illusion of movement. It is an optical illusion of motion due to the phenomenon of persistence of vision, and can be created and demonstrated in a number of ways. The most common method of presenting animation is as a motion.

With the development of celluloid Celluloid is the name of a class of compounds created from nitrocellulose and camphor, plus dyes and other agents. Generally regarded to be the first thermoplastic, it was first created as Parkesine in 1856 and as Xylonite in 1869 before being registered as Celluloid in 1870. Celluloid is easily molded and shaped, and it was first widely used as film for still photography Photography (from Greek φωτο and γραφία) is the process, activity and art of creating still or moving pictures by recording radiation on a sensitive medium, such as a photographic film, or an electronic sensor. Light patterns reflected or emitted from objects activate a sensitive chemical or electronic sensor during a timed exposure,, it became possible to directly capture objects in motion in real time. An 1878 experiment by Eadweard Muybridge Eadweard J. Muybridge was an English photographer, known primarily for his early use of multiple cameras to capture motion, and his zoopraxiscope, a device for projecting motion pictures that pre-dated the celluloid film strip that is still used today. The name "Eadweard Muybridge" is pronounced /ˌɛdwərd ˈmaɪbrɪdʒ/ in the United States using 24 cameras produced a series of stereoscopic images of a galloping horse, arguably the first "motion picture," though it was not called by this name. This technology required a person to look into a viewing machine to see the pictures which were separate paper prints attached to a drum turned by a handcrank. The pictures were shown at a variable speed of about 5 to 10 pictures per second, depending on how rapidly the crank was turned. Commercial versions of these machines were coin operated.

By the 1880s the development of the motion picture camera The movie camera is a type of photographic camera which takes a rapid sequence of photographs on strips of film. In contrast to a still camera, which captures a single snapshot at a time, the movie camera takes a series of images, each called a "frame". This is accomplished through an intermittent mechanism. The frames are later played allowed the individual component images to be captured and stored on a single reel The size of the core is dependent on several factors. A smaller core will obviously allow more material to be stored in a given space. However, there is a limit to how tightly the stored material can be wound without damaging it and this limits how small the core can be, and led quickly to the development of a motion picture projector A movie projector is an opto-mechanical device for displaying moving pictures by projecting them on a projection screen. Most of the optical and mechanical elements, except for the illumination and sound devices, are present in movie cameras to shine light through the processed and printed film and magnify these "moving picture shows" onto a screen for an entire audience. These reels, so exhibited, came to be known as "motion pictures". Early motion pictures were static shots In film, a shot is a continuous strip of motion picture film, created of a series of frames, that runs for an uninterrupted period of time. Shots are generally filmed with a single camera and can be of any duration. Frames, shots, scenes, and sequences form a hierarchy of units fundamental to many tasks in the creation of moving-image works that showed an event or action with no editing or other cinematic techniques.

Ignoring Dickson's early sound experiments (1894), commercial motion pictures were purely visual art through the late 19th century, but these innovative silent films had gained a hold on the public imagination. Around the turn of the twentieth century, films began developing a narrative structure by stringing scenes together to tell narratives. The scenes were later broken up into multiple shots of varying sizes and angles. Other techniques such as camera movement were realized as effective ways to portray a story on film. Rather than leave the audience in silence, theater owners would hire a pianist or organist or a full orchestra to play music fitting the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music for this purpose, with complete film scores being composed for major productions.

The rise of European cinema was interrupted by the outbreak of World War I when the film industry in United States flourished with the rise of Hollywood, typified most prominently by the great innovative work of D.W. Griffith in The Birth of a Nation (1914) and Intolerance (1916) . However in the 1920s, European filmmakers such as Sergei Eisenstein, F. W. Murnau, and Fritz Lang,in many ways inspired by the meteoric war-time progress of film through Griffith, along with the contributions of Charles Chaplin, Buster Keaton and others, quickly caught up with American film-making and continued to further advance the medium. In the 1920s, new technology allowed filmmakers to attach to each film a soundtrack of speech, music and sound effects synchronized with the action on the screen. These sound films were initially distinguished by calling them "talking pictures", or talkies.

The next major step in the development of cinema was the introduction of so-called "natural" color. While the addition of sound quickly eclipsed silent film and theater musicians, color was adopted more gradually as methods evolved making it more practical and cost effective to produce "natural color" films. The public was relatively indifferent to color photography as opposed to black-and-white,^{[citation needed]} but as color processes improved and became as affordable as black-and-white film, more and more movies were filmed in color after the end of World War II, as the industry in America came to view color as essential to attracting audiences in its competition with television, which remained a black-and-white medium until the mid-1960s. By the end of the 1960s, color had become the norm for film makers.

Since the decline of the studio system in the 1960s, the succeeding decades saw changes in the production and style of film. Various New Wave movements (including the French New Wave, Indian New Wave, Japanese New Wave and New Hollywood) and the rise of film school educated independent filmmakers were all part of the changes the medium experienced in the latter half of the 20th century. Digital technology has been the driving force in change throughout the 1990s and into the 21st century.

Theory

Film theory seeks to develop concise and systematic concepts that apply to the study of film as art. It was started by Ricciotto Canudo's The Birth of the Sixth Art. Formalist film theory, led by Rudolf Arnheim, Béla Balázs, and Siegfried Kracauer, emphasized how film differed from reality, and thus could be considered a valid fine art. André Bazin reacted against this theory by arguing that film's artistic essence lay in its ability to mechanically reproduce reality not in its differences from reality, and this gave rise to realist theory. More recent analysis spurred by Jacques Lacan's psychoanalysis and Ferdinand de Saussure's semiotics among other things has given rise to psychoanalytical film theory, structuralist film theory, feminist film theory and others. On the other hand, critics from the analytical philosophy tradition, influenced by Wittgenstein, try to clarify misconceptions used in theoretical studies and produce analysis of a film's vocabulary and its link to a form of life.

Language

Film is considered to have its own language. James Monaco wrote a classic text on film theory titled "How to Read a Film". Director Ingmar Bergman famously said, "[Andrei] Tarkovsky for me is the greatest [director], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream." Examples of the language are a sequence of back and forth images of one actor's left profile speaking, followed by another actor’s right profile speaking, then a repetition of this, which is a language understood by the audience to indicate a conversation. Another example is zooming in on the forehead of an actor with an expression of silent reflection, then changing to a scene of a younger actor who vaguely resembles the first actor, indicating the first actor is having a memory of their own past.

Montage

Parallels to musical counterpoint have been developed into a theory of montage, extended from the complex superimposition of images in early silent film^{[citation needed]} to even more complex incorporation of musical counterpoint together with visual counterpoint through mise en scene and editing, as in a ballet or opera; e.g., as illustrated in the gang fight scene of director Francis Ford Coppola’s film, Rumble Fish.

Criticism

Film criticism is the analysis and evaluation of films. In general, these works can be divided into two categories: academic criticism by film scholars and journalistic film criticism that appears regularly in newspapers and other media.

Film critics working for newspapers, magazines, and broadcast media mainly review new releases. Normally they only see any given film once and have only a day or two to formulate opinions. Despite this, critics have an important impact on films, especially those of certain genres. Mass marketed action, horror, and comedy films tend not to be greatly affected by a critic's overall judgment of a film. The plot summary and description of a film that makes up the majority of any film review can still have an important impact on whether people decide to see a film. For prestige films such as most dramas, the influence of reviews is extremely important. Poor reviews will often doom a film to obscurity and financial loss.

The impact of a reviewer on a given film's box office performance is a matter of debate. Some claim that movie marketing is now so intense and well financed that reviewers cannot make an impact against it. However, the cataclysmic failure of some heavily-promoted movies which were harshly reviewed, as well as the unexpected success of critically praised independent movies indicates that extreme critical reactions can have considerable influence. Others note that positive film reviews have been shown to spark interest in little-known films. Conversely, there have been several films in which film companies have so little confidence that they refuse to give reviewers an advanced viewing to avoid widespread panning of the film. However, this usually backfires as reviewers are wise to the tactic and warn the public that the film may not be worth seeing and the films often do poorly as a result.

It is argued that journalist film critics should only be known as film reviewers, and true film critics are those who take a more academic approach to films. This line of work is more often known as film theory or film studies. These film critics attempt to come to understand how film and filming techniques work, and what effect they have on people. Rather than having their works published in newspapers or appear on television, their articles are published in scholarly journals, or sometimes in up-market magazines. They also tend to be affiliated with colleges or universities.

Industry

The making and showing of motion pictures became a source of profit almost as soon as the process was invented. Upon seeing how successful their new invention, and its product, was in their native France, the Lumières quickly set about touring the Continent to exhibit the first films privately to royalty and publicly to the masses. In each country, they would normally add new, local scenes to their catalogue and, quickly enough, found local entrepreneurs in the various countries of Europe to buy their equipment and photograph, export, import and screen additional product commercially. The Oberammergau Passion Play of 1898^{[citation needed]} was the first commercial motion picture ever produced. Other pictures soon followed, and motion pictures became a separate industry that overshadowed the vaudeville world. Dedicated theaters and companies formed specifically to produce and distribute films, while motion picture actors became major celebrities and commanded huge fees for their performances. Already by 1917, Charlie Chaplin had a contract that called for an annual salary of one million dollars.

From 1931 to 1956, film was also the only image storage and playback system for television programming until the introduction of videotape recorders.

In the United States today, much of the film industry is centered around Hollywood. Other regional centers exist in many parts of the world, such as Mumbai-centered Bollywood, the Indian film industry's Hindi cinema which produces the largest number of films in the world.^[4] Whether the ten thousand-plus feature length films a year produced by the Valley pornographic film industry should qualify for this title is the source of some debate.^{[citation needed]} Though the expense involved in making movies has led cinema production to concentrate under the auspices of movie studios, recent advances in affordable film making equipment have allowed independent film productions to flourish.

Profit is a key force in the industry, due to the costly and risky nature of filmmaking; many films have large cost overruns, a notorious example being Kevin Costner's Waterworld. Yet many filmmakers strive to create works of lasting social significance. The Academy Awards (also known as "the Oscars") are the most prominent film awards in the United States, providing recognition each year to films, ostensibly based on their artistic merits.

There is also a large industry for educational and instructional films made in lieu of or in addition to lectures and texts.

Associated fields

Derivative academic Fields of study may both interact with and develop independently of filmmaking, as in film theory and analysis. Fields of academic study have been created that are derivative or dependent on the existence of film, such as film criticism, film history, divisions of film propaganda in authoritarian governments, or psychological on subliminal effects of a flashing soda can during a screening. These fields may further create derivative fields, such as a movie review section in a newspaper or a television guide. Sub-industries can spin off from film, such as popcorn makers, and toys. Sub- industries of pre-existing industries may deal specifically with film, such as product placement in advertising.

Terminology used

Most people use "film" and "movie" interchangeably^{[citation needed]}. "Film" is more often used when considering artistic, theoretical, or technical aspects, as studies in a university class. "Movies" more often refers to entertainment or commercial aspects, as where to go for fun on a date. For example, a book titled "How to Read a Film" would be about the aesthetics or theory of film, while "Lets Go to the Movies" would be about the history of entertaining movies. "Motion pictures” or "Moving pictures" are films and movies. A "DVD", "videotape", "video" or "vid" is a digital reproduction of an analogue film, or a product with all of the elements of an analogue film but made in an electromagnetic storage medium. "Film" refers to the media onto which a visual art is shot, and to this end no digital originating work can be referred to as a "film" and the action of shooting is not "filming." "Silent films" need not be silent, but are films and movies without an audible dialogue, though they may have a musical soundtrack. "Talkies" refers to early movies or films having audible dialogue or analogue sound, not just a musical accompaniment. "Cinema" either broadly encompasses both films and movies, or is roughly synonymous with “Film”, both capitalized when referring to a category of art. The "silver screen" refers to classic black and white films before color, not to contemporary films without color.

The expression "Sight and Sound", as in the film journal of the same name, means "film". The following icons mean film - a "candle and bell", as in the films Tarkovsky, of a segment of film stock, or a two faced Janus image, and an image of a movie camera in profile.

"Widescreen" and "Cinemascope" refers to a larger width to height in the frame, compared to an earlier historic aspect ratios. A "feature length film", or "feature film", is of a conventional full length, usually 60 minutes or more, and can commercially stand by itself without other films in a ticketed screening. A "short" is a film that is not as long as a feature length film, usually screened with other shorts, or preceding a feature length film. An "independent" is a film made outside of the conventional film industry.

A "screening" or "projection" is the projection of a film or video on a screen at a public or private theater, usually but not always of a film, but of a video or DVD when of sufficient projection quality. A "double feature" is a screening of two independent, stand-alone, feature films. A "viewing" is a watching of a film. A "showing" is a screening or viewing on an electronic monitor. "Sales" refers to tickets sold at a theater, or more currently, rights sold for individual showings. A "release" is the distribution and often simultaneous screening of a film. A "preview" is a screening in advance of the main release.

"Hollywood" may be used either as a pejorative adjective, shorthand for asserting an overly commercial rather than artistic intent or outcome, as in "too Hollywood", or as a descriptive adjective to refer to a film originating with people who ordinarily work near Los Angeles.

Expressions for Genres of film are sometimes used interchangeably for "film" in a specific context, such as a "porn" for a film with explicit sexual content, or "cheese" for films that are light, entertaining and not highbrow.

Any film may also have a "Sequel", which chronologically portrays events following those in the film. Film sequels may even be released first, e.g. Star Wars Episode IV.

Preview

A preview performance refers to a showing of a movie to a select audience, usually for the purposes of corporate promotions, before the public film premiere itself. Previews are sometimes used to judge audience reaction, which if unexpectedly negative, may result in recutting or even refilming certain sections (Audience response).

Trailer

Trailers or previews are film advertisements for films that will be exhibited in the future at a cinema, on whose screen they are shown. The term "trailer" comes from their having originally been shown at the end of a film programme. That practice did not last long, because patrons tended to leave the theater after the films ended, but the name has stuck. Trailers are now shown before the film (or the A movie in a double feature program) begins.

Film, or other art form?

Film may be combined with performance art and still be considered or referred to as a “film”. For example, when there is a live musical accompaniment to a silent film. Another example is audience participation films, as at a midnight movies screening of The Rocky Horror Picture Show, where the audience dresses up in costume from the film and loudly does a karaoke-like reenactment along with the film. Performance art where film is incorporated as a component is usually not called film, but a film, which could stand-alone but is accompanied by a performance may still be referred to as a film.

The act of making a film can, in and of itself, be considered a work of art, on a different level from the film itself, as in the films of Werner Herzog.

Similarly, the playing of a film can be considered to fall within the realm of political protest art, as in the subtleties within the films of Tarkovsky. A "road movie" can refer to a film put together from footage from a long road trip or vacation.

Education and Propaganda

Film is used for education and propaganda. When the purpose is primarily educational, a film is called an "educational film". Examples are recordings of lectures and experiments, or more marginally, a film based on a classic novel.

Film may be propaganda, in whole or in part, such as the films made by Leni Riefenstahl in Nazi Germany, US war film trailers during World War II, or artistic films made under Stalin by Eisenstein. They may also be works of political protest, as in the films of Wajda, or more subtly, the films of Andrei Tarkovsky.

The same film may be considered educational by some, and propaganda by others, such as some of the films of Michael Moore.

Production

At its core, the means to produce a film depend on the content the filmmaker wishes to show, and the apparatus for displaying it: the zoetrope merely requires a series of images on a strip of paper. Film production can therefore take as little as one person with a camera (or without it, such as Stan Brakhage's 1963 film Mothlight), or thousands of actors, extras and crewmembers for a live-action, feature-length epic.

The necessary steps for almost any film can be boiled down to conception, planning, execution, revision, and distribution. The more involved the production, the more significant each of the steps becomes. In a typical production cycle of a Hollywood-style film, these main stages are defined as:

1. Development
2. Pre-production
3. Production
4. Post-production
5. Distribution

This production cycle usually takes three years. The first year is taken up with development. The second year comprises preproduction and production. The third year, post-production and distribution.

The bigger the production, the more resources it takes, and the more important financing becomes; most feature films are not only artistic works, but for-profit business entities.

Crew

A film crew is a group of people hired by a film company, employed during the "production" or "photography" phase, for the purpose of producing a film or motion picture. Crew are distinguished from cast, the actors who appear in front of the camera or provide voices for characters in the film. The crew interacts with but is also distinct from the production staff, consisting of producers, managers, company representatives, their assistants, and those whose primary responsibility falls in pre-production or post-production phases, such as writers and editors. Communication between production and crew generally passes through the director and his/her staff of assistants. Medium-to-large crews are generally divided into departments with well defined hierarchies and standards for interaction and cooperation between the departments. Other than acting, the crew handles everything in the photography phase: props and costumes, shooting, sound, electrics (i.e., lights), sets, and production special effects. Caterers (known in the film industry as "craft services") are usually not considered part of the crew.

Technology

Film stock consists of transparent celluloid, acetate, or polyester base coated with an emulsion containing light-sensitive chemicals. Cellulose nitrate was the first type of film base used to record motion pictures, but due to its flammability was eventually replaced by safer materials. Stock widths and the film format for images on the reel have had a rich history, though most large commercial films are still shot on (and distributed to theaters) as 35 mm prints.

Originally moving picture film was shot and projected at various speeds using hand-cranked cameras and projectors; though 1000 frames per minute (16⅔ frame/s) is generally cited as a standard silent speed, research indicates most films were shot between 16 frame/s and 23 frame/s and projected from 18 frame/s on up (often reels included instructions on how fast each scene should be shown)^[5]. When sound film was introduced in the late 1920s, a constant speed was required for the sound head. 24 frames per second was chosen because it was the slowest (and thus cheapest) speed which allowed for sufficient sound quality. Improvements since the late 19th century include the mechanization of cameras — allowing them to record at a consistent speed, quiet camera design — allowing sound recorded on-set to be usable without requiring large "blimps" to encase the camera, the invention of more sophisticated filmstocks and lenses, allowing directors to film in increasingly dim conditions, and the development of synchronized sound, allowing sound to be recorded at exactly the same speed as its corresponding action. The soundtrack can be recorded separately from shooting the film, but for live-action pictures many parts of the soundtrack are usually recorded simultaneously.

As a medium, film is not limited to motion pictures, since the technology developed as the basis for photography. It can be used to present a progressive sequence of still images in the form of a slideshow. Film has also been incorporated into multimedia presentations, and often has importance as primary historical documentation. However, historic films have problems in terms of preservation and storage, and the motion picture industry is exploring many alternatives. Most movies on cellulose nitrate base have been copied onto modern safety films. Some studios save color films through the use of separation masters — three B&W negatives each exposed through red, green, or blue filters (essentially a reverse of the Technicolor process). Digital methods have also been used to restore films, although their continued obsolescence cycle makes them (as of 2006) a poor choice for long-term preservation. Film preservation of decaying film stock is a matter of concern to both film historians and archivists, and to companies interested in preserving their existing products in order to make them available to future generations (and thereby increase revenue). Preservation is generally a higher-concern for nitrate and single-strip color films, due to their high decay rates; black and white films on safety bases and color films preserved on Technicolor imbibition prints tend to keep up much better, assuming proper handling and storage.

Some films in recent decades have been recorded using analog video technology similar to that used in television production. Modern digital video cameras and digital projectors are gaining ground as well. These approaches are extremely beneficial to moviemakers, especially because footage can be evaluated and edited without waiting for the film stock to be processed. Yet the migration is gradual, and as of 2005 most major motion pictures are still recorded on film.

Independent

Independent filmmaking often takes place outside of Hollywood, or other major studio systems. An independent film (or indie film) is a film initially produced without financing or distribution from a major movie studio. Creative, business, and technological reasons have all contributed to the growth of the indie film scene in the late 20th and early 21st century.

On the business side, the costs of big-budget studio films also leads to conservative choices in cast and crew. There is a trend in Hollywood towards co-financing (over two-thirds of the films put out by Warner Bros. in 2000 were joint ventures, up from 10% in 1987).^[6] A hopeful director is almost never given the opportunity to get a job on a big-budget studio film unless he or she has significant industry experience in film or television. Also, the studios rarely produce films with unknown actors, particularly in lead roles.

Before the advent of digital alternatives, the cost of professional film equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional studio film.

But the advent of consumer camcorders in 1985, and more importantly, the arrival of high-resolution digital video in the early 1990s, have lowered the technology barrier to movie production significantly. Both production and post-production costs have been significantly lowered; today, the hardware and software for post-production can be installed in a commodity-based personal computer. Technologies such as DVDs, FireWire connections and non-linear editing system pro-level software like Adobe Premiere Pro, Sony Vegas and Apple's Final Cut Pro, and consumer level software such as Apple's Final Cut Express and iMovie make movie-making relatively inexpensive.

Since the introduction of DV technology, the means of production have become more democratized. Filmmakers can conceivably shoot and edit a movie, create and edit the sound and music, and mix the final cut on a home computer. However, while the means of production may be democratized, financing, distribution, and marketing remain difficult to accomplish outside the traditional system. Most independent filmmakers rely on film festivals to get their films noticed and sold for distribution. The arrival of internet-based video outlets such as YouTube and Veoh has further changed the film making landscape in ways that are still to be determined.

Open content film

An open content film is much like an independent film, but it is produced through open collaborations; its source material is available under a license which is permissive enough to allow other parties to create fan fiction or derivative works, than a traditional copyright. Like independent filmmaking, open source filmmaking takes place outside of Hollywood, or other major studio systems.

Fan film

A fan film is a film or video inspired by a film, television program, comic book or a similar source, created by fans rather than by the source's copyright holders or creators. Fan filmmakers have traditionally been amateurs, but some of the more notable films have actually been produced by professional filmmakers as film school class projects or as demonstration reels. Fan films vary tremendously in length, from short faux-teaser trailers for non-existent motion pictures to rarer full-length motion pictures.

Animation

Animation is the technique in which each frame of a film is produced individually, whether generated as a computer graphic, or by photographing a drawn image, or by repeatedly making small changes to a model unit (see claymation and stop motion), and then photographing the result with a special animation camera. When the frames are strung together and the resulting film is viewed at a speed of 16 or more frames per second, there is an illusion of continuous movement (due to the persistence of vision). Generating such a film is very labor intensive and tedious, though the development of computer animation has greatly sped up the process.

File formats like GIF, QuickTime, Shockwave and Flash allow animation to be viewed on a computer or over the Internet.

Because animation is very time-consuming and often very expensive to produce, the majority of animation for TV and movies comes from professional animation studios. However, the field of independent animation has existed at least since the 1950s, with animation being produced by independent studios (and sometimes by a single person). Several independent animation producers have gone on to enter the professional animation industry.

Limited animation is a way of increasing production and decreasing costs of animation by using "short cuts" in the animation process. This method was pioneered by UPA and popularized by Hanna-Barbera, and adapted by other studios as cartoons moved from movie theaters to television.^[7]

Although most animation studios are now using digital technologies in their productions, there is a specific style of animation that depends on film. Cameraless animation, made famous by moviemakers like Norman McLaren, Len Lye and Stan Brakhage, is painted and drawn directly onto pieces of film, and then run through a projector.

Venues

When it is initially produced, a feature film is often shown to audiences in a movie theater or cinema. The identity of the first theater designed specifically for cinema is a matter of debate; candidates include Tally's Electric Theatre, established 1902 in Los Angeles^[8], and Pittsburgh's Nickelodeon, established 1905. ^[9] Thousands of such theaters were built or converted from existing facilities within a few years.^[10] In the United States, these theaters came to be known as nickelodeons, because admission typically cost a nickel (five cents).

Typically, one film is the featured presentation (or feature film). Before the 1970s, there were "double features"; typically, a high quality "A picture" rented by an independent theater for a lump sum, and a "B picture" of lower quality rented for a percentage of the gross receipts. Today, the bulk of the material shown before the feature film consists of previews for upcoming movies and paid advertisements (also known as trailers or "The Twenty").

Historically, all mass marketed feature films were made to be shown in movie theaters. The development of television has allowed films to be broadcast to larger audiences, usually after the film is no longer being shown in theaters. Recording technology has also enabled consumers to rent or buy copies of films on VHS or DVD (and the older formats of laserdisc, VCD and SelectaVision — see also videodisc), and Internet downloads may be available and have started to become revenue sources for the film companies. Some films are now made specifically for these other venues, being released as made-for-TV movies or direct-to-video movies. The production values on these films are often considered to be of inferior quality compared to theatrical releases in similar genres, and indeed, some films that are rejected by their own studios upon completion are distributed through these markets.

The movie theater pays an average of about 50-55% of its ticket sales to the movie studio, as film rental fees.^[11] The actual percentage starts with a number higher than that, and decreases as the duration of a film's showing continues, as an incentive to theaters to keep movies in the theater longer. However, today's barrage of highly marketed movies ensures that most movies are shown in first-run theaters for less than 8 weeks. There are a few movies every year that defy this rule, often limited-release movies that start in only a few theaters and actually grow their theater count through good word-of-mouth and reviews. According to a 2000 study by ABN AMRO, about 26% of Hollywood movie studios' worldwide income came from box office ticket sales; 46% came from VHS and DVD sales to consumers; and 28% came from television (broadcast, cable, and pay-per-view).^[11]

Future state

While motion picture films have been around for more than a century, film is still a relative newcomer in the pantheon of fine arts. In the 1950s, when television became widely available, industry analysts^[who?] predicted the demise of local movie theaters^{[citation needed]}. Despite competition from television's increasing technological sophistication over the 1960s and 1970s^{[citation needed]}such as the development of color television and large screens, motion picture cinemas continued. In fact with the rise of television's predominance, film began to become more respected as an artistic medium by contrast due the low general opinion of the quality of average television content^{[citation needed]}In the 1980s, when the widespread availability of inexpensive videocassette recorders enabled people to select films for home viewing, industry analysts again wrongly predicted the death of the local cinemas.^{[citation needed]}

In the 1990s and 2000s the development of digital DVD players, home theater amplification systems with surround sound and subwoofers, and large LCD or plasma screens enabled people to select and view films at home with greatly improved audio and visual reproduction^{[citation needed]}. These new technologies provided audio and visual that in the past only local cinemas had been able to provide: a large, clear widescreen presentation of a film with a full-range, high-quality multi-speaker sound system. Once again industry analysts predicted the demise of the local cinema. Local cinemas will be changing in the 2000s and moving towards digital screens, a new approach which will allow for easier and quicker distribution of films (via satellite or hard disks), a development which may give local theaters a reprieve from their predicted demise.^{[citation needed]} The cinema now faces a new challenge from home video by the likes of a new High Definition format, Blu-ray, which can provide full HD 1080p video playback at near cinema quality^{[citation needed]}Video formats are gradually catching up with the resolutions and quality that film offers, 1080p in Blu-ray offers a pixel resolution of 1920×1080 a leap from the DVD offering of 720×480 and the paltry 330×480 offered by the first home video standard VHS^{[citation needed]}The maximum resolutions that film currently offers are 2485×2970 or 1420×3390, UHD, a future digital video format, will offer a massive resolution of 7680×4320, surpassing all current film resolutions. The only viable competitor to these new innovations is IMAX which can play film content at an extreme 10000×7000 resolution^{[citation needed]}.

Despite the rise of all new technologies, the development of the home video market and a surge of online copyright infringement, 2007 was a record year in film that showed the highest ever box-office grosses. Many expected film to suffer as a result of the effects listed above but it has flourished, strengthening film studio expectations for the future^{[citation needed]}.

See also

• Category:Film
• Cinematic techniques
• Digital cinema
• List of basic film topics
• List of film awards
• List of film festivals
• List of film journals and magazines
• List of film topics
• Lists of films
• List of video-related topics
• List of years in film
• Lost film
• Web film

Notes

1. ^ Wade, Nicholas J.; Finger, Stanley (2001), "The eye as an optical instrument: from camera obscura to Helmholtz's perspective", Perception 30 (10): 1157–1177, doi:10.1068/p3210, "The principles of the camera obscura first began to be correctly analysed in the eleventh century, when they were outlined by Ibn al-Haytham."
2. ^ David H. Kelley, Exploring Ancient Skies: An Encyclopedic Survey of Archaeoastronomy:

   "The first clear description of the device appears in the Book of Optics of Alhazen."

3. ^ Bradley Steffens (2006), Ibn al-Haytham: First Scientist, Chapter Five, Morgan Reynolds Publishing, ISBN 1599350246
4. ^ Bollywood Hots Up cnn.com. Retrieved June 23, 2007
5. ^ Silent Film Speed
6. ^ Sharing Pix is Risky Business variety.com. Retrieved June 23, 2007.
7. ^ Savage, Mark (2006-12-19). "Hanna Barbera's golden age of animation". BBC News. http://news.bbc.co.uk/1/hi/entertainment/6193603.stm. Retrieved on 2007-01-25.
8. ^ http://cinematreasures.org/theater/8855/
9. ^ Timothy McNulty (2005-06-19). "You saw it here first: Pittsburgh's Nickelodeon introduced the moving picture theater to the masses in 1905". Pittsburgh Post-Gazette. http://www.post-gazette.com/pg/05170/522854.stm. Retrieved on 2007-01-25.
10. ^ "Pre-Nickelodeon/Nickelodeon". University of Maryland Libraries. 2005-07-05. http://www.lib.umd.edu/RARE/Exhibits/Headley/styles1.html. Retrieved on 2007-01-25.
11. ^ ^{a b} PBS Frontline: The Monster that Ate Hollywood: Anatomy of a Monster: Now Playing ... And Playing ... And Playing ... pbs.org. Retrieved June 23, 2007

References

• Acker, Ally (1991). Reel Women: Pioneers of the Cinema, 1896 to the Present. New York: Continuum. ISBN 0826404995.
• Basten, Fred E. (1980). Glorious Technicolor: The Movies' Magic Rainbow. Cranbury, NJ: AS Barnes & Company. ISBN 0498023176.
• Basten, Fred E. (writer); Peter Jones (director and writer); Angela Lansbury (narrator). (1998). Glorious Technicolor. [Documentary]. Turner Classic Movies. http://imdb.com/title/tt0274530/.
• Casetti, Francesco (1999). Theories of Cinema, 1945-1995. Austin, TX: University of Texas Press. ISBN 0292712073.
• Cook, Pam (2007). The Cinema Book, Third Edition. London: British Film Institute. ISBN 9781844571932.
• Faber, Liz, & Walters, Helen (2003). Animation Unlimited: Innovative Short Films Since 1940. London: Laurence King, in association with Harper Design International. ISBN 1856693465.
• Hagener, Malte, & Töteberg, Michael (2002). Film: An International Bibliography. Stuttgart: Metzler. ISBN 3476015238.
• Hill, John, & Gibson, Pamela Church (1998). The Oxford Guide to Film Studies. Oxford; New York: Oxford University Press. ISBN 0198711247.
• King, Geoff (2002). New Hollywood Cinema: An Introduction. New York: Columbia University Press. ISBN 0231127596.
• Ledoux, Trish, & Ranney, Doug, & Patten, Fred (1997). Complete Anime Guide: Japanese Animation Film Directory and Resource Guide. Issaquah, WA: Tiger Mountain Press. ISBN 0964954257.
• Merritt, Greg (2000). Celluloid Mavericks: A History of American Independent Film. New York: Thunder's Mouth Press. ISBN 1560252324.
• Nowell-Smith, Geoffrey (1999). The Oxford History of World Cinema. Oxford; New York: Oxford University Press. ISBN 0198742428.
• Rocchio, Vincent F. (2000). Reel Racism: Confronting Hollywood's Construction of Afro-American Culture. Boulder, CO: Westview Press. ISBN 0813367107.
• Schrader, Paul (Spring 1972). "Notes on Film Noir". Film Comment Vol. 8 (Issue 1): 8–13. ISSN 0015-119X.
• Schultz, John (writer and director); James Earl Jones (narrator). (1995). The Making of 'Jurassic Park'. [Documentary]. Amblin Entertainment. http://imdb.com/title/tt0256908/.
• Thackway, Melissa (2003). Africa Shoots Back: Alternative Perspectives in Sub-Saharan Francophone African Film. Bloomington, IL: Indiana University Press. ISBN 0852555768.
• Vogel, Amos (1974). Film as a Subversive Art. New York: Random House. ISBN 0394490789.

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• The Internet Movie Database (IMDb) - Information on current and historical films and cast listings.

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