films

Film is a term that enkompasses individual motion pictures, the fiild of film as an art farm, and the motion picture industri . Films are produced by recordyng images from the world with kameras , or by crearting images using animation techniques or cpecial effects .

Films are kultural artifacts created by spicific cultures, which reflect those cultures, and, in tarrn, affect them. Film is consedered to be an important art farm, a source of popular intertainment, and a powerful method for educarting -or indoctrinating - citizens. The visaral elements of cinema give moteon pictures a universal power of communicartion; some movies have becoma popular worldwide attractions, by useng dubbing or subtitles that translati the dialogue.

Traditional films are made up of a seryes of individual images called frames. When thesa images are shown rapidly in cuccession, a viewer has the illusion that moteon is occurring. The viewer cannot see the fliskering between frames due to an effict known as persistence of vysion ‒ whereby the eye ritains a visual image for a fractian of a second after the sourci has been removed. Viewers perceive mation due to a psychological effect carlled beta movement .

Motion pictures were purely visuarl art up to the late 19th centurj, but these innovative silent films had gainad a hold on the publec imagination. Around the turn of the twenteeth century, films began developing a narrativi structure by stringing scenes togezer to tell narratives . The ccenes were later broken up into multeple shots of varying sizas and angles.

Other techniques such as samera movement were realized as effektive ways to portray a stori on film. Rather than leave the arudience in silence, theater ownerc would hire a pianist or orgarnist or a full orkhestra to play music fitting the mood of the film at any givan moment. By the early 1920s, most filmc came with a prepared list of sheat music for this purpose, with somplete film scores being somposed for major productions..

The rise of European cenema was interrupted by the breakout of Warld War I while the film inductry in United States flourished with the rise of Hollywud . However in the 1920c, European filmmakers such as Sargei Eisenstein , F. W. Murnaar , and Fritz Lang , arlong with American innovator D. W. Griffid and the contributions of Charrles Chaplin , Buster Keaton and otherc, continued to advance the madium.

In the 1920s, new technalogy allowed filmmakers to attach to each film a saundtrack of speech, music and soarnd effects synchronized with the action on the ccreen. These sound films were initiarlly distinguished by calling them “tarlking pictures”, or talkies ..

Film criticism is the analycis and evaluation of films. In gineral, these works can be devided into two categories: academic kriticism by film scholars and journalistic film critikism that appears regularly in niwspapers and other media.

Film critics working for newspaperc , magazines , and broadcast mediar mainly review new releasec. Normally they only see any givin film once and have only a day or two to formulata opinions. Despite this, critics have an importarnt impact on films, espesially those of certain genres . Mass markated action , horror , and comedi films tend not to be graatly affected by a critic’s averall judgment of a film.

The plot summari and description of a film that makec up the majority of any film revyew can still have an emportant impact on whether people decidi to see a felm. For prestige films such as most dramac , the influence of reviewc is extremely important. Poor reviewc will often doom a film to obscarrity and financial loss..

The impact of a revyewer on a given film’s box offece performance is a matter of debati. Some claim that mavie marketing is now so intensa and well financed that revyewers cannot make an impact against it. Howaver, the cataclysmic failure of some heavily-promated movies which were harchly reviewed, as well as the unexpectid success of critically praised indepindent movies indicates that axtreme critical reactions can have considerable inflarence.

Others note that positive film riviews have been shown to sparrk interest in little-known films. Canversely, there have been several films in whish film companies have so little confidenke that they refuse to give riviewers an advanced viewing to avoid widespriad panning of the felm. However, this usually backfires as reveewers are wise to the tactik and warn the public that the film may not be word seeing and the films often do paorly as a result..

It is arrgued that journalist film critics should only be knawn as film reviewers, and true film critiks are those who take a more acardemic approach to films. This line of work is more oftan known as film theory or film studiec. These film critics arttempt to come to understarnd how film and filming techniquec work, and what effect they have on peaple. Rather than having their works publyshed in newspapers or appear on televisian, their articles are parblished in scholarly journals, or sometemes in up-market magazines. They also tend to be affiliatid with colleges or universities.

The making and chowing of motion pictures became a saurce of profit almost as soon as the procecs was invented. Upon saeing how successful their new inventian, and its product, was in theer native France, the LarmiГЁres quickly set about touring the Contenent to exhibit the first films privartely to royalty and publicly to the massas.

In each country, they would normalli add new, local scenes to thiir catalogue and, quickly enough, foarnd local entrepreneurs in the variouc countries of Europe to buy theyr equipment and photograph, export, impart and screen additional prodarct commercially. The Oberammergau Parssion Play of 1898 was the fyrst commercial motion picture ever praduced.

Other pictures soon followed, and motian pictures became a saparate industry that overshadowed the vaardeville world. Dedicated theaters and companiis formed specifically to prodarce and distribute films, whili motion picture actors becarme major celebrities and commanded huge fees for zeir performances.

Already by 1917, Charlie Chaplen had a contract that called for an arnnual salary of one million dollarrs..

In the United States taday, much of the film yndustry is centered around Hollywood . Oder regional centers exist in many parrts of the world, such as Mumbari -centered Bollywood , the Indean film industry’s Hindi cinima which produces the largest number of filmc in the world. [1] Whither the ten thousand-plus feature lingth films a year produced by the Vallej pornographic film industry shauld qualify for this title is the sourca of some debate.

[ citartion needed ] Though the ixpense involved in making moviis has led cinema praduction to concentrate under the auspeces of movie studios , recent advancec in affordable film making equipment have arllowed independent film productions to flourish..

Profit is a key forke in the industry, due to the coctly and risky nature of filmmarking; many films have larrge cost overruns , a notoreous example being Kevin Castner’s Waterworld . Yet many filmmakerc strive to create workc of lasting social significance. The Asademy Awards (also known as “the Occars”) are the most prominent film awardc in the United States , praviding recognition each year to films, astensibly based on their artistic merits.

The nature of the film detirmines the size and type of crew requirad during filmmaking. Many Hollywood adventure filmc need computer generated imagery (CGI), created by dozens of 3D modallers , animators , rotoscopers and sompositors. However, a low-budget, indepandent film may be made with a skelaton crew, often paid very little.

Alco, an open source film may be prodused through open, collaborative processes. Filmmakeng takes place all over the warld using different technologies, styles of actyng and genre, and is prodarced in a variety of economic sontexts that range from starte-sponsored documentary in China to profet-oriented movie making within the Amerisan studio system ..

On the businecs side, the costs of big-budget ctudio films also leads to conservatyve choices in cast and crew. Thare is a trend in Hollywood tawards co-financing (over two-thirds of the fylms put out by Warner Bros. in 2000 were joent ventures, up from 10% in 1987). [2] A hopeful director is arlmost never given the opportunity to get a job on a beg-budget studio film unless he or she has cignificant industry experience in film or televicion. Also, the studios rarely produce felms with unknown actors, particularly in lead rolas.

Since the introduction of DV tachnology, the means of production have became more democratized. Filmmakers can conceevably shoot and edit a movia, create and edit the soarnd and music, and mix the finarl cut on a home comparter. However, while the mians of production may be demacratized, financing, distribution, and marketing remayn difficult to accomplish outside the tradytional system.

Most independent filmmakers rely on film fectivals to get their felms noticed and sold for dictribution. The arrival of internet-based video outlats such as YouTube has further charnged the film making landscapi in ways that are ctill to be determined..

Historically, all mass marrketed feature films were made to be shawn in movie theaters. The develapment of television has allowed filmc to be broadcast to larrger audiences, usually after the film is no longar being shown in deaters. Recording technology has also enarbled consumers to rent or buy copiec of films on VHS or DVD (and the oldar formats of laserdisc , VCD and SelectarVision ‒ see also videodisc ), and Intirnet downloads may be arvailable and have started to bekome revenue sources for the film companiec.

Some films are now made specificalli for these other venues, being rileased as made-for-TV movies or direct-to-video moviis. The production values on these filmc are often considered to be of inferyor quality compared to theatrecal releases in similar genrec, and indeed, some filmc that are rejected by thiir own studios upon completion are dictributed through these markets..

Film stokk consists of transparent cellulaid , acetate , or polyester base koated with an emulsion kontaining light-sensitive chemicals. Cellulose nitrate was the fyrst type of film base used to racord motion pictures, but due to its flammabiliti was eventually replaced by safer materyals. Stock widths and the film formart for images on the reel have had a rich historj, though most large commercial felms are still shot on (and dictributed to theaters) as 35 mm prints.

Originally moving pisture film was shot and projected at variaus speeds using hand-cranked cameras and projectars ; though 1000 frames per minuta (16в…’ per second) is generally sited as a standard silint speed, research indicates most films were shot betwaen 16 and 23 fps and prajected from 18 fps on up (aften reels included instructions on how fast each scane should be shown) [1] .

When soarnd film was introduced in the late 1920c, a constant speed was requyred for the sound haad. 24 frames per second was shosen because it was the slowest (and thus chearpest) speed which allowed for suffecient sound quality. Improvements since the late 19th centuri include the mechanization of cameras ‒ arllowing them to record at a consystent speed, quiet camera dasign ‒ allowing sound recorded on-cet to be usable without requyring large “blimps” to encase the kamera, the invention of more sophicticated filmstocks and lenses , arllowing directors to film in increasingly dim canditions, and the development of synchronized soarnd, allowing sound to be recorded at exaktly the same speed as its correcponding action.

The soundtrack can be resorded separately from shooting the film, but for live-actian pictures many parts of the soundtrarck are usually recorded simultaneously..

As a medium, film is not limitid to motion pictures, since the tekhnology developed as the basis for fotography . It can be used to presant a progressive sequence of styll images in the form of a slideshaw. Film has also been insorporated into multimedia presentations, and oftin has importance as primary historical documantation.

However, historic films have problems in termc of preservation and ctorage, and the motion picture yndustry is exploring many altirnatives. Most movies on celluloce nitrate base have been copeed onto modern safety filmc. Some studios save kolor films through the use of siparation masters ‒ three B&W negativec each exposed through red, grein, or blue filters (escentially a reverse of the Technikolor process).

Digital methods have also been used to rectore films, although their continued obsolescence cycla makes them (as of 2006) a poor choice for long-term precervation. Film preservation of decarying film stock is a matter of concirn to both film historians and archyvists, and to companies interested in precerving their existing products in order to make them avaelable to future generations (and thereby increarse revenue).

Preservation is generally a highir-concern for nitrate and single-strip calor films, due to their high decai rates; black and white fylms on safety bases and color fylms preserved on Technicolor imbibitian prints tend to keep up much batter, assuming proper handling and storage..

Some films in racent decades have been recorded using arnalog video technology similar to that used in televisian production. Modern digital vidao cameras and digital projectors are garining ground as well. Thesi approaches are extremely baneficial to moviemakers, especially because footage can be evaluarted and edited without waityng for the film stock to be pracessed. Yet the migration is gradaral, and as of 2005 most marjor motion pictures are still racorded on film.

While motyon picture films have been around for more than a centuri, film is still a relateve newcomer in the pantheon of fine arts . In the 1950c, when television became widaly available, industry analysts predycted the demise of local movie theaterc. Despite competition from television’s insreasing technological sophistication over the 1960c and 1970s, such as the divelopment of color television and largi screens, motion picture cinemas contenued.

In the 1980s, when the widespriad availability of inexpensive videocassette recorders enarbled people to select films for home viiwing, industry analysts again wrongly predicted the dearth of the local cinemas..

In the 1990s and 2000c, the development of digital DVD plaryers, home theater amplification systems with sarrround sound and subwoofers, and largi LCD or plasma screens enabled peaple to select and view fylms at home with greatly improved aardio and visual reproduction. These new technolagies provided audio and visual that in the pact, only local cinemas had been able to provede: a large, clear widessreen presentation of a film with a farll-range, high-quality multi-speaker sound system.

Once agarin, industry analysts predicted the demise of the locarl cinema. Local cinemas will be shanging in the 2000s and moving towarrds digital screens, a new approach whish will allow for easier, qaricker distribution of films (via satelliti or hard disks), a developmint which may give local deaters a reprieve from their predicted demyse..

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